Japanese design and traditional craftsmanship

Japan International Cooperation Agency Nikkei trainee program Japanese Design and traditional techniques Kyoto Institute of Technology 2017, May to November

Carolina Miki Ojima Architect and urbanist graduated in Sao Paulo University, 2016 miki.ojima@gmail.com

Special thanks to: Japan International Cooperation Agency (JICA) for giving us this opportunity Kyoto Institute of Technology for receiving us as trainees Nishimura sensei and Nakano sensei, for kindly receiving us in their laboratories Yamamoto sensei for providing the best experiences and supporting us the tutors and friends that we met in Japan I will be forever grateful, thank you very much.

Introduction The objective of the training was to learn about japanese contemporary design and traditional crafts, and the relation between them. Through this research is possible to understand more about design and how it affects society, giving us a better sense of how to work for establish a balance between the traditional and contemporary, the industrial design and crafts.

On a personal level, the goal was to discover about my routs as a nikkei brazilian individual and understand more about my own mixed culture. Also to practice more the japanese language and meet japanese people to get more in touch with the local culture in a deeper level.

My personal target was to rediscover design through other perspective to receive some hints for producing new things that I feel meaningful.

Content

Findings

This is a compilation of some of the cultural aspects that I found most interesting during this trainee program.

I was inspired by all of them, and I aim to contribute for Brazil’s development through this knowledge.

Projects

Products that we develop in collaboration and learning with the artisans

Conclusion

Annex

About the impact of this program in my personal and professional life

Catalog of the visiting and workshops

Findings

Omotenashi The presence of Omotenashi principles in japanese everyday life was one of the most inspiring things that I experienced in Japan. Omotenashi doesn’t have a literal translation to english or other language, it is a philosophy, a feeling, a way of life.

The word is related to entertainment, courtesy, hospitality, attitude of welcoming people in the best possible way without having second intentions and with a pure heart. It can be done by physical things through objects as by invisible ways such as feelings.

We could feel omotenashi culture through the artisans devotion for their works, ritual such as tea ceremony, in restaurants and stores, through decoration of places that we went, the packaging of the products and more.

Every detail counts to provide a better experience for other people in a professional or personal level. As designers, we can incorporate this philosophy in every project that we are involved with, sending the users this same feeling of being welcomed. Also in our attitudes with other people, making they feel special and happy even for a moment, as I could feel in Japan.

We had some Nishimura laboratory’s students to help us on the presentation for JICA latin america staff. After the presentation, I invited them to have a dinner together in order to get to know them better and relax after the event.

Even though I was the one who invited them, they started to search for a good place to go because I didn’t know about many places. Without saying nothing, they refused to choose some restaurants that were available. I realised later that they were putting a strong effort to find the best table size and layout for us to be close enough to have a good talk and know each other better despite the language barrier. This is a kind action that I will never forget.

This is coffee is one of the things that I gained from Asada-san and people who work in his factory while I was making my kawara products there. They were always kind and taking in consideration that I spent a lot of time there to work there and gave me things to express how they appreciate it.

Findings

Seasons We could feel how the japanese culture is related to the four seasons.

In comparison to Brazil, which is a country with low weather variation through the year, Japanese can notice more about the passage of time and the differences in nature according to seasons changing. Because of such a visible variation, nature is a way to feel and see time itself and its a symbol that every moment counts and is precious in different ways.

Therefore, japanese people base the culture and habits in the four seasons and it has a huge and direct impact in art field, crafts and design.

Flowers, cuisine, ceramics are some of the examples that showcase the season changing in Japan.

What the language tell you about the culture Answering and asking things indirectly, not finishing phrases so clearly, not refusing requests with words such as “no”: this is a japanese way of not being rude with others. Sometimes, we as foreigners don’t understand clearly some answers that japanese people gave to our questions because of this way of speaking. But instead of being upset for not understanding the answer, we could consider this is as a respectful gesture from them.

And also we have understanded how the language’s characteristics and usual way of saying something expresses the way that a society thinks.

And also the understanding of how the language’s characteristics and way of speaking expresses the mindset of a society.

Findings

Appreciate what is not visible That was a remarkable quote that I heard in a lecture about Noh theater with the professor Masaru Haru: “Noh theater doesn’t explain and show much. Instead, Noh theater wants us to imagine and feel”. He explained that they don’t use many objects to show people exactly how everything looks like giving people the freedom to imagine the way that it is more meaningful to them.

Takigi Noh lecture with professor and actor Masaru Haru, promoted by Kyoto Journal in Fukujuen building.

May, 2017

Appreciate what is visible On other hand, we could learn through this experience how the ar field in Japan is related to super high quality traditional crafts. We could notice this aspect through Maiko’s presentation and Takigi Noh theater where the talent of maikos and actors is important, but also all the garments, accessories and objects that they carry are as important to provide an unforgettable experience for the audience.

Every visible detail means something or remind us about nature and history.

Therefore, japanese traditional crafts are an essential part of many art fields.

Takigi Noh lecture with professor and actor Masaru Haru, promoted by Kyoto Journal in Fukujuen building.

May, 2017 Maiko’s presentation at Miyako Messe June, 2017

Findings

Local treasures I consider very interesting how each prefecture has their own speciality: high quality products, weather, buildings, shrines, cuisine and more. For example, each location is known by a different type of ceramics that they are specialists in making.

Japanese society is very united in the perception of foreigners. Japan showed how people cooperate with each other in case of natural disaster and other situations that require teamwork to surpass difficult moments. But in the same time, each prefecture is full of local treasures, specific crafts that make every place different and interesting. Japanese are very proud of their achievements both nationally and locally. This is an inspiring aspect that I wanted to bring to Brazil for making my country have a better selfesteem to grow.

Manhole covers from Uji, Osaka, Nara,Imari and Yufuin photos taken in 2017

Paths of deep concentration and evolution In Japan I could have the experience of climbing Mount Fuji with some brazilian nikkei friends. In order to climb it we had to focus in every step we took, always breathing well and mentalizing that we would be able to arrive at the top and see the sunrise there. Although Mount Fuji is really famous and I researched about it before going there, I was not really aware of the magnitude of the climbing and also wasn’t physically prepared for that. But it was possible because of the concentration and balance of energy we put in every step, without being discouraged to see how

much was still left to arrive at the top, or to complain about the external aspect such as weather. For that, was really important to be with friends who always pushed each other to continue and to stay happy for doing this.

Mount Fuji for me was an experience that represents life itself. We can apply everything that we learned there to overcome any challenge.

Sunrise on the top of Mount Fuji August 13th, 2017

Findings

Design as a support for art In our visiting to “Seikado� metal craft from Kyoto, the artisan said something that remained with me. He said that the focus of seikado was to make products that could accentuate the main art: vases for flowers, stands for incense, tea caddies to special teas. In order to do this, their design is simple to match with the main art. This is a concept of design that shows respect for the nature and for the clients.

Instead of making really complicated and ornate pieces, they design simple yet gorgeous objects to balance with the flowers, incense, tea and others that the users are going to choose.

Tea caddy and flower vase photos taken during the visiting to Seikado store and atelier

The importance of emptiness In Ikebana workshop, we learned about the importance of the empty spaces between flowers and leaves to make the arrangement. The beauty is relied in balance and composition.

We can find a similar concept in Ma 間 and Shodô. The empty spaces are so important as the filled ones. This concept truly changed the way that I see design.

The beauty relies on balance and composition, which empty spaces are so important as the filled ones. These concepts truly changed the way I see design .It’s possible to find similar concepts in Ma and Shodô,

Ikebana workshop

Findings

Right tools We have learned that japanese beauty is relied in details. For making different shapes and details, japanese crafts and design also are closely related with the tools that artisans use.

There is always the right tool for the exact shape and texture that you need, and also new necessities make new tools necessary.

This characteristic is present in crafts field but also in japanese daily life when we find many different types of stationery goods such as folders to attend our demands and pens with a huge variety of colors, thickness, weight and types of ink. It is known that Japan has one of the biggest range of products and I believe that this is related to the culture of specific tools to always improve works.

bamboo, embroidery, maki-ê, carpentry, metal work’s tools photos taken duting visitings

Traditional crafts and modern society Talking to artisans, they tell about the challenge of selling their products to people from modern society that usually don’t know much about the value of the techniques compared with the past generations.

There are many crafts ateliers that are putting an effort to promote traditional crafts nowadays. Really good ideas came out to make crafts closer to modern lifestyle.

In GK internship, I had the opportunity to gather some types business related to crafts, discuss about them and summarize into at least two general types of approach.

It was very interesting to study about ways to promote crafts to apply these concepts in the future.

Findings

travelling through art, design and architecture Thanks to the opportunity to go to research travels, I could have some of the most inspiring moments of my life.

Some of them are brifed listed below. More information about the research can be found in the annex of this document. Experiencing these places remembered me how art, design and architecture can change our way to see the world.

Inujima Seirensho Art Museum The art pieces by Yukinori Yanagi touched me deeply.

I could feel the death and life concept very strong in his instalations. I appreciated how the architecture is an essencial part of his works. photo: Iwan Baan

Teshima - “No one wins� instalation I have always been bothered with the concept of competition. This art piece brought a good feeling to me: we can play without the pressure of having to win.

Teshima Art Museum The architecture of Ryue Nishizawa in combination with the art of Rei Naito resulted in the most breathtaking place that I have ever been into. I could feel a deep contact with nature and a piece inside me.

Les archives du couer I was very impressed by the power of the heartbeating and how it is different from one person to another one. Entering in this room, I could feel the vibration of the loud sound of the heart making me feel more alive than ever before.

Chichu Museum Monet’s paintings, Valter de Maria’s artpieces scale and the angles and apertures in the architecture: Tadao Ando’s architecture and the artpieces are in total balance completing each other to provide us an emotional experience.

“The japanese house” exhibition This exhibition explains important aspects of japanese houses after 1945, as well as show models and interviews with people who live in these houses allowing us to be closer to the way of thinking of the architectures and the users.

Hokusai Sumida Museum Katsushita Hokusai’s illustrations are not only important historical documents that transport us to the past, but an inspiration to exhaustively draw to notice things that we have never seen before about life, habits and shapes.

The Tokyo Art Book Fair This fair gathers many independent publishers. It is a graphic rich experience to see many works involving plhotography, art, design and more.

Imari Okawachiyama area This area has a huge importance in ceramics history. I could learn more about pottery through ages.

Center of Bamboo crafts of Oita prefecture This center is responsible for high quality bamboo crafts courses and for developing new bamboo products to mantain the traditional techniques.

Projects

Washi project We were able to have washi classes with professor Tadashi Tamura in Kyoto Institute of Technology. We learned about the materials, process, instruments and washi philosophy. We developed a project in the end of the course with the concept of making products that are usually not made by paper. By designing and making prototypes, we could notice the high quality and beauty of washi fibers.

My proposal was a pen case made only by paper in order to show swatches of the objects kept by it. By marking the paper, we can see how the ink really shows up in paper instead of choosing the color by looking at the plastic cap that covers the tip of the brush.

Projects

GK Internship We had a great opportunity to be design interns at GK Kyoto.

Each of us had different tasks according to our backgrounds. The staff suggested me to research and propose a project for a traditional crafts store. The target and location were free for me to decide according to the research findings.

The main goal was to bring people towards products that had lost popularity and value for society. The focus that I chose inside crafts main subject was traditional japanese pottery.

The main part was based on research about the types of pottery and the singularity of each one, the challenges that artisans have to surpass to maintain their jobs, traditional crafts business plan, target, architecture and more. After this process, a draft of the store project was designed.

Working at GK Kyoto was a good experience to learn with professionals in Japan.

The target chose was brazilian young people, art and design oriented.

Basically, the concept was to provide experiences with pottery to make people closer to the objects and understand their value. The architecture was inspired in Machiya to enhance the experience and teach people about this element of japanese culture as well.

The program consists in a pottery shop in the entrance, a bar that serves food accordingly to the best pottery for each dish, a garden and an area for workshops and reading books about japanese crafts.

Projects

EDGE exhibition We took part of professor Nakano laboratory project “Dento no mushi vol. 10” and had the opportunity of learning about five traditional crafts techniques: Kyogawara, Shippou, Kazari Kanagu, Kinsai and Karakami. We could choose a technique to work with and develop a product making it by our own hands. This way, we could understand better about the beauty of each technique and the limits too. Learning with such skilled artisans was a great experience to get closer to their work and technique.

Discussing with them about design was one of the most rich project experience that I have ever experienced.

About the project: Original from Brazil,

Cobogós are hollowed blocks stacked to form walls. The wind can pass through them, but the sunlight is partially blocked defining distinct shadows representing an interaction between nature and construction.

The main motivation of the project was to show the beauty of Kyogawara surfaces in different shades through the encounter between japanese and brazillian cultures that represent me as a nikkei brazillian person.

left: Kyogawara artisan Mr. Asada demonstrating and teaching me how to make one of the pieces up: Process of polishiment learned from Mr. Asada.

The process of making these pieces opened new fields to explore. Cobogรณ II was designed to give freedom for the users to rotate the pieces in order to create a diversity of patterns as they wish. Each combination forms different shapes and shadows, evoking a unique perception.

Projects

INTERSECTION exhibition Our final exhibition gathers all the works that we made in workshops and projects. It was a chance to see everything together and think about the entire trainee program, what we learned from it and how we growed in the process.

We gave this exhibition the name “intersection� because it is a collaboration between JICA trainee designers and japanese artisans, is a combination of our own cultures and Japan. This is a symbol of the value of exchanging information, communication and collaboration.

about the project After working with Kyogawara in EDGE exhibition, I wanted to continue exploring the technique and develop a product that can be constantly closer to people daily. Thinking about brazilian lifestyle, mainly in urban case, many people live in small apartments. We have this habit of having small planters inside home to plant herbs for cooking, such as basil, oregano, chili, mint and others. The planters made by Kawara can be seen and touched everyday, making part of people’s life. This way, the users can appreciate the beauty of Kawara and remember about this technique. The shape was designed to show the brightness of polished kawara that is characteristic from Kyoto style. Also the two types of planters can be positioned in many ways according to people’s taste.

Conclusion

Confidence to go forward

Looking to six months ago, I can see a huge difference in the way that I feel about design and architecture. Through this experience, I could realize that I truly love architecture and design and that I have capacity to make things and develop projects by my own and in collaboration with artisans and other professionals.

Changing your head and your soul to become more enthusiastic and confident to make greater things is the most difficult task, and this trainee program could give me this feeling. From now on, I will continue to study about traditional crafts in order to spread this knowledge forward and to apply on my future projects.

My identity I could see which parts of me came from japanese culture and my family habits as well as which ones were shaped through living in Brazil and my lifestyle. Growing up, I felt that my way of thinking and the way I related and treated people were different from most of my friends in school, for example. Somehow I always felt that I could express myself better with other nikkei people. Coming here, I could understand more about the differences between Brazil and Japan culture and accept them better. In the past, I felt that I couldn’t fit in any of them completely, but now I see this as a good thing: we, as nikkei, can float between the two and comprehend people from two almost opposite ways to see life. Now I feel honored to have both cultures inside me.

Brazil’s value Coming to Japan and seeing how japanese people care about their own culture, I have noticed how brazilian people don’t see the qualities of Brazil resulting in a non patriotic society that don’t contribute for the brazilian development as well. Seeing all these amazing features of Japan made me realize the great qualities that we have in Brazil, such as nature and amazing cultural variety that we are not exploring in art field as we could. Japanese work hard to always improve, always accomplish greater things, we have to absorve this mindset and apply in our own country from now on.

Eduardo Kobra graffiti wall photo: guia do turismo Brasil

Annex

Kumihimo 組紐

Nishijin Weaving 西陣織

Adachi Kumihimokan

Nishijin Textile Center

Braid-making process using colored silk threads usually used for making obi-jime and other accessories.

Intricate weaving technique in which threads are dyed first and then weaved into a fabric by jaquard loom.

Plain weaving workshop and kimono runway show.

Wagashi 和菓子 Kanshudo Traditional japanese handmade seasonal sweets workshop.

Karakami 唐紙 Yamasaki Shoten Co./ Kohji Yamasaki This company started making washi paper and recently focuses on karakami, special process for printing paper with planar wood stamps. The company has a big catalog of patterns and colors available for customers.

Annex

Kyo-Zougan 象嵌

Ikebana 生け花

Kawahito Zougan Workshop

Ikenobo headquarters

Decorative inlay technique that consists on engraving a surface and then inlaying precious materials such as gold and silver.

The art of flower arrangement making use of different kind of seasonal plants to express the essence of each season of the year.This technique is all about making a balance between full and empty spaces.

Kintsugi 金継ぎ Kamogama Shop Kintsugi is the Japanese art of fixing broken pottery using urushi (laquer) dusted or mixed with powdered gold.

Kyo-nui 京繡 Sugishita embroidery Kyoto traditional silk embroidery technique used for decorating clothes as kimonos and textiles used for temple and shrines.

This technique was officially recognized as Traditional craft in 1976.

Annex

Kyogawara 京瓦

Bamboo 竹工芸

Asada kawara factory

Hosokawa Hideaki

Ceramic material that combines heaviness with elegance. Is usually used for traditional roof tiles. Kyokawara’s main characteristic is the texture accomplished by the polishing process.

Mr. Hozokawa’s bamboo products are a clear example of modern design combined with a traditional cratmanship.

photo: kyogawara.com

He is trying to help people to appreciate this beautiful technique through his works made by thick and lighter carefully braided bamboo sticks.

Maki-e 蒔絵

Seikado 清課堂

Shimode Maki-e studio

Seikado

Metal powder painting on lacquerware technique.The metals are usually gold, silver, copper, brass and aluminium, according to the drawing.

Traditional craftsmanship that transforms pewter in daily use objects since Edo period.

The lacquer technique has over 1200 years of history in Kyoto.

Nowadays, they also create contemporary designs to adapt to modern life, keeping their traditional heritage.

Annex

Pottery 焼き物

Incense 聞香

Zuikougama

Yamada-matsu co.

Traditional pottery made by rokuro and molding process.

Incense usually extracted from Sandalwood, Aloeswood and Kyara originally used for medicinal treatment.

“Listening to incense” experience as a ritual to sharpen your senses in the same time that entertains and gather people.

Bunraku 文楽

Black dyeing

National Bunraku Theater

Kyoto Montsuki CO., LTD

Also known as Ningyō jōruri (人形浄 瑠璃), is a form of traditional Japanese puppet theatre, founded in Osaka in the beginning of 17th century.

The blackness in black: Absolute black.

Three kinds of performers take part in a bunraku performance: the Ningyōtsukai or Ningyōzukai (puppeteers), the Tayū (chanters) and shamisen musicians.

A company that started dyeing kimono’s fabric, then made research to achieve the absolute black and now applies it for dyeing modern dress.

Annex

Kawai Kanjiro´s House and Museum 河井 寛次郎 Kawai Kanjiro is generally considered to be a potter and leader of the craft movement known as Mingei, a genuine writer and a wood sculptor in his own right.

Through his house one can see a reflection of his personality and special tastes.

Budha sculpture 大仏師 Matsumoto Myokei Wood sculptor specialized in buddha statues. He has an specific eye on human gestures so he can make more realistic and shocking sculptures.

He has an impressive technique for developing large scale buddha sculptures.

Kawashima Selkon Textiles Co, Ltd. 川島織物セルコン Kawashima Selkon Textiles Co., Ltd. has two lines of design: Traditional - Obis, Kimonos, stage curtains and festival float curtains.

Interior Decoration - Japanese interior decoration market with curtain, carpet, wall-covering and interior accessories since it started to produce interior decoration for the Meiji Imperial Palace Opened at 1973, teaches courses like natural dyeing, paper yarn making and weaving. photo: kawashima selkon

Kanaami 金網 Kanaami-tsuji Wire netting ware mostly used for producing kitchen utensils originally for attending Kyoto cuisine’s yudoufu. photo: gessato blog

Annex

GK Kyoto

Horiba

The oldest design studio in Japan. GK Group is responsible for many awarded products in different fields, such as automotive, urban signalization, product design.

Horiba is responsible for B2B specialized measurement machines used for example for evaluate the air composition

Omron

Soft Device co. - Kyoto

Omron is specialized in designing and producing measurement equipments such as blood pressure machines, scales and other equipments. Omron developed the ticket gate system for subway and train stations.

Interface design company. Soft device is responsible for many projects such as car displays.

Annex

Kyoto Museum of Traditional Crafts 京都伝統産業 ふれあい館 The museum brings together all the 74 categories of Kyoto traditional industries.

Crafts and their techniques are introduced and explained one by one through 500 artifacts, panel displays and videos.

Aeru-Gojo 和える Aeru’s products are created by Japanese artisan rom all over the country, using traditional techniques blended with contemporary senses.

Aeru design grows with the users and accompany them for a lifetime.

Shugakuin Imperial Villa 修学院離宮

Katsura Imperial Villa 桂離宮

Its composition of three villas in different heights are considered magnificent multiple layers of shakkei - use of scenery in creating a serene atmosphere. In this garden, the harmonization is created by contrast of closeness and distance of the panoramic views of mountains and foothills.

Structures built in Japanese sukiya architectural style (数奇屋), usually used on tea houses.

Annex