Japanese Anonymous Design in International Modern Culture
| Autor: | Sendai, Shoichiro |
|---|---|
| Jazyk: | angličtina |
| Rok vydání: | 2022 |
| Předmět: | |
| Zdroj: | The Journal of the Asian Conference of Design History and Theory. 4:144-152 |
| ISSN: | 2189-7166 |
| Popis: | Session VIII : Reviewing Product Design This paper aims to examine the international influence of Japanese anonymous design as the inspiration of the modern movement through the examples of the theories of French architect and interior designer Charlotte Perriand (1903-1999), German modern architect Bruno Taut (1880-1938) and ‘Mingei (Folk-Crafts)’ movement leader Muneyoshi Yanagi (1889-1961), to reconsider the interactions of modern design and traditional culture. The above three experts have positive evaluations of anonymous design, especially with regard to Japanese traditional crafts and farmhouses; nonetheless, due to their differing cultural backgrounds, the points they evaluated are different. For Taut as a modern architect, the beauty of crafts in Japanese farmhouses was a new discovery. This is because the same ‘quality (qualität)’ was discovered as the product Taut was evaluating when he was in Germany. This was achieved by the sophistication of form, which is different from the handicraft of ‘innocent beauty’ that Yanagi discovered. However, in the case of Taut, the beauty of the farmer was like a Zen cosmology, included universality, and it was adapted to international functionalism. On the other hand, the Japanese farmhouse was not a new concept for Perriand. In Japan, she developed her thought examining the concept of ‘Folk-Crafts’ by Yanagi, and matured this philosophy as the spatial regard based on the ‘contact’ with natural materials that included various technological possibilities of a new design for her. Unlike Taut, this ‘contact’ extends to the ‘contact’ with nature in the farmer’s external environment. Her feel of the hand on ‘Folk-Crafts’ leads to a variety of physical gests in general in contrast with ‘practicality’ as traditional life style that Yanagi valued. This paper elucidates the differences between the questions on Japanese farmhouses by the three with different backgrounds that arise from different criteria in the interpretation of ‘technology’ and ‘function’. |
| Databáze: | OpenAIRE |
| Externí odkaz: |
|