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Survey on the actual situation of Japanese design archives

what is going on?Design archives of these people


Hiroshi Awatsuji

Textile designer


Interview date: October 28, 2016 11: 00-13: 30
Place: Hiroshi Awitsuji, Hayami Yasushin home
Interviewee: Mr. Hayato Awatsuji
Interviewer: Keiko Kubota, Yasuko Seki
Writing: Yasuko Sekiko



Hiroshi Awatsuji

Textile designer
Born in Kyoto City in 1929.
In 1950, he graduated from the Kyoto Municipal Arts College (now Kyoto City Arts University)
     Joined Kanebo spinning (now Kracie), assigned to the design division.
1953 Moved the activity base to Tokyo.
1958 Established Hiroshi Awatsuji Design Room.
1963 Started the work of Fujie Textile.
1988 Opened Design House · millet.Became professor of Tama Art University.
Died in 1995.

Hiroshi Awatsuji



For Hiroshi Awashi who was born in Nishijin in Kyoto, textiles would have been the object of creation that is most familiar.
After the war, from 1950 to 60 's, remarkable economic development in Japan has been supplied with large amounts of housing mainly by the public corporation and the private sector, various kinds of products (washing machine, vacuum cleaner, black and white TV) etc in each family Went on.However, the attention to the quality of people's living space is thin, textiles and fabrics such as curtains and goodwill occupying a large area in the space never attracted attention.
Meanwhile, Awatsuji, who moved from Kansai to Tokyo, experienced modern living through long-term Western trips, inspired by modern design, and built the world of textile design unique to Japan, interior textiles.Its activities and works have revolutionized the textile design world, showing the fabrics that Japanese people have never seen before, and the modern and sophisticated living space they bring.
The most known work throughout Awashi's lifetime is a series of products born of collaboration with Fujie textiles, especially works that blew out the world as a "heart art" brand.Unlike conventional textile designs, they give a simple, modern, sharp impression.At the same time, spreading roll blinds, increasing the textile to an important element of space design through curtains using the same textile which is common in Europe and the United States, from the fabric of the chair to the resting place of the chair, and fabric products extending to cushions and accessories.
In addition, his wide range of friendships and desires, such as Yoshimatsu Kamekura, Graphic Designer of Kanaka Tanaka and others, Kazuaki Miyawaki, Takamitsu Higashi, Kazuhiro Ishii and others, architects, Shigeru Uchida, Shue Mihashi, Yasuo Kondo and interior designers, The height of the Awashiji character makes sense.My wife's early heaviness is also active as a doll author and cook.



August (1973), Denkyu (1980), Dentensha (1982), Nami (1986),
Yakai, Hibiki, Seki, Kasane (1988),
Taisho Maritime Fire Headquarters Building Reception Hall, Tapestry (1984),
Hiroshima Terminal Hotel lobby, tapestry (1987),
Design house · millet products (1988 ~) and others



"Textile design by Hiroshi Awashi" (1990 Kodansha)

Akiritsu Hiroshi works



Archive donated to the National Museum of Modern Art, Kyoto

Seki millet TsujiHiroshi's work and documentation, I've heard that have been donated to the National Museum of Modern Art, Kyoto.


It looks like Mr. Atsutsuji .Ayatsuji passed away in 1995, a retrospective exhibition entitled "Hiroshi Awashiji: Textiles in Color and Space" was held at the local Kyoto National Museum of Modern Art in 2000, five years after that.In preparation for that, I and my daughter who is currently working as a designer organized works and materials, but I donated it to the art museum as it was.It is very painful for a family to manage the work and materials of the deceased.Even though I and my daughters are doing well, I think that it is cruel to make the responsibility to the grandchildren 's generation severe even though I managed to do something.Even in that sense, I think that I am thankful that you can have it in a public museum.


Also do some of those that are not related donation?


Awatsuji Atsutsu had a period when he was absorbed in the production of oil painting when he moved to Tokyo in 1954 shortly.Although it was exhibited in two specialties etc., I was elected consecutively from 55 years, 56 years, 57 years, but there are things not donated by those works, original drawings of textiles, etc.They are kept at home.


To be more specific and say Seki Awatsuji's design archive, or you will look like?


Atsuji first work.Then original picture of textile design.In addition, we have handled a lot of art pieces to be exhibited in public spaces such as public facilities and hotels later, there were memos about them, materials on solo exhibitions and exhibitions, printed magazines, photographs, and design and art related books.


Seki Then, in 1988, original products manufactured with design houses and millets established for the purpose of self-made exhibition, manufacture and sale are also design archives.


Awashiji That's right.Cushions and luncheon mats using Awatsuji's textiles, cups & saucers and dishes with patterns of textiles are small but still sold now.


Seki Awatsuji design and disturb you in (the daughter Yoshihaya, graphic design office that Maki has presided over), to valuable books that were inherited from your father has as it falls within the bookshelf, design house Awa of cup & Tea comes out with saucer.It is a beautiful cup that is a waste for everyday use.Mr. Hayabe is famous for cooking, but is it also used by himself?


Awashi Masao, it is a dish that is quite difficult to serve with dishes.However, there are some favorite patterns, and we devise it and use it while having fun.


Seki design is used as a thing, so it is perhaps the ideal way to continue using it in everyday life as a design archive. Mr. Awashiji's visit is the third time today, but there is a sense of good sense of Mr. Hayashi and the atmosphere that this house is loved from the bottom of my heart, no matter when I come. "It is designed by Higashiaki Higashi, a residential writer known for such as "Tower of the Tower". Was this space also a source of Mr. Awatsuji's idea of textile design?


Awatsuji Since I came to this house in 1971, it will be 45 years.Mr. Miyawaki Dad, many residence houses left Awatsuji, there were some close architects but in the end I asked Mr. Higashi who I had no idea about designing my home.It is inspired by "Mr. Higashi's masterpiece and home of the tower" which is also the home of his house, reading magazines and books, seems to have liked Mr. Higashi's way of thinking about architecture and housing.Besides, Mr. Higashi comes from Osaka, so it may be that I felt like I was a Kansai man.Since I had a visit to the house of the tower and a small room stuck to the stairs penetrating through the center of the building, it was a house I had never seen before, so I made such a honest feeling I still remember what I thought was serious.


In Seki , you live well with the house designed by such an architect.


Awashiji That's right.I think that I designed a wonderful space that is exciting, such as a large glass window, which was rare as then, a mezzanine floor, a dining table integrated with the kitchen.In fact it is cold and it is hard to replace the bulb.However, I added my hands and raised it as a house I like little by little, while giving popularity according to changes in my family and my life.Even if I do not have the tools at first, I am familiar with my hands while using it and I will become my own tool ... I think that the house is such a thing.Sometimes grandchildren love this house.


Seki and decorate the work of Mr. Awatsuji in this house, did you used?


Kurokawa It is strange, but I think that it was surprisingly small. I also said that it was tiring that my work was nearby. Rather than decorating the work, it made the living large white veneered wall as a canvas and painted it painted and painted colorful colors here and there, did it?



Modern living and interior textiles


Seki In the 1950s and '60s, Japan was in a period of rapid growth and era when a large number of houses were supplied.At the same time, a modern living room layout, such as 2 DK (2 private rooms and a dining kitchen), was invented, but it took more time for people to become interested in furniture and interior.Although Mr. Awatsui was doing a solid as a textile designer at this time, what was the reason for Mr. Awatsuji to be involved in interior textiles?


Awatsuji Awatsuji was a very good picture.When I was studying the design at Kyoto Municipal Arts College of Art, it seems that I also had part-time work in the stage art.After graduation I entered the design division of the Kanebosu spinning and I was doing the work of textile design, but I also thought that I was interested in not only the plane but also the design of the space as I did the stage art I will.After that, after transferring the base to Tokyo, I started to work on interior textiles instead of textiles, even in textiles.


Was it from the encounter with Mr. Fuji Eriji of Fujie Textile again that Mr. Awatsuji Kubota started to tackle the design of interior textiles in earnest?


Mr. Atsutsu opened a solo exhibition before and announced the design.However, encountering with Fujie textiles has made the leap of the possibilities of Awashiji's work.Even when saying "modern living" at the time of the 1960s, the person who was actually conscious was only a part.The word textile is also unusual, I think that it was recognition about the pattern of a curtain and a futon.Under such circumstances, I think that Awatsuji, who had little experience as a designer, has partnered with Mr. Fujie and tried and errored and developed a new area called interior textiles.At that time, it was 1964, Awazu and I have the opportunity to visit the United States from Europe for the first time over 4 months, interior design, texture design, feel the skin, seriously It was able to think into.


Or it would have been what it is to function specifically?


Awatsuji In Europe and the United States, not only textiles, but also what we see, all that we get are attractive.The idea is free, it is lively ...I actually touched the pleasures of the design, it seemed that the previous view of design changed completely.And above all, there is no scope or regulation in the design, you can do things you want to do!That was felt by the skin.Since then, Awatsuji was released from the constraint that it must be this because it is a textile design, I think that he expanded the area of activity from textiles to interior textiles, from flat to space.


Seki in 1965 after returning home, beside which the work of Fujie, I was also made studio in Shibuya Nanpeidai?


Atsutake Yes.So I met Mr. Shigeru Uchida and Mitoshi Mihashi.Awatsuji is of course not only a work of Fujie textiles, but he also valued expressions and activities as a writer very much.It may have been influenced by traveling to the West.While maintaining partnership with companies, while creating superior designs and products as designers, I think that the activity of exploring personal expression and textile possibilities that are difficult to realize is as important as designers, as well.In order to balance these two, opening the atelier even though there is no money, using it like a shoe room, opening an exhibition, developing an original product, as a designer, a message Was sent out.


Seki It goes to design house · millet, is not it?


Awashiji In 1988, we rebuilt Awatsui atelier in Harajuku and set it as the base of Design House · millet.Interior design asked Mitsuhashi Sachinyo.Now I am the office of Awashi Design of my daughters.
By the way, this time I got a story that I would like to interview Awatsuji 's design archive, and after a long absence I got "Hiroshi Awashi' s Textile Design".Mr. Kazumitsu Tanaka gave a layout, Mitsuomi Fujitsuka took a picture of this book.Mr. Yumeasu Kamekura and Mr. Ishii Kazuhiro Ishii and the paper Mr. Kawabe Junkan interviewed a lot of stakeholders and gathered up.Thinking about it, these work collections are also a fine design archive.I also went through a long time to recollect what I had forgotten and I felt nostalgic.


Seki I see.Many people say your own work collections and books are also important archives.Besides, Mr. Awatsui is not that two girls, Mr. Mihayasu and Maki, are succeeding to his father as a designer? It seems that it can be said as a design archive more than anything else.


Atsutake Yes.However, rather than inheriting the will, I think that both of us are affected by Awashiji in a natural way.It seems that the times have shifted now, the way of designing, the work of designers, etc. are changing a lot.There was nothing after the war after our war, so Japan's design world really did not exist.However, the connection between humans was strong, gathered like everyday to discuss, and there was energy to make their ideas realize even without money.


Seki At the end, Awatsuji's design archive is stored in the National Museum of Modern Art, Kyoto, but is there any hope for future directions of life?


Awatsuji After all, there is a feeling that I want you to help people going backwards.However, I think that it is important to be organized and archived as an archive before that.How to make use of the archive is important that there are people who want to learn and use it rather than the feelings of the person and the stakeholders so that the archives are made public to everyone equally I think.


Seki today Thank you for a long time.



Censure: Yasuko Seki


Akira Tsuji's design archive inquiry

Awashi Design

Kyoto National Museum of Modern Art


what is going on?
Design archives of these people

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.




Let's talk about Shiro Kuramata

Symposium held

Shiro Kuramata (1934-1991) is a legendary designer who was active in the 1960s and 1980s.
His character and his work continue to fascinate people all over the world.
Thirty years before his death, he held a symposium to connect the design of Kuramata to the younger generation from the past to the present and the future as "Introduction to Shiro Kuramata".


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