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what is going on?Design archives of these people

DESIGN ARCHIVE

Kohei Sugiura

Designer, Asian iconography researcher, Emeritus Professor, Kobe Art University of Technology

 

Interview: December 1, 2017 15: 00-17: 00
Coverage place: Kohei Sugiura Plus Eyes
Mr. Kohei Sugiura, Ms. Yoko Kagaya
Interviewer: Seki Yasuko, Tomoko Ishiguro
Writing: Yasuko Seki (Outline), Tomoko Ishiguro (body text)

PROFILE

profile

Kohei Sugiura

Born in Tokyo in 1932
1955 graduated from the Department of Architecture, Tokyo University of the Arts
1956 Takashimaya department after advertising department independent, presided over the design office
Received the Industrial Design Award (present · daily design award) every day in 1961
1964, 66 years Visiting Professor, Ulm Institute of Design, Germany
1982 Received Cultural Agency Art Scholarship New Artist Award
1987 - 2002 Professor, Kobe Art University of Technology
Received the 1997 Everyday Art Award, received the Purple Ribbon
2010 ~ Director, Asian Design Institute, Kobe Art University of Technology

Kohei Sugiura

Description

Overview

Kohei Sugiura is an unprecedented graphic designer and editorial designer.According to the word, it was not before that, there was not later ... ... such existence.
In front of and behind Sugiura, there are many individual designers who have driven the graphic design world such as Hideo Hirohiro, Kamekura Yusakka, in almost the same generation Nagai Kazumasa, Katsui Mitsuo, Tanaka Ichimitsu, Nakajyo Masayoshi etc.Even in the generation like such a beautiful star, I have accomplished the work that would have only Sugiura.How can I express it?Graphic design is a representation in a two-dimensional world such as posters, packages, symbol marks, illustrations, editorials.In that sense Sugiura's editorial design fits in two dimensions.However, when the printed paper is folded, bundled, cut, turned into a form of a magazine or a book and turned over the page, the patterns, designs and diagrams expressed therein are changed from two-dimensional to three-dimensional, furthermore It will lead the reader to a four-dimensional world beyond space-time.
It is certain that a versatile and multilayered work that overwhelms people is brought about after Sugiura's intolerable pursuit and thought.But not only that, in the era when magazines and books have great influence on society and culture, encounter with passionate people who cultivate the field of editing / publishing together should not be overlooked. "Keiichi Taira of "SD", Isa Isa now, Tomiko Hosoi, "Urban Housing" Ueda Minoru and Isozaki Shin, "Play" Matsuoka Masaya, "Episus Theme" by Mikitaka Nakano, "The Truth of Rumors" Sugiura's energy and idea was the root of Sugiura's energy and ideas, whether it is eaten or eaten with unique editors and expressions like starting content preparation is not it.
In that sense, "Sugiura's work is an archive of the times", even in modern times where life and culture ski slopes at a tremendous speed, the design pile Sugiura deeply engraved can not be pulled out so easily right.Sugiura World, created through long thinking, will continue to fascinate people by releasing the unprecedented light in the future, even if the means of cultural transfer is to replace the flashing light digital technology.

Masterpiece

Masterpiece

■ Magazine design

"Urban Housing" Kajima Press Conference (1968-70), "Quarterly Ginka" Culture Publishing Bureau (1970-2002),
Object · Magazine "Yu" Kamakura (1971 ~ 79), "Episuteme" Asahi Publishing House (1975-79, 1984 ~ 86), Truth of rumor "Truth of rumor" (1980-2004) etc.

 

■ Book design

"Kodansha Contemporary Newspaper" Series Kodansha (1971-2004), "Kadokawa Selection Book" Kadokawa Shoten (1973-95),
"Shogun Shinbun Bilateral Mandala" Heibonsha (1977), Roger · Caiyo, Mori Tasuko Ryu "Mark" Zaitou Treasure (1979),
"Venus of the heavens and the Venus on the ground" Miura Printing (1982), "Nishi store <Mandala> organization" Kodansha (1983),
"Encyclopaedia of Encyclopedia" Vol. 16, Heibonsha (1985), Visual Communication

 

■ Other graphics

Symbol Mark Tama Animal Park (1973), National History Folk Museum (1991), Toyama Prefecture [Tateyama Museum] (1991),
Kingdom of Bhutan commemorative stamp (1983 - 89) others

 

Book

+ Masataka Matsuoka "Graphic Design of the World <1> Visual Communication" Kodansha (1976)
"Form of Japan - Form of Asia (All Through Theaters)" Sanseido (1994)
"Birth of a Shape (All-Anaphora Theater)" Japan Broadcasting Publishing Association (1997)
"Swallowing the universe - Genealogy of Asian universe big goddess (All things Anaphoric Theater)" Kodansha (1999)
"Trees of Life · Flower Space (All Anaphora Theater)" Japan Broadcasting Publishing Association (2000)
"Battle the Universe - Flame Taiko, Mandala - Asia's Sound (All-purpose Anaphoric Theater)" Workshop (2004)
"Sugiura Kohei Design Words" 1 to 3, a workshop (2010 to 2014)
Many others

 

Edited

"Asia's books, letters, designs - Yuhei Sugiura and Asian friends talk" Trans Art (2005)

 

Work collection

"Shimane Shiden - Kanpei Sugiura Half Century of Magazine Design" Trans Art (2004)
"Mandala light emission - Mandara creative universe of Kohei Sugiura" Creative World Live 2007 Executive Committee (2007), DNP Art Communications (2011)
"Pulsating Book - Kohei Sugiura - Design Method and Philosophy" Musashino Art University Museum of Art and Libraries (2011)
"Hida of Time, Wrinkle of Space ... Attempt of [Time Map] - Kohei Sugiura Diagram Collection" Kashima Publishing Association (2014)

Kasahira Sugiura Works

Interview

interview

Collection of works, collection of related collections, work research, and exhibitions.
It was a plan to promote the four pillars at once.

Distributed works and materials start as archives

- Mr. Kohei Sugiura says that the huge number of jobs so far have been arranged as an archive and donated to Musashino Art University.Could you explain the circumstances first?

 

Since Kagaya Sugiura Design's work is mainly books and magazines, it seems that they were put in a box in the order they were finished, in the early days and were put in a closet or warehouse.I heard that it was a huge amount and I did not know where and where it is, so I tried to organize the first time around 1985.By borrowing a place in Kodansha, it seems that magazines were organized for each title, such as "Kodansha Contemporary New Dictionary" and "Kadokawa Selection Book" for each series.
Sugiura had not exhibited his own works for a long time, but in 2004 (at the age of 72), at the Ginza Graphic Gallery, a magazine design called "Shippuden - Kanpei Sugiura Magazine Design Half Century" Exhibition It was decided to do an exhibition specialized for.In order to arrange the exhibits, it is the second time to organize and collect things that we kept from all over the place.The book is classified as a large magazine and a book, the book is further classified as a single line book, a new book, a selection book, a photo album, an art book, a dictionary, a dictionary, a complete collection, etc. Among them, AA is the most important work, We ranked it up to B.Also, in addition to such publications, a lot of things that accompanied such as a copy of the design process and a proof copy were attached.

 

Sugiura That proofreading is a very important document in my case.Because it is because the cutting edge of the printing technology of that era is packed up.I often interact directly with the engineers of the printing laboratory without going through the sales of the publishing company and I was making a work like a kind of printing experiment so proofs that show the trajectory are exactly important materials is.

 

Kagaya "Shippo Shimpei Exhibition" was very popular, and after traveling around the country at three locations, he visited Korea's Puja publishing city, China's Shenzhen, Beijing, Nanjing and Chengdu.I was involved directly with the work of the Sugiura office since I was in charge of planning this "gentle storm throw" exhibition and in charge of editing the catalog.It will be the manager of the office since 2009, but until then it was mainly veteran of the Sugiura office's 28 years of age and Atsushi Sato (from 1981 to 2009), centering on design work while doing some design work We also managed the work with the staff of.
From around the beginning of 2008, I began thinking about how to deal with works and related materials that had been enormously buried in, how to open an exhibition, and holding consultation meetings with the OB staff of the Sugiura office, and Mr. Masaaki Matsuoka We asked opinions of Mr. Takato Saigi, president of Kobe Arts and Science University.It was said that President Oki wanted to collect it, but the acceptance system was not prepared as a university, at that time it did not come true.So, Tadaaki Nagasawa who is the current president of Musashino Art University - who was assisting the president then - consulted.Mr. Nagasawa is because he used to work part-time at the Sugiura office a long time ago.
By the way, at Kobe Geotechnical Institute, Mr. Akazaki Shoichi, who is also a professor at Kobe Arts and Technology University from 2006, gathered Sugiura design posters etc from around Sugiura Office OB (from 1976 to 1996) and collaborated research We launched a project to do, open a small exhibition, publish an interview to Sugiura in a brochure, etc. We are continuing now.

 

Mr. Shuutaro Mukai, the founder of the department of basic design in SUGIURA Musashi beauty, is my old friend, when I first ask Mr. Mukai, "When Ms. Nagasawa is assisting the president, I am commemorating the 80th anniversary As part of the project, I am deeply involved in the plan to newly build an art museum library as "art museum / library"."This story may be fruit something," he taught me, and connected him to Mr. Nagasawa.So when I called Nagasawa, I was glad to jump up and said, "Please let me make it my collection."Musashi Mi was planning the memorial project in 2009 to celebrate the 80th anniversary of its founding.Together with Mr. Nagasawa, Mr. Yoshiharu Kano and Director General of the Secretariat Mr. Honjo Mr. Honjo demonstrate strong leadership, then store it not only in my office but also in Takeo's warehouse and warehouse specialized in book preservation A project team was established to transfer the huge number of works and related materials that had been.
Since I used to walk to a secondhand bookstore together in London in the past with Mr. Nagasawa, he also understood about the image books I gathered, and also kept interest in collecting most of the books as design reference materials It showed up.In addition, with the cooperation of Professor Yuzuru Terayama of Department of Visual Communication Design and Professor Junya Jyuken of Department of Basic Design, I told that I would like to make my research work the theme of collaborative research project.1) the collection of all works, 2) the collection of design materials and related collections, 3) collaborative research on design methodology and modeling thinking, and 4) holding exhibitions at new museums and libraries It was a plan to proceed at once.

 

- It is wonderful.I have never heard of such a dynamic and comprehensive archive plan.

 

Sugiura It is impossible for others to expand the idea of dynamically expanding one project and then systematizing it.We were also surprised and even thought that such a thing would be possible.

 

Even in Kagaya , in fact it was serious from there.First of all, we have compiled and organized works, design materials, and related collections in warehouses etc., and inventories were created.The work has about 5 thousand books, about 2 thousand magazines, record jackets and stamps etc.The poster has already been saved because the art museum library had already gathered from early.And as materials that can understand the process of design, handwritten sketches, concept memos, textbooks, proofreading papers, and printings were huge.There were about 3,500 book collections as design reference materials.

 

Sugiura There are not many people who wish to leave their work in universities, museums, and the like.But it is not easy to realize that.In my case, I think I was blessed with good connections and timing

 

Although there are a lot of Kagaya graphic designers, in the case of Sugiura, as a transformationist of Japanese graphic design, beyond the scope of visual design, a lot of new ideas have been created and ideological background is tight I think that it was evaluated that there is something.

 

Documents that guide designs from the perspective of Japan and Asia

 

Sugiura The key point that supports Japan's design is European-oriented, is not it?About 90% of the designers are based on Europe with plentiful legs.Many people have disappeared completely from Asia and Japan problems when thinking about what kind of circumstances they started designing and started to have a relationship with society.In my case, I was invited as a visiting professor at the Ulm Institute of Design in Germany in the 1960s, but on the contrary, Japanese people have to stand up on Japan or Asian culture and that It was confident that we should be able to see a new design view after the 20th century if we set the standing point.I think that this turning point was big.I think that there were few people in the graphic design world who had the stance of trying to break the design from the influence of Europe or the United States from 60 to 70 years.
But in the field of architecture, for example, there were quite a few people who focused on such ethnicity - cultural differences.Since I am a department of architecture at the University of the Arts, I guess there was a slightly different perspective from the graphic world.
Anyway, I think that it was because Mr. Sugiura was supposed to have some material with different standing point from traditional design material, as I thought that it was thought that Mr. Sugiura must have existed in the collection of eagerly with regard to my collection.
There are about 5,000 books I gathered, but two thirds are Asian related books.This includes something that is not found in any library.Because it was because I possessed what I had purchased at the local bookstore, old book store and museum every time I traveled to Asia, that Nagasawa was fully understanding the contents Let's see.Since Mr. Nagasawa is a precious person with a viewpoint of discussing the design of the world, I think that he thought that he would build the Sugiura collection firmly under his own perspective.Anyway, as I mentioned earlier, it was not only the collection of the works but also that we gathered a variety of materials behind the work, and then did the exhibition at the same time as researching the work , It was noteworthy thing.

 

- It is an unprecedented wonderful thing.

 

Professor Kagaya Nagasawa invited teachers from several departments of Musashi Miyuki to collaborate research projects from 2009 to 2011 for three years and analyzed the design method and modeling thought by Sugiura himself and DVD We have entrusted our work to the Sugiura office.For example, in fiscal 2009, I studied with two themes, "thought and book design of" immediate many, many immediate "and" Mandala edited universe ", and opened a public lecture meeting in Musashi Mi in January 2010 We published research results.The DVD and booklet that summarizes the results are packaged and delivered to Musashino Mani.

 

Sugiura We prepared 400 to 600 slides for the lecture of 2 hours so it was hard to prepare.Recordings of lectures can also be stored on a DVD so that they can be viewed at any time in the library.It is becoming clear to see how my book design method was constructed and deepened.

 

Research results on Kagaya typography, character set, Sugiura's favorite noise are also summarized in DVD and brochure.Through the accumulation of such research, we were able to open the exhibition "Pulsating book Sugiura Kohei · Design method and philosophy" to retrospect Sugiura design in autumn 2011.
Not only the real thing but also the image and the picture made with the personal computer are used extensively in the exhibition of the exhibition.Since the 2004 "Gin Shiden" exhibition, we have created a lot of videos to explain the design method by collaborating with excellent staff, Mr. Shinko Shinbo.Sugiura's design process is devised so that it can be understood dynamically in three dimensions.You can also see the relationship with Asian design that is behind it.

 

Sugiura I guess this was something I had done because I had the help of a crystalline body of wisdom, a book.Is the media that kept human wisdom kept for a long time since ancient times is now transferred to electronic media, and is further squeezed with various media and can demonstrate its originality.Based on this archive, I think there are points to be discussed variously.

 

When asking Kagamiya 's gentle slow thunder' exhibition, asked Miki Kimura, an excellent programmer, to develop a search engine for a magazine.

 

Sugiura Covers of 40 kinds of magazines I designed on the screen of computers are floating like a planet group floating in outer space, for example, if you select "silver flower" in it, the cover with 160 volumes is large It was an epoch-making attempt on a system that appears like a circle.

 

Kagaya Based on that experience, "pulsating book" exhibition created a search engine that allows you to see the back issues of series such as Kodansha Contemporary Newspaper and Kadokawa Selection at once.These search engines are a weak point that it becomes impossible to use once the version of PC goes up, but there are interesting things about computers.

 

- By the way, Mr. Sugiura has been doing design activities centering on editorials, research on Asian characters, designs, history has been done at the same time.

 

Sugiura That's right.I wrote several books on Asian iconography named "All-purpose Anaphoric Theater" such as "Form of Japan / Form of Asia", "Formation of Form", "Battle of the Universe - Fire Taiko, Mandala, Asia Sound" doing.Also, I take out interesting stories that are also called essences of Asian design and give lectures.

 

- Archives and lectures are reediting and it is a culmination.

 

In the case of Sugiura designer, I often talk about my work, but in my case my research on Asian mythology, Mandala theory, European alchemy etc. is the other pillar It is said that it is.Such materials were summarized by this archive.

 

- It overlaps with Leonardo da Vinci performing body dissection and exploration of nature to draw a picture.

 

Sugiura Asian studies of Asian figures have been focused mainly on the 1970s and 1980s, but in the latter half of the 1990s Asia also became globalized with a major transformation and the former richness will be lost.Perhaps the fun of Asian culture and Asian figures filled with vitality until the 1980s may be the last one recorded in the materials and research I collected.I think there are few valuable things.

 

- Sugiura - san 's collection has something that will never come again.

 

Sugiura That's right.

 

Kagaya Such a picture of Sugiura There is a sentence that describes the feature of this collection.
"Sugiura Kohei dreams about the" Museum Museum "by the collection since around 30's and collects books.I emphasized iconography rather than text and I gathered it with my attitude that if valuable images are posted even if one large book or booklet is posted.Especially the illustrations (diagrams) and the mapped things are important, and the books that form the basis of the idea of illustration are arranged.
In terms of cultural areas, the main focus is on Asian iconography, mainly focusing on the images of Southeast Asia, Islamic culture areas such as India, China, Korea, Thailand, and Japan, and Japanese images.The basic themes are mythical figures, folklore materials, especially cosmological imagery, illustrations.Many European books were collected as extensions.
Except for politics, social system, economy, etc., various forms of images are collected from many other genres.There is also a book on the origin of cosmology, mechanics, things, and its historical development.In the world of art, there are many such books as fantasy paintings, books with subjects of mythical image research, alchemy development and so on. " Because these archives and collaborative research etc. were not able to cope with only the budget of Musashi Mi, Mr. Nagasawa and Mr. Honjo, secretary general, also gathered funds with wisdom.
With the cooperation of Musashi Miyoshi teachers, museums and libraries, we transfer the works, materials, collections etc, while thinking about the composition of the exhibition and exhibition design based on the results of the joint research for 3 years, We proceeded with the editing of catalogs ... too, but we managed to open an exhibition in October 2011 as planned.

 

Book design that can not be reproduced in modern times

 

Sugiura Exhibition is not just a presentation as a retrospective of my work, it is a place to showcase the results of collaborative work among staff, printing laboratories, editors, and many others.Each of us enthusiastically organized that they had to make a record that would make them realize that "I also did it."

 

- This archive is exactly the crystals of blood, tears and youth.

 

Sugiura That's right.So from the time of organizing the archives, with the help of Kagaya and the staff, I did it desperately.I faced this kind of ambition, so I think that it became a living material.Of course, I can not thank you enough to appreciate the enthusiasm and struggle of everyone of Musashi Museum of Art and the library.In the head of Mr. Masashi Murai who was in charge of the site from the beginning of the transfer / organizing work, the whole image of the archive has been firmly engraved, and it is encouraging that he is still responsible with passion and responsibility.

 

- As the process of work said earlier, it was the printing experiment itself.

 

Sugiura For example, in an art book project of gorgeous work, efforts to reproduce reprints of Tibetan Mandala and Botticelli, stamping texts of dozens of pages, struggling to precisely reproduce corotype printing, etc. I have tried something.Printing staff of Dai Nippon Printing and Toppan Printing had come to consult me at all times, and myself was also making books at the printing site where ordinary people can not get in, even at midnight.For a while, I had made a substantial amount of books.From ancient times to the medieval times, to the present age, the theme of change has come to me.We also do stuff with the encyclopedia.In addition there are science books, there are also books on contemporary philosophy and psychics.Indeed everything in the whole world becomes a book, in order to do a book design corresponding to it, I thought that it is necessary not to say the same as the author, but to face quite a deep place. "Shadow "Even if one theme is the theme, we explored what the shadow falling to the ground really is doing, and so we designed it to be thinner than the content of each book, so that it became the document I was searching for books all the time.Various things are needed.Just because you like books, you do not gather books, but as necessary, you have gathered books and materials as a backing up to respond to each theme.

 

- For graphic designers, it seems that there are many cases in which there are only posters remaining after the process has been discarded, as the work can be duplicated in some cases.Mr. Sugiura was a book person, so I guessed that the process was left behind, but I heard the story and it was exactly as I expected.

 

Sugiura In my case, I also have to forsake things like handwritten notes without mercy.In a somewhat rough way, many graphic designers are extensions of painting.With an enthusiasm to compete with people who draw pictures, I draw illustrations for one poster.Since the poster sticks to the wall, it works with no backside, that is, it loses on one side.On the contrary, in the case of a book design, there is versatility, and if it has tens of pages and hundreds of pages, it can not become a book.In that sense, the method of amplification of the theme is completely different from that of the poster.Basically, in my case, my intention to compare my powers with a painter is insignificant because I use such different media as the main axis.Rather, I'm interested in how to shape the multi-page way of thinking with depth.So, I do not do something like condensing on one sheet.

 

- I saw my work as an archive so far, the denseness was so exciting and excited.It is becoming an era when books can not be sold now but only easy things can be made.I strongly felt strongly the existence of Ms. Sugiura who has been changing the times.Mr. Sugiura is happy.

 

I feel lucky when I turned around Kagaya .

 

Sugiura When meeting the timing of transition from one media to the next or matching publisher when trying to change from the traditional one, in other words, I happened to be in a place like a clause, There were many.On that occasion, desperately thinking on the spot, what I thought, looking back, it was innovation of that era or preemption.I think that there was also good luck.But after all, I think I also had my own efforts.Because it pursues deeply and deeply, it takes about ten times as much labor as normal.I think that the total amount of work was also large, I really came out dying for death.I might be able to say like a funny story right now, but I have been doing my sleeping job quite a lot and I was desperate.At about 7 o'clock in the evening, we finally ate breakfast at last.I worked without sleeping 3 days, I was sleeping on a train while catching on a strap.There was always such a thing.

 

- I think that the fact that what has been accumulated without wasting any time is now form as an archive and that the fact that it remains is impressing people again.I thought that pappappa and things to be completed were abundant in the world, but I felt today that there are only fruits that have been completed.

 

Sugiura Looking back from now, people like being preeminent in each era have also brought me a job a lot.In the publishing industry, there is also a fortune that the time when it became the heyday in flowering has just overlapped with the time when I worked on book design.So it seems interesting that resistance is usually strong because it seems to be interesting, so I guess it was also a time when I was able to challenge with publishers and technicians without difficulty, no matter how hard I am going to do.

 

At Kagaya Musashi Museum of Art and the library, we are doing some efforts after the exhibition to save and utilize the Sugiura archive alive.Work is ongoing to digitize the archive.I can not talk with you today because I am out of time, but I think that you can interview Musashi Museum of Art and Libraries on the subsequent developments.

 

- It is a wonderful track.Regarding Mr. Sugiura's archive, I'd like to complement the archive information by interviewing Musashino Art University's museums and libraries or Kobe Institute of Technology as a next interview.Thank you for today.

 

 

Location of the archive of Mr. Kohei Sugiura

 

Contact address

Musashino Art University Museum of Art / Library http://mauml.musabi.ac.jp

1-736 Ogawa-cho, Kodaira-shi, Tokyo 187-8505
Tel: 042-342-6004
Fax: 042-342-6451

e-mail: ml@musabi.ac.jp

Officer: Akira Murai

HEARING & REPORT

what is going on?
Design archives of these people

What's the deal? Design archive of these people

Graphic designer

Hiromu Hara Born in 1903 *

Yusaku Kamekura Born in 1915 *

Kiyoshi Awazu Born in 1929 *

Kazumasa Nagai Born in 1929

Ikko Tanaka Born in 1930 * NEW

Mitsuo KatsuiBorn in 1931 *

Shigeo Fukuda Born in 1932 *

Kohei Sugiura Born in 1932

Masayoshi Nakajo Born in 1933

Eiko Ishioka Born in 1938 *

Ryohei Kojima Born in 1939 *

Katsumi Asaba Born in 1940

Shin Matsunaga Born in 1940

Koichi Sato Born in 1944 *

Hideya KawakitaBorn in 1947

Tsuguya Inoue Born in 1947

Tamotsu YagiBorn in 1949

Kan Akita Born in 1958 *

Interior designer

Shiro Kuramata Born in 1934 *

Susumu Kitahara Born in 1937

Teruaaki Ohashi Born in 1938 *

Shigeru Uchida Born in 1943 *

Takashi Sugimoto Born in 1945 *

Kanji Ueki born in 1945

Setsuo Kitaoka Born in 1946 *

Kazuko Fujie Born in 1947

Naoki Iijima born in 1949

 

Textile designer

Hiroshi Awatsuji born in 1929 *

 

CI

Motoo Nakanishi Born in 1938

 

Furniture craftsman

Shigeki Miyamoto Born in 1937

There is also the possibility of changing subjects of survey.

The subjects (individuals) to be surveyed have been selected, including those who have already died, referring to the 2006 Asahi Shimbun publication "The Great Masters who have designed Nippon".

* Is a person who has died.