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Survey on the actual situation of Japanese design archives

what is going on?Design archives of these people

DESIGN ARCHIVE

Shigeru Uchida + Uchida Design Laboratory (Tadashi Hasebe)

Interior designer

 

Interview: June 3, 2019 (Monday) 15: 00-16: 30
Interview location: Uchida Design Institute
Interview: Tadashi Hasebe (Director), Reina Saga
Interviewer: Yasuko Seki, Aya Urakawa
Writing: Aya Urakawa

PROFILE

profile

Shigeru Uchida

Interior designer
1943 Born in Kanagawa Prefecture
1966 Graduated from Kuwasawa Design School
1970 Established Uchida Design Office
1981 Studio 80 established
2002 Changed company name from Uchida Design Office to Uchida Design Laboratory
2016 passed away

内田繁

Uchida Design Institute

In 2016, after the death of Uchida, Tadashi Hasebe became the director,
Hong Kong luxury apartment "FLEUR PAVILIA",
Developed projects such as the hotel “ENSO ANGO” and “Miwa Yugawara”.
Product design for furniture and watches is also in progress.
Exhibitions have been held in Italy, Holland, Switzerland, etc.

Description

introduction

In June 2016, Mr. Shigeru Uchida was very energetic and talked not only about the design archive but also his passion for design journalism. However, he died in November of the same year. Another major driver of Japanese interior design has taken off again.
After that, Uchida Design Research Institute said, "We are pursuing a wide range of design possibilities regardless of the genre, not only from interior design, but also from architecture to furniture and products, while continuing Uchida's ideas and design philosophy. I would like to be a studio that takes on new challenges every day with another design. ”(From the company website), Tadashi Hasebe takes over the director and conducts various projects including hotels, restaurants, offices and houses. Are deployed. Two and a half years have passed since Mr. Uchida passed away. The main purpose of this interview is two points. One is the design archive of Uchida-san. In particular, interior designs rarely survive due to the rapid cycle of demolition, leaving only drawings and photographs. For that reason, unlike architecture, graphics, and products, there are very few cases where they are kept as design archives even in museums and research institutions.
Secondly, let's look at the background and current situation of why many design offices with individual names disappear naturally when their own lives die, and why Uchida Design Institute has succeeded to its activities. Designers with private offices have similar problems and may be exploring the future.
This time, I worked with Shigeru Uchida for many years and talked with Mr. Hasebe, the director of Uchida Design Institute.

Masterpiece

Representative work of Uchida Design Laboratory

<interior>

Artmeister CA Center (2017)
FLEUR PAVILIA (2018)
ENSO ANGO (2018)
Shin Tamagawa Onsen (2018)
Miwa Yugawara (2019)

<Exhibition>

WANDER FROM WITHIN (Italy 2017, Korea 2017, Japan 2018)
een hommage aan Mondriaan en Rietvelt door Shigeru Uchida (Netherlands 2017)

内田繁作品

Interview

interview

I think Uchida considered it worthwhile to keep the Institute even after his death

After the archive as a thing

 First, I would like to ask about the archive as a thing. What has happened since Mr. Uchida passed away?

 

Hasebe Initially, we wanted to donate a batch of semi-permanent storage at universities and public institutions. However, in Japan we couldn't find a place to accept it, so we just received a request from M + in Hong Kong, so we decided to give it away. Until then, they were all stored in Hachioji's warehouse, but now they have been moved to a warehouse with logistics services in Saitama Prefecture. At that time, we destroyed the prototypes that were damaged, so now we have complete items, tea rooms, old documents, etc.

 

 What kind of work was accepted for M +?

 

Hasebe It is mainly furniture, and also includes some masterpieces and drawings such as black pipe series chairs such as "SEPTEMBER" of the 70's.

 

内田繁作品

In one corner of the Uchida Design Institute, there are chairs designed by Uchida.
The right is "SEPTEMBER" and the left is "OCTOBER".

 

 

 Mr. Uchida also designed a tea ceremony room, but you probably have many tea tools.

 

Hasebe Tea tools are contained in the wall storage of the meeting room. Some of them are designed by myself, while others are collected by modern writers from all over the world. After Uchida passed away, he relocated the institute, but we renovated the space in the existing building and designed the storage space in consideration of the amount of tea utensils.
In fact, there were about 5,000 books in Uchida's collection, and I thought that it couldn't be brought, but the lighting company Modurex in Ebisu took over everything. Uchida had a friendly relationship with former president Nobuhiko Terumichi, and the current president, Goro, often came to the institute since childhood. Goro also likes books, and in 2016, a library was created in one of the renovated headquarters offices that Kengo Kuma designed and remodeled. The book was selected by Masatake Matsuoka. I asked him to make a corner for Uchida and Ikuyo Mitsuhashi, and I went there several times to sort by genre, such as books, philosophy books, architecture, design, etc. that I read when I was young, and created a directory. Was. I usually borrow a few books that I often use at work and borrow them from the library and put them in the laboratory. I am relieved because we have received the entire book without discarding it. This library is open to the public and seems to be renting out.

 

 I think that what remains now will be mainly products such as furniture, but if it is an archive about space, will it be drawings, photos, sketches?

 

Hasebe In addition to drawings, photos and sketches, there are a few models. There were some models of the tea room, but they almost disappeared. In the architectural world, it is common sense to keep models, such as holding an exhibition of only models, but in the case of interiors, such ideas are not very common.
All photos remain. Some have been digitized, but there are still positive films from the 70's and they are quite yellow. The drawings are not 100%, but they are almost there. In the past, the OB of the Institute has volunteered to organize. There are more than 100 Yohji Yamamoto shops alone, but they have combined drawings and materials for each project. However, it has not been archived just by organizing what had been broken up.
Over the last 15 years, Uchida began to create works like "Dancing Water" and works that changed with time, which were recorded in video. There was one specializing in film in Berlin who was taking pictures, but he died this year. We have DVDs and Blu-ray discs edited for each exhibition and work, but I think Berlin has its original data.
Also, when designing the space, Uchida thought very carefully about approaching from the entrance to the back, so we have recorded some of that in video.

 

 At that time, did Mr. Uchida have any idea of keeping his own work as a record and keeping it as an archive for posterity?

 

Hasebe You may think that moving works can only be expressed with videos, and unless you record them, they will only remain in your head, making them irretrievable.
When it came to Uchida's debut, Shiro Kuramata told me, "Since the store will be gone quickly, it's better to take photos only." It seems to have become. So we have all the photos. Since then, I think the relationship with photographers has become more and more close. I think photographers who are active in this genre have become established.

 

 In graphic design, there are saucers like Dai Nippon Printing and in architecture, like architectural museums, but they don't exist now, but what kind of ideal would you like to make in an interior?

 

Hasebe As I mentioned in my previous interview, three-dimensional objects take up space and management is not easy, so there are few institutions that accept them, and after all, I have to keep it privately. The designers who make furniture and products all have the same problem. As a saucer, you still need a lot of space, so I think it would be difficult if something like a warehouse was not included.
21_21 DESIGN SIGHT does not currently have an archive collection, but Kazuo Miyake has been calling for the need for a design archive before it was created. I think that if the motivation for recognizing the social value of the archive increases, public organizations and companies will begin to think.
One of the issues is that design exhibitions are not easily held in Japanese art museums. Recently, the number of people who are active in the area between art and design, such as nendo or we +, is increasing, but I think that such works are usually easier for people who see art. Now that the border between art and design has disappeared worldwide, the value and perspective of design are starting to change gradually. If we move in that direction in the future, we may be more motivated to do something about archiving in Japan. I think that it is also helpful that you have been conducting an enlightenment activity while keeping a record of investigating the design archive with an NPO activity like you.

 

To inherit the office

 Our activity is in its fourth year this year, but recently I think that no matter how much remains, if the designer who designed it is forgotten, it will become a dead item . For art writers and painters, exhibitions and book publishing are planned during the milestone years after their death, giving them the opportunity to relive their existence. In the case of design, a private office may lose its office if the person dies, making it difficult to know who to contact if you want to borrow or listen to a work for an exhibition May be lost. At Uchida Design Laboratory, Mr. Hasebe has succeeded mainly, and has inherited Uchida's spirit and mind, but I think this is a very rare case. Have you been preparing for many years with the background that led to it, or with the future in mind?

 

Hasebe While presenting his work as a personal design activity, Uchida discusses what kind of reputation and value socially finds in his design, how to nurture generations, and how to contribute to the world. I think you always considered a public interest perspective. Since there was somewhere with my boss skin, if I had to take my skin off myself, I would work with both a sense of crisis and a sense of duty in order for the entire industry to bottom up including such incubation and enlightenment I feel like I was out. The same is true of Uchida's desire to create a magazine in his last interview. It means that they wanted to create a forum where a variety of people gather, discuss together, and raise the dimension of design itself.
Because of this idea, the name of the office was "Uchida Design Office" at first, but after that, Uchida, Mitsuhashi and I discussed various things, and the name "Japan Design Culture Research Institute" was a candidate. Was listed in However, because it is a little too large and it is better to see the face of the designer, I put Uchida's name, and also that the `` laboratory '' is better than the `` office '', The name was changed to "Uchida Design Laboratory" in 2002. When it comes to research, there is an image of making a prototype on a voluntary basis for something with public interest, but it reflects the attitude of doing something with public interest and social activities other than the expression of their work.
So, with that in mind, I think Uchida considered it worthwhile to keep the Institute even after his death. I have heard from Uchida about what you think about taking over the research institute before, but I didn't answer properly. After Uchida passed away, I was worried about the things I carry, which were very large. I thought about disbanding, but I was worried that things would be scattered, and if everyone here is thinking that it would be important if I could continue with my heart, the staff would not leave one person and push my back There was also a feeling.

 

 I think there was an option to take Uchida's name from the name of the research institute when Uchida passed away and start a new one, but why was it left?

 

Hasebe In Uchida's design, for example, personal expressions such as superficial shapes and habits will end in a generation. However, it was originally a research institute established by Uchida, and the current direction was established by Uchida, so I thought it was natural to leave the name. At the end of the day, there is no judge for this, but considering what Uchida wanted to convey to society, we aim to develop it in the next era based on that. The staff who are now, except for the two newcomers, are all people who have worked with Uchida. Uchida went to drink with the staff, talked about his own design, and communicated well, so I think that the spirit and mind of Uchida are also inherited by them.

 

 Sori Yanagi's office is not an organization, but a foundation. I felt that the common design was not personal expression but public.

 

Hasebe I have never met Mr. Yanagi, but I think he had the same thoughts. As I mentioned earlier, Uchida has been active in correcting the industry as a whole while expressing himself as an individual, and has been passionate about education since 2000. did. The desire to convey something to young people was so great that I was the director of Kuwasawa Design School and a professor at Tokyo Zokei University. When I gave a lecture, I collected a lot of materials myself and studied hard. There are also handwritten sentences and materials spoken at that time.
He has published many books on design. Postwar Japanese Design History (Misuzu Shobo, 2011) was published in China in 2018, and a Korean version will be released this year. I guess this book was chosen among many other publications, probably because China and Korea are interested in the history of Japanese design.

 

 Unlike books written by researchers and scholars from an objective perspective, the book is written by designer Uchida based on real-life experiences, giving a sense of reality and persuasiveness. The story changes, but when I visited the office of Makoto Matsunaga for coverage of this design archive, I heard that the space was designed by Mr. Uchida's wife, Ikuyo Mitsuhashi. What is Mitsuhashi's archive like?

 

Hasebe Mitsuhashi did not make much of the product, so little remains. He retired in the 1990s, and his activities have been short. What remains is a photograph of an old work? Mitsuhashi was just fine and meticulous. Pencils were arranged in the drawer in short order, and cleaning at night was done over three days. In the past, designers created elaborately designed New Year's cards, which were then filed and collected. There are a lot of things other than myself that I got through exchanges with such other designers, and I keep them in the warehouse in Saitama together with those of Uchida. Some of the New Year's cards etc. were brought by relatives.

 

三橋いく代作品

"SUIVI Ginza Matsuya" (1986)
Design: Ikuyo Mitsuhashi
Photo by Nacása & Partners

 

三橋いく代作品

"Fushou-an, Ten Years Proof Exhibition" (1987)
Design: Ikuyo Mitsuhashi
Photo by Nacása & Partners

 

 

Interior design changing with the times

 Mr. Uchida was working under the office name "Studio 80" before the Uchida Design Institute.

 

Hasebe Studio 80 was originally created by interior designers Toru Nishioka and Uchida. Both had a private office in the 70's. At that time, individual clients and designers were talking about their dreams while creating new and interesting shops and ideal homes. The client said, "I'm going to make a bar this time," and the designer said, "I want me to do the store." That's right. However, companies began to focus on the value of design around the late 70's and began to work on a corporate basis. Therefore, Nishioka and Uchida created Studio 80, thinking that it was necessary to organize the designers and take a socially sound position. About two years later, Mitsuhashi joined. Later, at the turn of the century when the bubble burst and the century changed, Uchida saw that the organization had fulfilled a certain role and left Studio 80 to return to the starting point and moved to a private office. "Studio 80" still exists separately from us.

 

 At present, the majority of interior design work is done by large organizational companies, and architecture is being handled by major general contractors and house makers as well. Recently, when I was talking with a young designer, it was said that the deadline for construction was prioritized and that there was no freedom of expression.

 

Hasebe In the 1970s, individual clients and designers worked together to make the job interesting, but in the 1980s, due to the bubble economy, work at commercial facilities increased at a stretch. Uchida felt a bit reluctant to consume designs that would last several years. Criticizing that the interior design industry was immersed in the cycle of commerce, he saw the gorgeous design of Karisame, saying that it is better to follow the trend published in the magazine at the time, They often said, "I'm sorry." Perhaps you wanted to say that you should design something that is loved for a long time, and that you wanted to work in a more visible relationship. Now, as things go on-the-business, design work is being incorporated. Though the concept of cost-effectiveness and return on investment is important, it is difficult to include the figures in question, so it is difficult to see the effects and the meaningful ones in the wider and invisible knitted stitches. It will be that it has become. In other words, its value in the long run. I think that young people who want to freely express themselves in a situation where the budget and schedule are tight are now holding their own exhibitions by creating their own products.

 

 On the other hand, the 80's was a time when the world of interior design in Japan changed dramatically. Until generations such as Isamu Kenmochi, the interior was a part of the architecture, such as the design of the lobby inside the building, but it became an independent form only as the generation of Mr. Uchida and Shiro Kuramata. think.

 

Hasebe I met Kuramata a few years before my late life, when I was a designer, but Uchida was an interior designer. I guess why Kuramata-san had a position as a designer, and why Uchida called him an interior designer. When it comes to designers, in terms of both language and territory, I think they have a broad meaning, and I think that the possibilities are wide, including everything from art to design. Uchida also worked on things similar to architecture, furniture, interiors, and art, but he had the idea of creating products from the standpoint of an interior designer, and put his emphasis on that.

 

 Nowadays, people who are featured in the media are not offices with individual names, but are creating and branding farms. .

 

Hasebe Assuming that young people are architects today, there is no work as expected in the field of architecture, so they have flowed into the field of interior design, and people who have studied fashion design interiors, etc. Is. Even if people other than interiors design the space, Japan has a very high level of construction technology, so I think that rough sketches can be made into neat drawings and completed. I think it is our lack of power, but the owner wants a new image, so if you can think of it, you don't have to be an interior designer to be a person of any genre.
In some ways it's timely inevitable, and I think it's not bad. As the interest of people living in the present era spreads from ornaments and clothes to furniture and space, not only specific specialists do not necessarily express or work, but what the image and quality they have If it suits, I think that it can be established regardless of specialty. If there is a problem, is it the manufacturing philosophy? Professionals have a professional background.
Also, the issue now is how to efficiently and cheaply produce products that achieve the maximum effect. Earlier, it was mentioned that the construction period was prioritized, but it was presumed that we would first consider the years of payback, which is becoming commonplace. The tourism industry in recent years is in a state of turmoil as it is progressing too rapidly. That's why it's important that designers can make proposals with the right philosophy without getting into fashion.

 

 Certainly, many hotels like long and narrow pencils are being built on the back streets of Roppongi and Ginza, but I fear that if the trend goes away, it will become a wilderness. Everyone feels like running on a money-making principle.

 

Hasebe I think it must be a structure where industry can be built on tourism culture, but now it is like a decoration that consumes culture, and making money first is considered. Perhaps there are two people: those who live in a world where it's okay to lose tomorrow, and those who want to leave something behind by design. The book on Post-war Japanese Design History is also linked to the masterpieces of the era, and also describes what values were valued and what messages were issued during that era. If this kind of book was republished 50 years later, then from 2010 to 2060, when I thought about what I was doing, it was obvious what I needed to do. I think it will come.

 

 The biggest problem is that when I look back decades later, things at that time are gone. I think it's difficult to keep everything, so I think it's important to connect at least epochs to future generations. Although there are many offices that continue even after the death of the person, such as Sakakura Architectural Institute and Maekawa Architects, there are 10 offices in the product and interior, including Kenmochi Design Institute and Yanagi Industrial Design Study Group. Are there any? Among them, Uchida Design Research Institute now has Mr. Hasebe, but how Uchida's works and those of Uchida Design Research Institute will survive in future generations 30 and 50 years later. There are times.

 

Hasebe I think it is a kind of experiment. I've experimented, but if I think it's not the case, I may stop there, or it may become even wider. I don't know at this stage. We are currently working on a project for a hotel in Kyoto called ENSO ANGO, which took place a few months after Uchida passed away. This year, we plan to complete a few more projects outside Kyoto. We have an exhibition in Switzerland right now, and we want to continue doing it in the future. We haven't gotten much of an edge yet, but we want to continue to combine design work with public and cultural activities.

 

 The exhibition held at the gallery "Le Bain", where Uchida was created in Nishiazabu in 2004, was a very public and cultural activity.

 

Hasebe "Le Bain" was one of the bases where people gathered. I feel that gathering people is very important in this digital age. I think it is important that new encounters and communication are born and that there is a place for presentations for design. Recently, the number of places like a mini gallery and shop like in the 70's has increased. In a biased world, in a sense, it may be an extension of subculture, but in the past, geeks were a few squatters. Too much. It seems that a variety of people gather and exchanges are born, and a new world is being developed.

 

 If such small lumps are scattered like a mosaic, I think that it will be one big power. Thank you for today.

 

Exhibition of Le Bain

 

内田繁ル・ベイン作品

"Andrea Brandi x Shigeru Uchida MODERNITA DEBOLE: In Search of Weak Design" (2005)
Photo by Satoshi Asakawa

 

内田繁ル・ベイン作品

"Joanna Grounder + Patricia Urquiola" Exhibition (2006)
Photo by Satoshi Asakawa

 

内田繁ル・ベイン作品

Koizumi Yamada solo exhibition "Kuu" (2010)
Photo by Kozo Sekiya

 

 

 

 

The location of Shigeru Uchida's archive

Contact information 

Uchida Design Institute http://www.uchida-design.jp

Shigeru Uchida

Interior designer

 

Interview: June 13, 2016 (Monday) 11: 00-12: 00
Interview location: Uchida Design Institute
Interviewer: Yasuko Seki Aya Urakawa
Interview: Shigeru Uchida, Tadashi Hasebe (deputy director), Reina Saga
Interviewer: Yasuko Seki, Aya Urakawa / Writing: Aya Urakawa

Description

Description

Develops a wide range of activities in Japan and overseas, including commercial and living spaces, furniture, industrial design, and regional development. He always works at the center of the design world while keeping an eye on the times, and continues to seriously pursue the essence of design.
In the late 60's Japanese interior design world, where novas appeared one after another, Uchida appeared as a flagship following Akita Iwabuchi, Takashi Sakaizawa and Shiro Kuramata. In the 1970s when Japanese fashion designers emerged, interior designers also transmitted their own design space to the world. Uchida worked on a series of boutiques of "Yohji Yamamoto" and received high praise from home and abroad for "a modern Japanese space" with a deep root of spirituality.
In the 1980s when the concept of postmodern flourished, he worked on various spaces, including restaurants, bars, hotels and shops. One of the masterpieces of this era is “Hotel Il Palazzo” in Fukuoka with Italian architect Aldo Rossi. Spatial design has collaborated with a variety of internationally active designers, and is said to be the pioneer of "designers' hotels", and attracted worldwide attention. In the 90's, we announced a folding tea room called "Ian, Soan and Gyoan". A traveling exhibition was also held at museums in Europe, bringing Japanese traditional beauty to the world. Gyoan was selected as a permanent collection by the Conran Foundation in the UK.
Since the celebration of the 21st century in 2001, he has advocated "weak modernity" (a design of the sensation of weakness) for the 20th century. The "Wobo" lighting with an impressive egg-shaped soft light and the "Mu" chair with the image of an imaginary animal are designed. In 2009, he held an exhibition in New York, "Blurry, hazy, transparent, fluctuating", and said that there was something in the words of the theme that modern humans can essentially connect to. Think. He has published many books and stamps events he has seen and felt on the spot. He served as director of Kuwasawa Design Institute at his alma mater from 2008 to 2011.

Masterpiece

Masterpiece

<interior>

Yohji Yamamoto, Science Expo Tsukuba '85 Government Building (1986)
Hotel Il Palazzo, Aoyama Mihoncho (1989)
Kobe Fashion Museum (1997)
Oriental Hotel Hiroshima (2006)
The Gate Hotel Kaminarimon by HULIC (2012)

<product>

Chair September (1977)
Watch "Dear Morris" (1989)
Tea ceremony room "Ian Soan Gyoan" (1993)
Lobby Furniture Interior Scape (2003)
Lighting equipment Warbo (2004)
Stool Mu (2005)

<Books>

"The Age of Chairs" (1988, Kobunsha)
"Architecture inspiring the city @ Hotel Il Palazzo" (Rokuyosha, 1990)
"Interior and Japanese" (2000, Shobunsha)
"Tea room and interior" (2004, Kakusha)
"Normal Design" (2007, Kakusha)
"History of postwar Japanese design" (2011, Misuzu Shobo)

内田繁作品

Interview

Interview

Archive contents and storage location

 The people who have created the post-war design world in Japan are aged, and some have died. I would like to interview you about how the design archives and design footprints are now preserved, and how you plan to keep them in the future, and want to keep a record is thinking.

 

Uchida That's a good thing.

 

 Today, by all means, Mr. Uchida, one of the leaders in the post-war design world, thinks about how his archives are kept and what will be done in the future. I hope you can ask. I think Mr. Uchida has a huge amount of design archives, but are they stored somewhere now?

 

Hasebe There is a warehouse in Hachioji and we keep it there. The representative work was bought by M + in Hong Kong.

 

 Of course, the completed work, but I think there are various materials behind the work such as idea sketches and drawings up to that point, but what about the things around that?

 

Hasebe Only a part of the model is taken and there is no study (prototype). There is no such thing as a sample of materials for design resources. Idea sketches, drawings and prints are the main ones.

 

 How about the photo?

 

Hasebe There are all photos. There are both digital and slide, some are converted to digital. Slides up to the early 70's have been quite discolored. I think that things after the late 70's are OK.

 

 Mr. Uchida has written many books, but do you keep books, magazines, handwritten manuscripts, text data etc.?

 

Hasebe Most books and magazines are on the bookshelf in the office. There are handwritten manuscripts, but almost no old text data remains. I think there is recent text data.

 

 

Thoughts on publication of future materials

 

 Do you just keep those archives or do you want to make them available to the public in the future?

 

Uchida The current situation is an intermediate measure, not a conclusion. Ultimately, we want to make it something that can be seen by various people. If there is a place in Japan where the archives are kept together, we would like to donate to them.

 

 I agree. Even if students want to see Uchida-san's work, it is quite difficult to go to M + in Hong Kong. What do you think about the possibility that so-called educational institutions, such as universities, will collect works of related designers and writers?

 

Uchida It's not the opposite, but I hope you take it together. It doesn't make sense to take two or three and collect them.

 

Hasebe I've been talking to Uchida for some time. If it is an educational institution like a school, it is unlikely that the archive will be dissipated, and I think it can be used for education. But, as Uchida says, it's a question of what you can do with two or three legs of furniture. I think that a certain amount is still necessary.

 

 There is still no place in Japan to call it a design museum.

 

Uchida Not really.

 

 At one point, Mr. Miyake talked about creating a design museum. As a person who has been involved in design for many years, we started this activity with the desire to leave the Japanese design archive in the next generation and create a design museum in Japan.

 

Uchida That's a good thing. At that time, Miyake was very eager to talk. I was listening eagerly.

 

 

What kind of design museum is ideal

 

 At the time, I think Miyake had the image of creating a large building and collecting archives there. The big building is divided into several small rooms, and it is conceivable that designers' works are displayed in each room, such as Uchida's room and Shiro Kuramata's room. I think. However, it is difficult to make such a large building in the present era, even on a budget. For example, the designers' offices are so nice that I think it might be possible to make them small museums and connect them in some way. Mr. Uchida, do you have any ideas or ideas that such a design museum is good?

 

Uchida Now, suddenly, I don't know, but I think it might be nice to have some small rooms in the big building you mentioned, and show me one of them You. First of all, I think it would be nice to discuss it. Including what a design museum is. I think there's something in the heads of everyone around me, probably what I should make.

 

 The other day, I asked Mr. Masayuki Kurokawa, but among the designs, industrial design is basically beauty, so it may not be interesting to just put it on the exhibition stand without moving. .

 

Uchida Isn't this one way of editing? The problem is editing.

 

 Yes, Mr. Kurokawa also mentioned that such a device would be necessary.

 

Uchida But it's not just that. I think if you edit well, you will get great value.

 

 It seems that graphic design archives are collectively stored in various places, such as universities, museums, and print shops. Unlike graphics, three-dimensional objects such as furniture take up space and I think it is disadvantageous when storing them, but is there anything else about the difficulty of leaving them as objects?

 

Uchida I think the most difficult task is to organize the archive. Who puts it together? There are many problems. I think everyone knows how hard it is to put it together.

 

Hasebe And at this stage, how to store the archives is probably not formalized, either?

 

 That is one of the problems.

 

 

Create a magazine that cuts the era

 

 We have just started this activity, but we would like to have any suggestions and opinions if we could do something like this.

 

Uchida I think you should do it as soon as possible.

 

Hasebe Arranging archives may be something we need to do now. I feel like there are many things that are too late.

 

内田 I think many people around me now have archives. I wrote this book ("Post-war Japanese Design History" Misuzu Shobo) because I thought I had to write it now. In fact, last year I approached various publishers to cooperate because I wanted to create a magazine, but now it is difficult to create a new magazine.

 

 What kind of magazine do you imagine?

 

Uchida It is a magazine that expresses itself in that era. In addition to being conveyed in words, it can be viewed both visually and as a work. Design events are quickly forgotten by the public in the flow of the times. I thought I wouldn't be able to keep it as it was, so I took notes for the time being. I wrote this book based on that memo, for example, Ginza Matsuya. At the milestones of the times, we performed various important exhibitions. In particular, "From Space to Environment" in 1966 was a very good exhibition. Writers in various fields, such as painting, sculpture, photography, design, architecture, and music, created their own works under the theme of "dismantling the design field." The works are arranged while having a relationship with each other, and they change when touched by hand.This is an unprecedented participant participation type and raises various questions such as people and environment, design and people's life. did. The 1968 problem was also a very important event in design history. The swell of anti-government movements naturally sprung up all over the world, and has become a turning point in the era of transition from an industrialized society to an information society. The radicalism movement that took place in Italy further made it visible through design. This is happening a lot in the design world. There are many things that are not so big.

 

 

It is important to leave the idea of design

 

 In a magazine that Mr. Uchida wants to make, for example, if the World Design Conference was held now, it was not only an introduction of the event that it was held, but what became a problem there, That means sending information including proposals such as what can be done there?

 

Uchida I agree. I think it is important to take the content one step further. Looking back, I regret that I couldn't go deeper into it because of the fusion of 70's interior design and fashion design. At that time, interior designers and fashion designers worked together to create new spaces, such as Shiro Kuramata and Kazuo Miyake, Takao Kawasaki and Rei Kawakubo, and I and Youji Yamamoto. Why did such a phenomenon occur? It wasn't just how beautiful or gorgeous it was as fashion, or what it was as a space. Why did we have to create such a space, and what did society want? Space is a manifestation that society has sought. I want a magazine that covers such things. Magazines are no longer magazines. That's not to say that old magazines were great, but at least they seemed to have more of a background than today's magazines.

 

 In that sense, in the 70's and 80's, there was something like ideology in the designer, and some clients accepted it. Now, it is market-oriented, and making money is of the utmost value, and things like ideology and commitment are excluded.

 

Uchida The bad news is that no one came to the point when I had to leave a lot of thought. For example, Tokyo Designers Space. Designers representing Japan from that time participated across genres, and the gallery was established and a gallery was created. It lasted for about 20 years since 1976. Various exhibitions were held, and I think that was just an idea, but in the end it was just a gathering and a fuss. The same thing has been repeated all the time since then, and I don't feel like it's connected endlessly now.

 

 Nowadays, magazines are difficult to establish, and the publishing industry is struggling. The information goes straight to the internet so you can get it without having to buy a magazine. So, when it comes to creating a magazine, I think it must be something completely different, and as Mr. Uchida mentioned, keeping a record of what's happening on site right now. Is also important. In the past, various movements were born from magazines. Perhaps, that kind of thing could be set up again from the perspective of the present age. Thank you very much. We plan to launch the Web from around summer.

 

Uchida Sounds good. This is very important, so we can do something for you, so please do.

 

 

 

The location of Shigeru Uchida's archive

Contact information 

Uchida Design Institute http://www.uchida-design.jp

HEARING & REPORT

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.

 

SPECIAL PROJECT

PASS the BATON

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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