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何も、まだすべて
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Nothing, Yet Everything – Kenya Hara
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簡単な パラダイスの脱着 バランスの文化や技術、人と製品/ライ フスタイルとの間 - ニュージーランド は、工業製品や工業デザインの培地の両 方を持つグローバルな文脈で取る位置を 定義する。 ブランド/まだ実現していない新たなニ ッチ市場の潜在性を作成するための対 応、グローバルにニュージーランドの中 で技術を組み合わせる。
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brief
Paradise Replugged To define in a global context the position New Zealand can take with both manufactured products and the medium of Industrial Design – balancing culture and technology, between people and products/lifestyle. Combining the technology within New Zealand to its global brand/counterpart to create a new niche market potential not yet realised.
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パッケージの
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contents introduction
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design brief
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1.1 1.1.1 1.1.2 1.2
13 15 17 21
1.3
input sensor technology footfalls and heartbeats sensor trial output object brand muji output time technology ponoko
2.1 development concept 2.1.1 bonsai 2.1.2.1 pom pom furniture 2.1.2.5 pom pom collective 2.1.3 french/spool knitting 2.2.1 final concept 2.2.2 technicalities 3.1 3.2 3.3 3.4 3.5
object; drawing, studio, context pin; drawing, studio, context object + pin; drawing, studio, context shade; drawing, studio, context sensor; drawing, studio, context
4.1 4.2
packaging; object + pins packaging; object + pins
5.1 5.2
muji interface material selection
6.1 6.2
appendix acknowledgment bibliopraphy
25 27 29 31 31 33 35 37 39 43 47 59 69 75 79 83 87 94 95
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導入 ライフスタイル ニュージーランドののんびりとした態度 は、常に肯定的な属性として認識されて いません。世界のストレスレベルは上昇 し、ステータスを達成する必要性が世界 これまで以上に接続されている場所とな ってインターネットで地球規模に拡大さ れますと。いくつかは、6度の分離は現 在2度に変更されていると言う。何人か の人々だけでなくローカルな意味ではな く、地球規模での競争になっている。人 々は彼らが前の仕事、名声、認識、製品 および所有権のために競争するよりも 今より困難働いている...グローバル化 は、我々が物事をより速く、より安くも らえるのではないかと期待し、世界にす べてを（すなわちオブジェクト、食物、 仕事...など）になっています。
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我々は物事を即座にそこにしたいのであ れば、待機する必要はありません。この ペースの速い世界では、人々はリラック スして何もしないことを学ぶ方法を見つ ける必要があります。 この”何も”とは何ですか？ 何が”あなたの心に既にある情報を新し い情報を収集がリサイクルと処理してい ない時間を包含する考え方、です。 何もあなたの心を不思議に自由であるよ うに、脳のごく一部を使用して反復的な 動きのセットです。 何もあなたが穏やかで、リラックスして いる瞑想状態ではありません。 何もビールと一気飲み六協定を飲んで、 テレビを見てされていません... 何も自己反射の期間ではありません。
introduction Lifestyle
New Zealand’s laid back attitude has not always been seen as a positive attribute. The world’s stress levels are rising and the need to achieve status is stretched into a global scale with the internet making the world a more connected place than ever before. Some say six degrees separation is now only two degrees. People have become more competitive not just in a local sense but on a global scale. They are needing to work harder than previously to compete for jobs, fame, recognition, products and ownership... Globalization has turned our desire for everything (i.e. objects, food, jobs... etc) into a world where we expect to get things faster and cheaper.
We want things to be there instantly, we do not want to wait. In this fast paced world, people need to find ways to relax and learn to do nothing. What is this ‘nothing’? Nothing is a mindset that encompasses the time where you do not collect new information but recycle and process the information that you already have. Nothing is a set of repetitive movements that uses only a small part of your brain, so allowing your mind to wander. Nothing is a meditative state where you are calm and relaxed. Nothing is not watching TV, not drinking six packs of beer or being tempted to binge. Nothing is a period of self reflection.
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デザインの概要 パラダイスの脱着 “無印良品”東京ブランド、テクノロジ ー”足音とハートビート”と”Ponoko の”と、ニュージーランドのライフスタ イルを受け入れてシナリオを作成する。 バランスはまだ作成されていない潜在的 な市場を表現する工業デザインの製品に よって実現して表現する必要がありま す。顧客の精神的健康を高め、製品は、 自然な手段を用いて日常生活を豊かに。
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design brief Paradise Replugged
To create a scenario that embraces the ‘Muji’ Tokyo Brand, Technology ‘Footfalls and Heartbeats’, ‘Ponoko’ and the New Zealand lifestyle. A balance must be achieved and expressed through an Industrial Design product that aims at a potential market not yet created. A product that enhances the mental wellbeing of the customer and enriches their daily life using natural means.
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1.1
INPUT measure
SENSOR
footfalls and heartbeats
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footfalls and heartbeats
1.1.1
Technology
A start up company, which has decided to pursue innovation of intelligent textile. Their textiles use a mathematical weaving structure that separates patches of conductive yarn with non conductive yarn as sensors for garments worn on the body. It detects and measures bioelectrical signals and body motion.
capabilities Strain – expansion and compression. Pressure Limb Movement – Joint Angles Bioelectrical Signal – Muscle Temperature and Moisture – Polymer (ICP) and Polypyrrole (PPy)coating . Laundering and drying – Machine Washable Cutting – Manipulated by normal textile means. Minimum area 4 square mm Power – Conducts low voltage. Maximum 9 volts. Nano Applications
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Sensor Trial
1.1.2
Technology
The specific use of the Footfalls and Heartbeats technology incorporates expansion and compression logistics. By using Footfalls and Heartbeats yarn, they are able to knit the yarn using a circular knitting machine. The French knit becomes a stretch sensor. “The values of the sensor range from roughly 2.5 Mega Ohm when relaxed, to 1 Kilo Ohm when fully stretched. The stretch sensing is actually due to the structure of the conductive yarn which is made up of many short steel fibres mixed with polyester. Even without knitting the yarn into a structure it can be used as a stretch sensor by simply pulling it taught or relaxing it.
At present the yarn is not very strong and tears easily. The knit structure allows you to use more yarn and thus gain more resistance in less length. By combining the conductive yarn with regular yarn you can alter the sensitivity of the sensor by choosing a thicker or thinner yarn thicker yarn becomes more integrated into the conductive yarn creating extra contact through the knitted loop structure. Knitting creates the stretchy structure which gives you some natural tangible feedback.� These values are from a normal conductive yarn not a Footfalls and Hearts yarn.[1]
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1.2
OUTPUT
DATA movement
OBJECT BRAND
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muji Brand
MUJI is an empty vessel – Kenya Hara Message; “Back to our origins, into the future.” Containers to embody anything. “An environment that is not clean is not comfortable... Minimalist ratherthan showy is thought to be more pleasant: a simple and sparsely furnished living room has long been considered preferable.” Muji was established in 1980, “with the idea of completely eliminating wastefulness.” With the contrast between expensive brands and cheap products, “the MUJI concept was born as a criticism of this state of affairs – a fresh look at quality and price of truly useful quality goods with a no-label philosophy.” This philosophy has since then developed into a “no brand” brand complete with labels.
The label I speak of is the sticker label that is on the product. The no brand policy that Muji speaks of is the embrace of a lack of aesthetic permanence. Instead their designs exist in a “form follows function” state. And the 1980s was a decade that was considered long after the tail of the main minimalist style of the 20s modernist art movement. Although it could be argued that it’s a style that still continues today. This leaves room to commercialize a ‘Muji Lifestyle’ where they offer “nothing” as a mindset/motion that embodies the brand that Muji products already offer. Using spool knitting object/action to embody the mindset of nothing. The Muji spool knitting machine becomes a vessel for doing nothing.
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1.3
OUTPUT
TIME years of nothing
OBJECT Technology
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ponoko Technology
Ponoko is a website based company which provides individuals with a platform to distribute their own designs. Individuals being a designer or anyone that can use computer programs i.e. solidworks, cs5 studio, 3Ds Max... Ponoko sells itself as a sustainable business in that cuts its carbon footprint by delivering from Ponoko’s company base straight to the consumer, with no middle man. There is no longer any waste of product as there is in mass production, with digital manufacturer Ponoko only making what the consumer orders when they order. Ponoko will bend wire to form light shades. These light shades will be distributed online where co-design individuals can upload and put their shades on the Ponoko website. Other individuals can then select the products and have them shipped to their doors.
capabilities Digital fabrication service provider (laser-cutting, 3D printing, CNC routing, etc) Materials Supplier (plastics, timbers, fabrics, metals, etc) Hardware manufacturer (laser-cutters, 3D printers, CNC routers, etc) Developer (APIs/Interface)
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2.1
development
directions
concepts
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2.1.1 Bonsai
By measuring the exact twists and changes of a tree in Wellington, the collected data will determine the bend and form of a growing Bonsai in Japan, replicating the form of the tree in New Zealand. The Footfalls and Heartbeats intelligent textile will perform as a sail between the branches of the existing tree, harnessing Wellington wind, creating more dramatic forms.
This stage explores a balance between Muji, Footfalls and Heartbeatsand the New Zealand Lifestyle. However after reflecting on the concept it was realised that this would be a lengthy process extending beyond the lifetime of an average person.
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2.1.2.1
Pom Pom Furniture Using knitting to wrap around two planes of laser cut shapes to make furniture. This is done by going through the same process a pom pom is made. This is a way of expressing the idea of doing a little bit of wrapping [nothing] each day. Once the hole in the middle between the two planes is filled you can begin cutting the edges to make fluffy furniture. The movement data in the trees measured by Footfalls and Heartbeat will be used by Ponoko to translate the outcome into lasercut shapes.
In this scenario the brand and technology was Muji, Footfalls and Heartbeats, Ponoko and the New Zealand Lifestyle. After reflecting on the concept I found the end shape created after cutting the wrapping around the lasercut shapes meant that the form was almost entirely lost.
2.1.2.2
Pom Pom Collective Using the process of Pom Pom making to make half a pom pom a day (1 hour). Once you have made a lot of poms poms you will add them as a collective around an inflatable object. This inflatable object is placed around a light thus creating a lamp shade.
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2.1.3
French/Spool Knitting The data measured the movement of a tree which then translated into the diameter of the longitude circular knit. This was a way of telling the story of the tree. Copper wire, steel wire, dry wheat grass, nylon string and wool of different sizes were tested out to see the different qualities the materials offered to the changing spool knit.
An interesting finding regarding this exploration was that the change of width was not caused by stretching but byadding and subtracting pins that created the changing volume. One person knitted for half an hour each day to eventually knit meters of the spool knit. What was unknown at this stage was the purpose these meters of knit would be used for. .
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2.2.1
最終的なコンセプト 容器
日本の家庭は一般的にアパートに位置しています。日本で は約127560000万人があります。日本の家庭やアパートは しばしば小さくて窮屈です。日本の家庭は一般的にアパー トに位置しています。キッチン、バスルーム付きのリビン グエリア：お部屋は二部屋で構成されています。この制約 は、平均的な日本人の部屋は、ホーム/ヤードエリアの完 全なサイズのツリーを収容することはできません。ニュー ジーランドの木を持って、ウェリントンは、平均的な日本 人の人が代理ツリーを持つことができます。誰もが持って いる余裕ができるという性質との接続。手作りの木の新し いタイプを監視する方法として、ニュージーランドのベー スの技術”足音とハートビート”繊維を利用してのアイデ ア。一般的に人々に向けられているサーベイランスは、現 在の木の動き/動きを監視することができます。 モーションが無印良品の編機のための入力データとして使 用されている”容器”[船]。収集されたデータは、編機の 中のピンを移動するために使用されます。 “容器”から 出てくるそのニットは、ツリー上の同じ方向のノットは、 より抽象的な方法で行うウェリントンの木の枝の話を示し ています。
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Phutukawaツリーは、ウェリントンの領域内のための木の 人気の両方に選ばれ、また、ニュージーランドのクリスマ スツリーですれました。クリスマスの時期に木の花の花。 “容器”編機は、花とニットの木の果実になるという花で す。 果物は、時間の年、数十年の長い期間のために収集され、 ニットです...ニットは、点灯している細いスパイラルワ イヤーフォームから次にスレッドです。光質は、主な目的 は、それが家庭用に作業用照明を提供するのではなく、線 の周りにあるスプールニットのディテールを強調すること であることとくぐもった暖かい色のこと。 これは、これら3つの別々のエンティティの1つだけのコン セプトです。各パートで存在する虚無は、本質的に空の容 器であり、個々がそれを持っていることを意味し、含蓄 を具現化する。個々に与えられた主な説明は、プロジェク ト内の三つの部分の技術的であり、何もしないことの美し さ。
2.2.1
final concept 容器
There are approximately 127million people in Japan. Homes and apartments in Japan are often small and cramped. The Japanese home is typically situated in an apartment. Apartments consist of two rooms: a living area with a kitchen and a bathroom. This constraint does not allow the average Japanese person room to house a full sized tree in the home/yard area. Having a tree in Wellington New Zealand, allows the average Japanese person to have a surrogate tree - a connection with nature that anyone could afford . The idea would be to utilize the New Zealand based technology ‘Footfalls and Heartbeats’ textile to monitor a new type of home grown tree. The surveillance that is now typically directed at people could now monitor trees movement/motion. The motion is used as an input data for Muji’s Knitting Machine ‘容 器’ [vessel] knitting machine. The data gathered is used to move the pins within the knitting machine. The knit that comes out of the ‘容器’ illustrates the story of the tree branches in Wellington the same way knots on a tree do but in a more abstract way.
The Pohutukawa tree was chosen due to both the popularity of the tree within the Wellington region and also because it is known as the Christmas tree of New Zealand. The flowers of the tree blossom at Christmas time. The knitting machine ‘容器’ knitting machine is the flower that blossoms and the knit becomes the fruit of the tree. The fruit of the knit is gathered for many years, even decades… The knit is then threaded through a thin spiral wire form that is then lit up. The light quality is that of a muffled warm colour with the main objective being that it highlights the detail of the spool knit that is around the wire rather than providing a working light for the home. This is only one concept for these three separate entities. The nothingness that exists with each part is essentially an empty vessel embodying meaning and connotation that the individual has with it. The main explanations given to the individual are the technicalities of the three parts within the project; the beauty of doing nothing.
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2.2.2
技術的 容器
何もしないの作用は否定的な意味合いをたくさん持ってい る。何もしないとはどういう意味ですか？人に彼らはそれ に値する休暇を与える。何もしないように自分のスケジュ ールにスペースを作成する。製品空の容器（空容器：何も しないことの美しさが）を持つことがニットスプール編み 物オブジェクトです。どのような編み物のユニークなの は、ニュージーランドのポフツカワの木の木の枝の間の接 続は、お互いに関連して枝の動き/ストレッチを測定して いる、と順番の変換でその上下の動きの物理的な動きにな ります編機は、無印良品、日本で販売。容器から生成され ている編み物はまっすぐ円形のニットではないが、内側と 外側に湾曲。ニットのカーブの大きさは、直接ニュージー ランドの木から生成されます。 “足音とハートビートは、”文字通り2つのブランチ間の 差を監視します。運動は10分ごとに平均化し、編み物デバ イスに送信されます。ピンの動きの手段の多くは、上下に 移動するどちらかのピンを意味します。木の枝が多くを移 動する場合そのため、ニットが発展し、より多くの変化を 通過します。ない場合、このピンは、ニットは一定の直径 でできるようにすること、固定のままになります。 thirteenピンの枝のペアの間にサーティーンセンサー。
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30分= 0.03メートルニット約。 365日= 10.95ニット約。 4年= 43.8メートルニット約 時間が経過した。消費者は、リビングルームで、ボックス で収集され、今何のバンドル（ニットの40メートル以上） の所有者です。無印良品は、Ponokoのとのパートナーシッ プ契約になります。無印良品は製品側の処理を行います。 Ponokoは、消費者との長期的な関係を構築し、何もこのプ ロセスの最終段階の後に見えます。無印良品はあなたが持 っているどのくらいのニットを知っていると消費者のスプ ールニットスリップ上にワイヤの三ランプシェードが含ま れているパンフレットのカードを送ります。ワイヤーフレ ームは、消費者は、無印良品のウェブサイトへのリンクに 向かって働くことができる現在と将来の両方の色合いを提 供する。顧客は、ワイヤーフレームを注文するためにウェ ブサイトに移動したいときに選択します。無印良品はメー カーのワイヤフレームにPonokoのを使用します。
2.2.2
Technicalities 容器
The action of doing nothing has a lot of negative connotations. What does doing nothing mean? To give a person the break (s) he deserves. To create space in one’s schedule to do nothing. A product 空の容器 (empty vessel: the beauty of doing nothing) is a spool knitting object that you use to knit with. What’s unique about that knitting is the connection between the tree branches of a Pohutukawa tree in New Zealand measuring the movement/ stretch of the branches in relation to each other, which in turn translates into the physical up and down movements of a knitting machine sold in Muji Japan. The knitting produced by 容器 is not a straight circular knit but curved inward and outward. The size of the curves in the knit are directly generated from a tree in New Zealand. ‘Footfalls and Heartbeats’ will literally monitor the difference between two branches. The movement will average out every 10 minutes and be transmitted into the knitting device. Much branch motion causes the pin movement up or down. Therefore, if the tree branch moves a lot, the knit will develop and go through more changes. If not the pin will stay stationary allowing the knit to remain at a constant diameter. There are thirteen sensors between each pair of branches for thirteen pins.
30min a day = 0.03m knit approx 365days = 10.95 knit 4years = 43.8m knit Time has passed. The consumer is now the proud owner of a bundle of nothing (over 40 meters of knit) gathered in a box in the living room. Muji is in a partnership deal with Ponoko. Muji takes care of the product side and builds a long term relationship with the consumer and looks after the final stage of this process of “nothing”. Muji knows exactly how much knit you have and sends the consumer a email that contains different lamp shades made of wire which the spool knit slips over. The wire frames offer both current and future shades the consumer can work toward. The customer chooses when they want to go on the website to order the wire frame. These wires and the long term project are manufactured through Ponoko.
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3.1
drawing
OBJECT
‘容器’
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3.2
drawing
PINS
‘容器’
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3.3
drawing OBJECT + PIN MOVEMENT
‘容器’
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容器 [編機]
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目的の電子機器/モーターによるワーキングモデル
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ワーキングモデルの標高の底
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モデルの標高の底
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モデルの標高トッ
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針とオブジェクト
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オブジェクトを使用して編む人
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3.4
drawing
Shades
‘容器’
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ワイヤーフレームスタンド 62
線ランプシェードone
線ランプシェードtwo
フロアランプシェードにワイヤー天井 63
ランプ [何の年]
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何もしないことの美しさ
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ワイヤーへのフランスの編み物を滑り
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読書用ランプを使用する
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3.5 drawing
sensor stretch knit
‘footfalls and heartbeats’
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The entire stretch sensor is made of French knitting.
The space between the arrows is defined by how much space is between two branches. This variable is interchangeable. The buttons close the connections between positive and negative wires completing the circuit to begin wireless transmission. 70
ワイヤレスで “footfalls and heartbeats”ストレッチセンサー
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“footfalls and heartbeats”ストレッチセンサー 72
センサーとのツリー 73
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4.1
packaging Object + Pins
‘容器’
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箱の包装
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“MUJI”血管のボックスのパッケージング
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4.2
packaging Shades
‘容器’
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箱の包装
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“Ponokoの”線のボックスのパッケージング
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5.1
muji interface ponoko manufacturers product
Shades
‘容器’
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“muji” インターフェイス
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インタフェースを使用して人
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5.2
material selection Shades
‘容器’
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ウール3ミリ メートル直径 のウール
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ウール1ミリ メートル直径
干し草のスト リップ
銀線0.5ミリ メートルの 直径
鋼線1.5ミリ メートルの 直径
銅線0.8ミリ メートルの 直径
ナイロン線 1.0ミリメー トルの直径
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フランスの編み物の図面
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フランスの編み物の光質
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6.0
appendix
‘容器’
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precedents Isamu Noguchi Isamu Kenmochi Kenya Hara Pohutukawa Tree
acknowledgment Paradise Replugged Barry Daw Bettina Nieu Max Fisher Tim Miller Shiping Toohey Simon Fraser Victoria University of Wellington
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6.2
Bibliography 容器
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Cook M. Bridget and Stott, Geraldine. The Book of Bobbin Lace Stitches. Dover Publications, 2002.
Boscaro, Adriana, Franco Gatti, and Massimo Raveri, eds. (1990). Rethinking Japan: Social Sciences, Ideology, and Thought. 2 vols. Folkestone, Kent: Japan Library; New York: St. Martin’s Press.
Earnshaw, Pat. The Identification of Lace. Shire; 3 edition, November 17, 2009. Embree, John F. (1939). Suye Mura, a Japanese Village. Chicago: University of Chicago Press.
Bradbury, Matthew. The History of The Garden in New Zealand. Viking, 1995. Yashiroda, Kan. Bonsai: Japanese Miniature Trees, their style, cultivation and training. Brooklyn Botanic Garden, 1990. Brown, Jane. The Pursuit of Paradise: A Social History of Gardens and Gardening. HarperCollins; New Ed edition, 4 Sep 2000.
Dixon, Jenny. Design: Isamu Noguchi and Isamu Kenmochi. Five Ties Publishing: 2007.
Erika Knight. Simple Crochet. Quadrille Publishing Ltd, 7 Mar 2003. Fairs, Marcus. Twenty-First Century Design. Craftsman House, Australia: 2006. Fell, Derek. The Impressionist Garden. Frances Lincoln: March 6, 1997 Gluck, Carol (1985). Japan’s Modern Myths: Ideology in the Late Meiji Period. Princeton, N.J.: Princeton University Press.
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