"Survey on the actual situation of Japanese design archives" Business related

The 1st workshop

Kenji Ekuan


Date held February 22, 2018 18: 30 ~
Venue GK Design Organization Guest Room
Organized NPO corporation architectural thinking platform
Cooperation GK Design Organization




The purpose of this workshop is to visit ateliers of designers and architects as a part of "Japanese design archive actual situation survey" project, to experience the space of their design birth, to tell the times and ideas .
The first was an atelier that Kenji Ejuku who used the foundation of industrial design, Japanese product, was using as a workplace before.In that place I will reconsider Mr. Eikuan's work from the work to the way of living.Participants include designers, journalists, educators, and about 30 PLAT invitees.
The atelier is a room of an apartment on the hill of Mejiro.From the room you can see the scenery of Tokyo around Shinjuku secondary city center.The reception room named Room A enters the entrance, the room B is the office room of Mr. Eikakuan, the room C is the communication room where the conference and others are done, and there are other kitchen and staff room.
The workshop began with a walk-through by Ms. Junko Onodera, the secretary general of the director of the GK Design Organization who was working close to Mr. Eikuan.Mr. Eikuan always came to the office from the morning and meditated in his own office was a daily routine, and it seems that there were times when it came home late at night as I got to work arrangements, meetings, reception and reception.Mr. Onodera said, "There are several GK offices near here, but Mr. Eikyu is also aware of the ongoing work and staff, calling them here, going out for themselves, Communication was very important.I think that Mr. Eguchi himself absorbed what they felt and thought about. "
Mr. Eyukyu's office, squeezing the handle himself up to nearly 70 years old and having frequently been in the office with staff, has been left for three years since the lost of the Lord.In a dimly-lit space, there was a slightly lower table and a prototype of Kikkoman's "Soy Sauce Bottle" widely known as a masterpiece was placed.Mr. Eikuan, who was racing, used the bottle as a jug.All the furniture was custom made, there was also bed of tatami bed for nap.I was designing myself so that I could rest when I was tired, I was taking a rest and became healthy, I was sending my days to work again.In the back you can see "New Buddhist altar" invented by Mr. Eikuan.Indeed it is a space that can be said as the archive of Mr. Eikuan itself, just being there, it seems to me that the principal faced seriously and frankly design against the design everyday.

After the tour, a lecture started by Kiyoharu Fujimoto, corporate auditor of the company.We will report on its contents below.

Kenji Egaku's works

Kenji Egaku's works






1950 to 1970s
Why did you dream of design?

Kenji Eguchi who has opened up the field of industrial design in Japan.He continued running with designs standing against the turbulent era, and has had a great influence on both domestic and overseas.How was that overwhelming work born?
"Mr. Eiku energetically while watching the dream of realizing the ideal village of design.That idea and unbelievable strong will.Today I would like to introduce some of its footprints, "Kiyoharu Fujimoto took a slide and started a lecture.


In 1929, Mr. Eikuan received his life as the eldest son of the priest of Monzen Jodo Shogunkeiji Temple in Hiroshima.However, his father was an open teacher of the Hawaiian Opening Diocese, so he spent his childhood in Hawaii in his childhood.The blue sky and the ocean of Kona beach are engraved in the heart as a rich source landscape, and the Pan China machine "China Clipper" (Martin M 130) flying over the sky was seen as a brilliant presence symbolizing advanced American culture.
However, the Second World War makes such a big shadow to Mr. Egu Ann.China clipper was recruited by the US Navy as a result of Pearl Harbor attack, the war was intensified, and the family returned home to the family.
And at 8:15 am on August 6, 1945, Hiroshima will have a time of fate.The atomic bomb took everything in a blink of an eye, the father and the younger sister also became a victim.Mr. Eikyu, who was away from his hometown at Naval Academy, returned to Hiroshima two weeks after the atomic bombing.What I saw was the landscape of the wilderness where everything was lost, as I have never seen before.Only the gruesomeness was just there.I was deeply saddened by the fact that both Hawaii and Hiroshima's hometown were victims of war.
What should I live aiming for now?I arrived in such despair, I was determined to revive Japan that has become zero.I followed the temple, but Japan alone can not be saved by that alone.I wanted to open up the world of design from urban environment to daily necessities for restoration and progress of life.It was the heart of the soul and also the final conclusion that faced the weight of life.


Mr. Eikuang hit the gate of the Tokyo National University of Fine Arts and Music.I met a group of six people while I was learning from Koike Iwarouro (then) at the Department of Craft and Design Department.Fujimoto san called "design magazines", and founded in 1952 with them is the GK Design Group.Associate Professor Koike's group, abbreviated Group of Koike, named "GK" (initially GK Industrial Design Room).I dared to name the anonymous without entering the name of Kenji Ekuan.Design reflects the viewpoint of Mr. Eguchi who is not an activity of one artist, but a creation by a group that many people participate.





Practice democratization of goods and democratization of beauty

Following the war, after losing the power of the past two times, in lieu of Europe, the American culture centered on democracy has swept the world, even in the design world Raymond Rowie and other American designers are active, Affected.
Two years after the establishment of GK, Mr. Eikuan who became 25 years old has been emphasizing traditional culture in art education such as Beauty of the Arts in the past, but from now on it is time to build a new design such as industrial design and communication design. I gave a voice that I had to.I thought that it was predicting the high economic growth to come by soon, and in the future I thought that it would be possible to offer beautiful, comfortable, rich things at a reasonable price to many people by mass production .
After that, Mr. Eikuan made the slogan of design practice "democratization of goods" and "democratization of beauty".This was a thought that passed through all his life.Meanwhile, the work gradually expanded the activity area through several design competitions, etc., but it was in the 1960s that the flower opened wide.Japanese musical instruments, Yamaha Motor, Kikkoman, Maruishi Electric etc. will be taken one after another.



As an activity in this age, we must not forget the activities in metabolism.In 1960, the World Design Conference was held in Japan, and as one of the members advocating design from Japan, Takashi Asada, Kisho Kurokawa, Kiyotake Kikutake, Kiyotaka Awazu.The research, exercise, declaration made in that group is a metabolism movement, but Mr. Eikuo adopted the word "tool" in the design here.As a tool "a thing on the road", we decided to pursue the path of what was created by human will, capturing all the living space.In addition, it is assumed that a simple substance is free and organic, and it was developed as a design theory which applied it also to the space.As its studies, we have announced nuclear housing "pumpkin house" "tame house residence" "residential city".



The Japan World Exposition held in Osaka in 1970 is one of the epoch making of the design history in which metabolism members played an active part, but the word street furniture spread from the work Mr. Eguchi worked on.This became a pillar of public design to introduce design even in public places and played a part in expanding the design area.



In 1973, when the World Council of Industrial Design Organizations (ICSID) was held for the first time in Asia, he took charge of the Executive Committee and worked on the Ministry of International Trade and Industry (Ministry of Economy, Trade and Industry) at that time to implement "Design Year" We also opened up the possibility of design as measures.A wide range of activities from the point of view of politics and administration are just grand designs, it is an act to disseminate the concept of design in general, practice of democratization of goods and democratization of beauty itself.





1980 - 2000
Organization called evolving GK

After the oil shock, the design will face problems such as environmental problems and resources after the 1980s, but GK saw that such adversity would increase the potential of industrial design.In order to respond to the complicated tasks, we organized an organization that spun off by region and region, autonomously assert their individuality.Over 330 designers worked during the peak period, but it is the characteristic of GK that individuals move on teams rather than moving individually.
Mr. Eiku always said, "The pleasure of being with the company is the pleasure of the design, GK's living worthiness.That was the thought of the organization ".A lonely genius is not necessary, "not adults, dwarfs" "ordinary people seriously and honestly try to work hard.There is a new group creation out there. "Organization creative power "is important, and skipped as" to have evolving collective intelligence ".Therefore, wisdom to increase creativity as an organization, such as letting the work done by two people duty in charge, exchanging with different industries, encouraging having more than two specialized fields , I left it through each era.
Mr. Eikuan continues to challenge how to design in limited life.Even though the human life is limited, the organization called GK should not be limited.Always the organization has metabolism there, it should be possible for people to change while changing.Tissues also have genes.It was aimed at organically linking genes as that organization.
Also, I was conscious of the fact that work leads to self-improvement, education and practice are consistent. "GK know-how is organization creative power.How to combine the optimum values of human resources.This was also taught through work, "says Mr. Fujimoto.And he told me powerfully that "We are proud of being a creative group growing as minded designers gather together."
For example, GK has also focused on activities to convey the entire GK group through exhibitions and seminars in addition to daily design work.Through such events, teams beyond the organization were created, which led to the stimulation to revitalize existing organizations.


Also, the organization of GK is considered functionally, but at the same time it is also a family team.It is one of the ingenuity to eliminate the barriers of the organization that is conducting a review meeting which reviews the work every Monday, also known as "Monday · Gallery".This is also a place for youngsters to learn the skills of presentation.A welcome party for new employees to be held in April every year is a banquet with entertainment that also involves entertainment, and its "entrance commemoration group photo" already exceeds 60 sheets.


In 2005, when Mejiro main building, the birthplace of GK, was closed, we held a farewell party with retired staff.Mr. Eikuan said, "Dwarfs have gathered and have often lived without making a suspicion.Each person has different personality and ability, too.People of GK can do both sadness and joy, and that's why we are looking for design, "he said with joyful pleasure with his colleagues.




Extensive development of tool theory

Tool thought and tool-like idea form the basis of GK and are still inherited.In 1982, "Instrument World Mandala - Echizenan Kenji and Its World" held at the Axis Gallery exhibited "New Buddhist altar" "Witness statue" and gained a lot of attention.Incorporating innovation into the world of traditional crafts such as the Buddhist altar, he said that there is a future of industrial design in progress.The space which abstracted and gathered the large ideal diagram that people and things coexisted was also like a three-dimensional mandala.It is a manifestation of the idea of opening up its own genes newly while standing in the spirit of warm innovation.



While confronting with objects, Mr. Eikuan has challenged the comprehensive expression of technologies beyond that period.Mr. Fujimoto analyzes that "Yugakuan metaphor" is lurking there.It is said that metaphors are included as genes in various industrial products GK has worked on.For example, in the motorcycle, I changed the color of the morpho butterflies and compared it to the Makunochi lunch box in the book 'Akanechi lunch box aesthetic - the origin of Japanese idea', a new design coming out of the climate of Japan.It is said to be a creative technique to change his accumulation of various knowledge including Buddhist philosophy as a form of design and things.





From Design Movement to Exploration of Tool Culture

In the 1990s, when Gruh Balsism emerged, Mr. Eikuan will again turn to the international design movement and raising questions on social issues.I thought that it is necessary again in the era of change from the end of the 20th century to the 21st century when tool theory that people and things can not cooperate but to coexist and prosperity as having the same mind.


In order to expand the circle of the movement, we established the Voice of Design and Design for the World, the latter is a comprehensive design organization, "Toward the coming Global Era" The design movement was developed with the theme of.In 1999 he held an international symposium in Tokyo and is actively working as president.
In addition, in order to study the tool deeper, he was devoted to the establishment of the Instrument Society.There was an exchange with Tadao Umenori, the first director of the National Ethnographic Museum, on the foundation.In addition to conducting interdisciplinary research on instruments that have not been subject to academic discipline, we also disseminate "instrumental studies" (Douguology) as universal studies to the world.In addition, "Tool Culture Declaration" was carried out, and the results are announced at the exhibition "Aesthetics of tools".





Tool Temple Tool Village Concept

As the 21st century celebrates, IT and globalism are progressing more and more, while the importance of sustainability is told, traditional mass production mass consumption type society began to be reviewed.Naturally, the world of design also required a great transformation.


In the transformation period of such an era, the Yugakaman of the later years warmed up for many years is the "tool Temple tool village concept".People will continue to make artifacts forever, where will their artifacts go?It is the creation of a place to explore the origin of design while also including reflections from the standpoint of creating things, what people should ask for through manufacturing things.In addition to the "Instrumentation Institute" to set up a tool university and the "Tool Development Institute" of the tool studio, we also set up "Tool Institution" of the entertainment facility and "Instrument Entry House" which expresses gratitude for tools A magnificent one.Over the course of ten years I have devised a concept to gather creators internationally and work together with various generations.


Unfortunately I did not realize it, but in 2005 I took a mountain for two weeks and I am also training for petitioning the "tool temple built".Working clothes, socks, hats and so on prepared at this time were produced by Aisano Miyake with A-POC brand technology.Of course, it was only one original in the world, and this workshop showed me the real thing.A-POC has a technology that makes cloth like clothes as it is, and it is a commitment that the fabric pattern is woven into the fabric.It can be said that Miyake responded to the enthusiasm of Eikyuan for tools.
The following year, this "Temple tool village concept" officially announced.The research results were presented at "Temple Temple Construction Irish Exhibition" and "Ikenaka Renka Exhibition" and served as propaganda.In addition, at 2013, at the Setagaya Art Museum, "Kenji Ekuan and GK's World Feng Shao (Yu)" are holding.



It can be said that these activities in the later years have been drawn as "metaphor" of "Design's ideal village" created through manufacturing.Mr. Eikuo liked the phrase "there is a heart also in things, there is a soul."There are lives that are made, healed, healed, and not eternal, even in the world of tools, like living, aging, sickness and death in the human world.The world of the human world and the world of tools must be mirrored in a single mirror.With a view to the future of nature, humans and tools, the admiration of the far away world was drawn there.
In 2014, he was awarded the 23rd Compasso-D'Oro Award for International Award for his contribution to long-term design.Actually, at the time of the student, it was also an award that secretly aimed, "If it can be taken, it is exhausted as a designer.It was a great pleasure to have won the same age and best friend Dieter Lambs at the same time.It is an event six months before his death.


Finally, I will introduce the lecture because I ended up with Ms. Ezuo's message as a "tool path" explorer.

Curious first in the beginning Watch the eye observation Next, explore the mountain in the knowledge
Let's wholeheartedly dig up the mysterious housing
There is discovery of tools only when you can grasp the heart of buried things


Note) The powerpo data is diverted using permission obtained by Kiyoharu Fujimoto for use in lecture.







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 *

Mitsuo KatsuiBorn in 1931 *

Shigeo Fukuda Born in 1932 *

Kohei Sugiura Born in 1932

Masayoshi Nakajo Born in 1933 NEW

Eiko Ishioka Born in 1938 *

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


Textile designer

Hiroshi Awatsuji born in 1929 *



Motoo Nakanishi Born in 1938


Furniture craftsman

Shigeki Miyamoto Born in 1937 NEW

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.