JAPANESE DESIGNERS

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climate

Japanese
Architecture
China

Buddhism

 ROOF IS MADE OF HEAVY TIMBERS

MADE OF WOOD
POST-AND-LINTEL STRUCTURE

INTERIOR - MULTITUDE OF PARTIALLYSCREENED, GEOMETRICALLY-ARRANGED

ROOMS WITH SLIDING DOORS
BUILT WITH FEW NAILS OR SOMETIMES
NONE

Features of rT aditional
Japanese o
H me
MADE OF WOOD
HAS TATAMI MAT FLOORS
SLIDING SHOJI DOORS
COFFERED CEILING

LATH-AND-PLASTER WALLS
TOKONOMA (DISPLAY
ALCOVES)

GENKAN(ENTRANCE)

 SMALL BUILDINGS

THATCHED ROOFS
DIRT FLOORS(MADE OF WOOD IF THE
AREA IS HUMID)

Reconstructed storehouse

Asuka Period
Asuka period

the term was first used to describe a period in the history of Japanese
fine-arts and architecture
was influenced by the introduction of Buddhism from China via
Korean Peninsula

Asuka Period
The Main
Worship Hall
-

usually found at the

center of the temple
grounds

Inside are images of

the Buddha, other
Buddhist images, an
altar or altars with
various objects and
space for monks and
worshipers.
Main Worship Hall(Kondo)

Five Story Pagoda

have five stories
represent the five
elements :
Earth, Water, Fire,
Wind, Sky

The Five Story Pagoda

 Shinto Shrines
-places of
worship and the
dwellings of
the kami, the
Shinto "gods
Main Features:

Komainu

Torii

Chozuya

Main sanctuary

 shinden-zukuri
- the style was
characterised by
symmetrical
buildings placed
as arms that
defined an inner
garden

Shinden-Zukuri

Kamakura Period
The Japanese Political power was run by Samuri.
Many houses were just plain, symmetrical, and
contained trenches but they were simple and sturdy.

 Sanju-SangenDo
-Hall with thirty
three spaces
between
columns
- contains 1,000
life-size statues of
the Thousand
Armed Kannon

The Thousand Armed Kannon

Tea House
For tea cermonies
Must have an
atmosphere of calm
and meditation
The only adornment
was a hanging scroll
with calligraphy or a
flower arrangement

Tea House

Azuchi-Momoyama Period
In response to a militaristic time, the castle, a defensive
structure, was built to keep out intruders or attackers.

Defense features:
elaborate mazes
of halls, corridors
and tunnels
Defensive walls
with triangular
and circular holes
for firing arrows
and guns, for
pouring boiling oil
and rocks

 Himeji Castle

one of the few

with some its
original interior
and exterior
intact.

the best of
Japan's castles

was built by
Ikeda Terumasa.

It has managed
to avoid being
destroyed by a
fire or natural
disaster and was
never attacked.

Himeji Castle aka White Heron Castle

Azuchi-Momoyama Period

This period brought back a lot of

classic Japanese architecture.
The city of Edo was struck by fires
repeatedly so architecture was
simplified to allow for easy rebuilding.
Enhanced Architecture:
Machiya (townhouses)

Typical Machiya

Edo Period

Emperor
Meiji
took
charge,
new
and
different forms of
culture
moved
into Japan.

European
influences slowly
managed
to
work their way to
architecture.

Nara National Museum

Meiji Period

Change
in
technology
greatly
affected
the
architecture.
After World War II a lot of
Japan had to be rebuilt,
but the new Japan looked
much different than old
Japan.
The styles went from big,
rectangular prisms to long
and tall skyscrapers.

Modern Architecture

The Industrial Revolution:

Japan 1868-1912

WORK ENVIRONMENT OF JAPANESE

Many both in and outside Japan share an image of the Japanese work
environment that is based on a "simultaneous recruiting of new
graduates" and "lifetime-employment" model used by large companies as
well as a reputation of long work-hours and strong devotion to one's
company.

VISIT TO XXI TRIENNALE INTERNATIONAL

EXHIBITION
THEME SUBTLE
S U B T L E Paper, how we feel an awakened world
SUBTLE is a concept word that they came up with to express
those properties of paper, a word with the meanings of
delicate, slight, or surpassing description. Based on this
theme, we would like to delve into the possibilities of human
beings and paper on a new horizon.

This exhibition is an experimental exploration to

recapture the allure of paper within a contemporary
context. While considering the essence of paper's power
to attract people
we began to realize the significant quality that has been
continuously awakening and nurturing people's delicate
sensibilities.
Paper as a medium has kept developing and fostering
human sensibilities that are so exquisitely keen and
delicate that they can identify and distinguish
differences in colour or aroma that even a state-of-theart sensor can not, and perceive infinitesimal differences
that even precision equipment can not detect
KENYA HARA, Exhibition Director

INTERACTIVE WALL
LISTING IDEAS FOR THE
DEVELOPMENT OF A SCHOOL
PROJECT
CREATIVE MIND MAPS FLOWING
IDEAS

THE DESIGN
VOLUME

INFERENCES

THE SPACE AND LIGHT

TENSION CREATED BY
THE VOLUME BALANCED
BY THE PRESENTATION

VISUAL
CONNECTION

PATIENCE AND
HARDWORK

THREAD AND NEEDLE TO

CONNECT THE PERIPHERY
WHITE DESK AND
OFFWHITE PRESENTATION

THREAD BY THREAD AND

NEEDLE BY NEEDLE
RING BY RING

PATIENCE

PAPER CAN FLY MORE SUBTLE,

CENTRE OF GRAVITY CAN MAKE OBJECTS FLY

I investigated shapes of paper that could fly, experimenting to discover the forms of the flight paths that objects took from
leaving my hand to the point where they landed.
The appearance of paper hanging in mid-air without its own motive power has a distinct charm.
The paper may only defy gravity for a few seconds, but that event embodies one of paper's attractions.
Paper made into a flying object and dropped remains a loft much longer than an ordinary rectangular sheet of paper with
the same weight.
Differences in the basis weight, size, folds, and fastening methods affect attitude, speed, and path as a flying object.
Simply folding the paper a little makes it waft gently down to ground, but in the shape of an airplane it can fly parallel to the
ground for a long distance.
By adjusting the centre of gravity, it can describe arcs as it dances in the air.
Using these techniques and controlling the object through fine adjustments, I tried to find an exquisite balance that would lead
to beautiful flight.

MORE EXAMPLES

PAPER MOULDED INTO FORMS

STRUCTURE FROM PAPER

TRANSPARENCEY

TRANSPARENCEY

LINES FORMING COLOURS AND

ILLUSION

STRUCTURE FROM PAPER - BIOMIMICRY

Kenji Ekuan

Japanese industrial designer

best known for creating the design of the Kikkoman soy
sauce bottle.
Design is a source of life enhancement, That is the motto of
the Japanese industrial designer, Kenji Ekuan, who has played
an important part in shaping Japanese packaging and logo
design over the years.

Functionality meets aesthetic appeal

The 150 ml bottle was developed in 1961 and its popularity remains
undiminished today. Featuring a curved silhouette and unobtrusive
lettering, the bottles simplicity, elegance and modernity make it a
genuinely eye-catching object
The perfectly shaped pourer enables the precise and clean dispensing of small
quantities or even single drops of soy sauce without drips
Thanks to its screw-off cap and dishwasher-safe material, the designer bottle can
be re-used over and over again, providing the user with enjoyment for years on
end
Simply pour Kikkoman naturally brewed soy sauce out of the standard bottles
wide opening into the dispenser for stylish seasoning at the dining table.

Kenji Ekuan

Japanese industrial designer

Kenji Ekuan

Japanese industrial designer

After winning both 1st and 2nd place in the first Japan Industrial Design
Contest in 1952 Sori Yanagi established his own design studio.
In 1957 he was invited to participate in the 11th Milan Triennial where his
Butterfly Stool won the golden prize.
In 1980 he became the first designer to hold an exhibition at the prestigious
Galleria dArte Moderna in Milan, Italy.