Visual Essay

Form follows Tradition: A VISUAL ESSAY

Visual Essay

Form follows Tradition Jack Cawkwell Nottingham Trent University N0620742

Abstract This visual essay focuses on how ‘form follows tradition’. It can be shown that tradition influences the form that design takes dependent on the origin of the tradition. This visual essay focuses on Japan and it’s traditions. As design traditions in Japan are complex and are completely different to that of the Western world. Due to the complexity of these traditions, the essay is broken down into separate traditional design principles. The design principles covered are kaketsu, ma, iki, wabi-wabi and mono-no-aware. These design principles show how historical and traditional design from Japan relates and reflects current Japanese design. It is shown that although the traditional way of life is slowly disappearing from Japan and it’s day to day customs. However the design tradition’s origins and meanings are still prevalent as shown through images through out the essay, they may not be completely similar but this is due to a evolution and changing of traditions as time moves forwards. This visual essay touches on the idea of how current cultures and design movements,W may appear not to follow tradition but in fact it is tradition that has influenced these cultures and movements appearing. Japan’s traditions are the foundations of their entire society and it is these traditions that have lasted throughout centuries to still define the design that is seen in Japan.

Tradition is a broad term which in it’s simplest form means “the transmission of customs or beliefs from generation to generation, or the fact of being passed on in this way” (Oxford, 2016). Tradition has great meaning to many people around the world and still dictates how we live today. If you were to take the ‘Tea Set’ as an example. The first Tea Set is believed to be the ‘Chinese Yixing Tea Set’ which was created during the Song Dynasty, between 960-1279 AD. However there would be a majority of people that would argue that drinking tea could be seen as British tradition and therefore this tradition has evolved and as it has evolved so has the design of the tea set which can be shown to the left. This is a prime example of how tradition is not always fixed and due to many traditions being passed on through word of mouth; it could be shown that they can change over a period of time. On the other hand a country with a rich tradition could be seen as Japan, “which is known for it’s unique culture and heritage. This has been preserved by the Japanese people since ancient times. These age-old Japanese traditions and customs give a unique character to the lifestyle of the Japanese people” (Maps of World, 2016).

It could also be shown that a majority of traditions have a beginning in religion. There are many indicators to this, these can be seen through a multitude of example but a key one is architecture. In the Western World Christianity has influenced the design of many buildings; if you were to take the Renaissance styled domed roofs seen in St. Peter’s Basilica (1626 AD) and also the United States Capitol Building (1800 AD), there are significant similarities yet the buildings were created 200 years apart, this could be assumed to be due to an influence from tradition. These influences can also be seen in Japan however in the from of the Zenshūyō Japanese-Buddhist architectural style, with the use of geometric shapes and sloped roofs as seen in Himeji Castle (1333AD) and contrasted it with the Reflection of Mineral House (2006); both Himeji Caste and Mineral House also have significant similarities despite the 673 year difference between them. With so much changing constantly can form still be following tradition especially in somewhere like Japan?

Chinese Yixing Tea Set Anna Lerinder Black Teapot 2014

St. Peter’s Basilica Donato Bramante et el 1626

United States Capitol Building William Thornton 1800

Himeji Castle Akamatsu Norimura 1333

Reflection of Mineral House Atelier Tekuto 2006

“Contemporary Japanese design has reached a turning point, and the times are ripe for far-reaching changes that are already laying down new technical and spiritual era. For the past ten years an escalating series of events, schemes, projects and discussions on the subject of design, form different sources and conducted by people from different generations, each with own individual characteristics, has appeared to be sending signals that converge towards a shared, but broader, vision that goes far beyond the mere production of aesthetically pleasing objects.�

(Menegazzo, Piotti, and Hara, 2014, p. 7)

Tradition in Japan can be shown through many aspects of their culture, however if you were to take something as simple as their flag there is still tradition to be found. “ ‘Nihon’ (Japan) means ‘at the roots of the sun’, and Japan’s national symbol is the rising sun.”

(Calza and Studioarte srl (Gian Carlo Calza Co.), 2007) Japan as previously stated has a deep root in tradition, therefore their flag not only symbolises this tradition but also the Japanese people as a whole. The use of a a rising sun and the circular design can still be seen in design today. In a very literal sense the flag can be seen in modern day graphic posters, the piece by Anthon Beeke and Li Edelkoort as well as the poster used for the NZ Opera show this clearly. Even the colours of red and white when used correctly relate to Japanese tradition. These colours have been related to Japan for many years, a prime example would be that of the Geisha.The traditional makeup of a Geisha shows the colours of red and white.

The form of a ‘Geisha’ is an image which relates solely to Japanese culture. In the American film ‘Memoirs of a Geisha’ the traditional style of building, clothing, lifestyle of Japan can be seen, however due to the film being produced in the Western World the appeal of the movie is based of a Western eroticisation and fantasy of Japan, rather than a historically accurate representation. Despite the film being made in American and the historical accuracy of the film questionable it does show the massive change in Japan after WWII and the resulting change to lifestyle and culture. “With this influx of Western civilisation into Japan, the civilisations of East and West have influenced each other in many ways but now can be seen to be beginning to harmonise.” (Ishida and Translated, 1974, p.108)

Graduation work excellence Works Tenhata Karuna Tama Art University 2015

NZ Opera Poster, Madame Butterfly, 2013

ABOVE: Scenes from ‘Memoirs of a Geisha’ 2005

To examine the way that form in Japan has changed through an evolution of tradition, there are 5 traditional Japanese design concepts that can showcase how these traditions are still prevelent are determining form in current day Japan. These principles are:

Kaketsu (簡潔) Mono-no-aware (物の哀れ) Wabi-Sabi (侘寂) Ma (間) Iki (粋) By analysing examples of these design principles throughout taditional and modern Japanese design, there will be a clear understanding to how form does follow tradition.

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Kaketsu - true simplicity

The design principle of Kaketsu is all about the idea of true simplicity through a complex process. If you were to look at the traditional way of Japanese living you might focus on the Tatami mat. A Tatami mat is a covered straw rug which is placed on the floor and used to cover storage spaces and to create a room which is comfortable enough to do everyday activities. “Tatami mats gradually came to be installed in certain room, or areas of rooms, especially those reserved for receiving guests, or for sleeping” (Dunn, 1999, p.88). It is this tradition with the idea of not using chairs and the simplicity of this way of living that shows the Kaketsu design principle.

“In Japan, much has been lost as this fragile, traditional way of life has been largely eroded over the past few decades.”

(Dunn, 1999, p.14) The westernisation of Japan has influenced the need for ‘western’ products, including chairs. However with the influx of Western civilisation into Japan, the civilisations of East and West have influenced each other and are beginning to harmonise. This has in turn lead to the ‘floor chair’, which still allows for the traditional way of living, but at the same time gives you the support of a chair. Therefore this tradition has evolved but the form is still following this traditional way of living. Notable Japanese designers who have redesigned the concept of the chair for tatami living include Daisuku Choh (Chair, 1960) and Kenji Fujimori (Chair, 1961). These designs in the 19th Century show how a traditional way of living can be incorporated into a modern lifestyle.

ABOVE: Traditional Japanese Interior Tatami Mat is shown.

TOP RIGHT: TATAMIZA: legless floor chair Kenya Hara 2008 BOTTOM RIGHT: Muji Ash Floor Chair

Traditional Japanese Interior, with Tatami Mat

“Beauty is a kind of mystery, which is why it cannot be grasped adequately through the intellect. The part of it available to intellection lacks depth.�

(Dunn, 1999, p. 17)

[

Mono-no-aware

awarity of the passing of things

]

The design principle of Mono-no-aware is about the ‘awarity of the passing of things’, this can be closely linked to nature and the passing of the seasons, it’s ideology comes from the beauty in something which doesn’t last. “Nature and travel through nature were always the most popular themes in traditional Japanese art”(Swann, 1980, p.260) , which can be seen through the connection to Flora and the close links to the plants and the surrounding Japanese countryside with has abundant vegetation. The following haiku by Buson inspired the works of many Japanese painters in their work.

“Of scattered peonies Two of three petals lie piled up In a little heap.”

(Swann, 1980, p. 260) In comparison to the nature inspired traditional ink paintings by Buson the piece by Azuma can be seen to be inspired by cityscapes. They portray the landscape of modern Japan and the use of ink drawings in Japan’s current society. The form of ink drawings has changed but is still based on the environment that is most prevalent in that time period.

Kite and Crows Yosa Buson Ink Painting with a Solitary Traveler Yosa Buson 1780

Kiyohiko Azuma 1999-2002

Mono-no-aware isn’t only shown through the use of art, it can also be seen in fashion. Japan is known for its use of traditional kimono and despite kimonos changing over time “the features that remained unchanged were the references to nature and the cycle of the seasons, and subjects from literature and traditional culture.’ (Menegazzo, Piotti, and Hara, 2014 p.11) It’s this link to the cycle of the seasons that connects the Kimono to the design principle of mono-no-aware. However as clothing has changed over time traditional Japanese clothing is only worn on specific occasions such as cultural activities including the Hanami, which is a cherry blossom viewing.

However the patterns and reference to traditional kimonos can be seen in Japan’s fashion designers today.

If you were to look at the Heel-less Shoes designed

by Noritaka Tatehana, you could notice the repeated patterns which reference this and the use of colour.

These traits although have evolved into today’s society can still be seen from the traditional kimonos of Japan. This is turn shows how the form of tradition has changed and followed into the designs of today..

Traditional Japanese Kimono

Heel-less Shoes Noritaka Tatehana Embossed Leather V&A Museum, 2014

Crane and Peony Kimono Robe

Polyester Dynasty Kimono

Japanese Nobles Women’s Kimono

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Wabi Sabi

]

Nothing is perfect, the imperfectness is what makes it beautiful.

The design principle of wabi sabi is all about how nothing is perfect but because of it’s imperfectness it makes it beautiful. You could compare this to the traditional design ethic of Kisugi and Kintsukuroi both of these relate to seeing the beauty in something which is broken and by repairing it you can make it more beautiful, thus showing imperfection. However Kintsukuroi relates to repairing ceramics and pottery with gold. This can be shown in the picture to the side, when a precious ceramic is broken such as a vase or cup, it can be repaired in a more beautiful way. Kitsugi is a completely different way of looking at broken products.

The Western world be classed as a ‘throwaway society’ which is “a society full of excessive consumption and waste of food, products, etc” (Collins Dictionary, 2016). This highlights the difference in the traditions and morals of Japan as a country. A prime example of this is a broken floorboard, in many countries a broken floorboard would be replaced but in Japanese homes they may choose to use kitsugi and make it more beautiful. The ideology of showing off the imperfect and making the imperfect beautiful can be seen in Jo Nagasaka’s work on resin tables, taking something as imperfect as natural wood and ‘fixing’ it with resin to make it more beautiful. This in a sense is a modern way of looking at the idea of kitsugi. Form is defined by tradition and the tradition changes the form over time. In this way it defines several aspects of design and how people live with design.

Kintsukuroi Examples

Example of Kitsugi, Broken Japanese Floorboard

Flat tables Jo Nagasaka

[

Ma

emptiness

]

“At a glance Japanese design looks simple but its simplicity differs from that discovered by the Western modernism, which was based on rationality. The simplicity of Japanese design could be described as ‘emptiness’.”

(Menegazzo, Piotti, and Hara, 2014, p.11)

“The first movement towards emptiness in Japan came with the introduction of Taoism and Buddhism” (Yamamoto,1999), This is the first trace of the design principle of Ma. Ma can be seen across multiple design media, if you were to look at the example of a traditional Japanese interior and focus on the aspect of a circular door. A circular door may seem quite ordinary but it captures the essence of the outside and frames it in a simplistic way, the simplistic design allows for a feeling of emptiness as it focuses on an aspect that draws attention away from everything else. This specific example is still used today in the Nagakin Capsule Tower where circular windows can be seen to still be used. In each of the rooms shown in the Nagakin Capsule Tower, it doesn’t matter how the space has been used as the circular window still creates a sense of emptiness and simplicity. The main area of design in which Ma can be seen is in Japanese graphic design and art. A classic example of a western styled poster would be the Bauhaus posters which can be seen to be cluttered and have a wide variety of information and colour, this is because western civilisations idea of simplicity is based on Modernism, “Modernism refers to the broad movement in Western arts and literature that gathered pace from around 1850, and is characterised by a deliberate rejection of the styles of the past; emphasising instead innovation and experimentation in forms, materials and techniques in order to create artworks that better reflected modern society.” (Tate Gallery, no date) Where as in Japan simplicity as a design principle is based on the idea of ‘emptiness’. A designer who uses this principle in the majority of his designs is Kenya Hara. If you were to compare the Bauhaus poster to the Musubi poster by Kenya Hara then clear differences can be seen. The Bauhaus poster focuses on colour and drawing attention to the title, with information down-sized and placed underneath. The use of colour and typeface is typical of the Modernism Movement. However the Musubi poster is focused on the empty space around the image, with the image being the focus with few colours and a small title and information. The emptiness within this poster takes up more space than the information or picture. The way both posters try to be simplistic in different ways shows how although Japan and the Western World both follow the principle of simplicity, they tackle it in different ways.

Showing how form follows tradition not only in Japan but also in other countries through design movements and principles.

Tradtional Japanese Interior, Focus on window/door feature.

Nagakin Capsule Tower, Kisho Kurokawa 1972

Bauhaus. 1919 - 1923.

MUSUBI Poster, Kenya Hara 1995

MUSUBI Poster, Kenya Hara 1995

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Iki

original, calm and sophisticated but without being perfect or complicated.

]

BOTTOM LEFT: Kyoto Traditional Street

Iki is possibly the most complex of the traditional Japanese design principles, this is because it is vague in it’s meaning and the definition is complicated. When Iki is defined in english the meaning appears cluttered and complicated, it is a word that can’t be simply translated. “Iki is “non-art,” or artlessness, and iki is different from either artistic or anti-artistic attitude. One will not find an entry for iki in A dictionary of Japanese art terms despite its importance as an aesthetic ideal, not because it is an extremely rare term but because iki is characterised by its non-artness.”(Yamamoto, 1999) From this perspective many would argue that Iki can’t be seen in the Western world as such principles that cross over from design and art to real life situations and culture don’t tend to be as prevalent. Iki has been suggested to be broken down into two separate areas, the way it’s seen in society and also in design.”In modern Japanese, iki is more often used in its situational sense rather than its formal sense. There seems to be no consensus on iki colors in modern Japanese, for example, but iki tends to refer to the quality of scheme, combination, and actual use of color rather than the color itself. Sometimes Iki’s definition is too analytical, and rigid, such as limiting iki color only to gray, brown, and blue. There is a danger of reducing iki to merely certain preferences of colors, designs, or patterns. Situational iki allows a wider, more flexible interpretation and it is relative and context dependent, subject to change.” (Yamamoto, 1999) A way to simplify this principle in modern day would be that of a neutral, uncomplicated and subtle design. However as the quote suggests Iki is so complicated in it’s meaning that it is difficult to just apply it to design and not society. Iki is harder to identify in design due to the complexity of its nature but traditionally can be shown through architecture and landscaping. The image below shows a traditional layout of a Japanese street, the architecture and landscape show straight edges with neutral colours and simplistic materials. Its these attributes which show the simplicity and calmness in this environment that showcase iki. A typical traditional Japanese design could be seen as the Fushimi Inari-taisha a design which shows perfection and calmness through its use, straight lines and simple colours can be seen used, however it could be argued that the colour itself as it is not neutral could be seen as something which is not iki however the way the design is used makes it iki; as people are able to walk through the numerous pillars and truly experience the design. Modern example of iki could be seen in something like the bullet train which encapsulates the ideology behind iki and the sleekness of the design without being over complicated allows for this. Essentially there are many examples of iki, however it is hard to distinguish how authentic these examples are due to the previously stated lack of clear definition.

Fushimi Inari Taisha

ABOVE: Kappo Hisago Restaurant, Ichiro Nishiwaki Design Office

LEFT: Shinkansen Train, (Bullet Train)

ABOVE: Street in Kyoto

Traditional Kyoto Street with Temple

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Kawaii cute

]

There are however cultures in Japan which stray from the traditional Japanese design ethos.

Many of these can be found in Tokyo and such as Kawaii and Harajuku culture. “The word ‘kawaii’ is usually translated from Japanese to mean cute, but its true definition is a little more nuanced.

Misha Janette, founder of Tokyo Fashion Diaries and panelist on NHK’s Kawaii International show, describes its root meaning in detail: “kawaii actually means a delicate cuteness, like a weak, small type of thing. It’s also an embodiment of all that’s happy and positive.” This phenomenon hasn’t been lost on the West, who have been appropriating kawaii culture for years, (think Gwen Stefani’s problematic accessorising of her Harajuku Girls, or Nicki Minaj’s fauxcute Harajuku Barbie phase), but in 2015, kawaii evolved from a mainstream pop culture aesthetic into a veritable political tool” (Clarke and Dazed, 2015). In many ways kawaii culture reflects that of Post-Modernism in the Western world, it in essence is a way of fighting against what is expected of design and culture. Kawaii culture doesn’t follow any of the previously stated design principles, this can be seen by the examples. The images to the right show kawaii through fashion, they are eccentrically designed with many aspects, they have no simplicity and focus on the ‘cute’ aspect of their origin. These cultures and movements create a new aspect of Japanese design that doesn’t follow all of Japan’s design principles. In this way not every aspect of Japanese design’s form does follow tradition but the majority of it does; design is something which can be challenged and changed, however the form of Japanese design will always follow aspects of tradition. Even in the case of kawaii, it could be seen to be rooted in other Japanese traditions, that of matsuri (festival) and also some aspects of previously mentioned traditional design principles such as the imperfections of wabi wabi and the superficiality of mono-no-aware, all harking back to the simplicity of childhood and therefore kaketsu.

Harajuku Girl Tokyo

Harajuku Girl Tokyo

ABOVE: ‘Kawaii’ Anime Example of Kawaii in Design

LEFT: Shibuku District, Tokyo

Based on the evidence shown I believe that form does follow tradition. Through the traditional Japanese design principles shown, there is proof enough that there is tradition in modern day Japan. From the evolution of the use of ink to the idea of Kitsugi, the tradition of Japan runs deep and therefore it has remained prevalent. Although there may be exceptions to this, form is an element of design that can’t be constricted to one aspect alone. Therefore in conclusion to the question stated at the beginning, with Japan ever changing it still can’t escape the idea of tradition and still has not broken away from this. After all “Traditions represent a critical piece of our culture. They help form the structure and foundation of our families and our society.” (Sonnenberg, 2015) so who would we be without them?

ABOVE: Modern Design in Tokyo LEFT: Temple in Kyoto

Figure List Fig 1 -Chinese Yixing teaset Zisha teacup teapot ebony/blackwood tea tray luxury suite. [digital image].

Available at: https://uk.pinterest.com/pin/852517404432082782/ [Accessed 5 November 2016] Fig 2 -Anna Lerinder, 2014. Black Teapot [digital image]. Available at: www.lerinder.se/Black-Teapot [Accessed 6 November 2016] Fig 3 - St. Peter’s Basilica. [digital image] Available at: www.notey.com/@joeyfoxx/lists/1859/popular-touristattractions-you’ll-want-to-see-for-yourself.html [Accessed 5 November 2016] Fig 4 - US Capitol Building. [digital image]. Available at: www.worldnewsdigest.net/us-capitol-building/ [Accessed 5 November 2016] Fig 5 - Himeji Castle. [digital image]. Available at: gotravelaz.com/Himeji [Accessed 6 November 2016] Fig 6 - Mineral House. [digital image]. Available at: resources.realestate.co.jp/buy/unique-homes-in-japanparking-at-a-polyhedron-house/ [Accessed 7 November 2016] Fig 7 - Tanbataka Karna, 2015. Kishu Minami Takumi Poster [digital image]. Available at: www.tamabi.ac.jp/ pro/g_works/2015/gd/s1 [Accessed 20 November 2016] Fig 8 - Toaki Okano, 2013. New Zealand Opera – Madame Butteryfly Season Poster [digital image]. Available at: australiandesignbiennale.com/finalist/1/2/121 [Accessed 20 November 2016] Fig 9 - Toaki Okano, 2013. New Zealand Opera – Madame Butteryfly Season Poster [digital image]. Available at: australiandesignbiennale.com/finalist/1/2/121 [Accessed 20 November 2016] Fig 10 - Memoirs of a Geisha, 2005. [DVD]. Rob Marshall. United States. DreamWorks, 2005. [digital image] Fig 11 - Memoirs of a Geisha, 2005. [DVD]. Rob Marshall. United States. DreamWorks, 2005. [digital image] Fig 12 - Memoirs of a Geisha, 2005. [DVD]. Rob Marshall. United States. DreamWorks, 2005. [digital image] Fig 13 - Neo-classical style tatami decoration design appreciation [translated]. [digital image] Available at: meitu.tugou.com/d86791 [Accessed 25 November 2015] Fig 14 - Kenya Hara, 2008. Tatamiza: legless floor chair [digital image]. Available at: www.ndc.co.jp/hara/en/ works/2014/08/tatamiza.html [Accessed 25 November 2015] Fig 15 - Muji. Floor Chair [digital image]. Available at https://folk-media.com/130528 [Accessed 25 November 2015] Fig 16 - Tatami Room. [digital image]. Available at: japanesebeds.ord/wp-content/uploads/sites/7/2015/09/ Tatami-room.jpg [Accessed 26 November 2016] Fig 17 - Yosa Buson, 1780. Ink painting with a solitary traveler [digital image]. Available at: https:// uk.pinterest.com/pin/852517404432081393/ [Accessed 25 November 2016] Fig 18 - Yosa Buson, 18th Century. Kite and Crows [digital image]. Available at: https://uk.pinterest.com/ pin/488640628299672223/ [Accessed 25 November 2016] Fig 19 - Kiyohiko Azuma. [digital image]. Available at: https://uk.pinterest.com/pin/391039180126002200/ [Accessed 25 November 2016] Fig 20 - Kiyohiko Azuma. [digital image]. Available at: https://uk.pinterest.com/pin/429319776962525078/ [Accessed 25 November 2016] Fig 21 - Kimono. [digital image]. Available at: https://uk.pinterest.com/pin/852517404432081470/ [Accessed 20 November 2016] Fig 22 - Noritaka Tatehana, 2014. Heel-less shoes [digital image]. Available at: https://uk.pinterest.com/ pin/534521049504990895/ [Accessed 20 November 2016] Fig 23 - Noritaka Tatehana, 2014. Heel-less shoes [digital image]. Available at: https://uk.pinterest.com/ pin/534521049498484149/ [Accessed 20 November 2016] Fig 24 - Crane and Peony Kimono. [digital image]. Available at: http://www.japanya.co.uk/kimono-craneand-peony-red/152205.aspx [Accessed 21 November 2016] Fig 25 - Polyester Dynasty Kimono. [digital image]. Available at: http://www.japanya.co.uk/polyesterkimono-dynasty-red/152022.aspx [Accessed 21 November 2016] Fig 26 - Japanese Noble Women’s Kimono. [digital image]. Available at: http://www.japanya.co.uk/kimonojapanese-nobles-red/152138.aspx [Accessed 21 November 2016]

Fig 27 - Kintsugi. [digital image]. Available at: https://uk.pinterest.com/pin/852517404432113299/ [Accessed 26 November 2016] Fig 28 - Kintsugi. [digital image]. Available at: https://uk.pinterest.com/pin/852517404432129697/ [Accessed 26 November 2016] Fig 29 - Broken is Beautiful. [digital image]. Available at: https://uk.pinterest.com/pin/ AaVlIopQh8qgYqY7gaz6aRp0cSLl-VgiLcj-8P5oUGiKzBT6SshqWqA/ [Accessed 10 November 2016] Fig 30 - Jo Nagasaka. New Resin Series [digital image]. Available at: https://uk.pinterest.com/ pin/852517404432129661/ [Accessed 12 November 2016] Fig 31 - Jo Nagasaka. New Resin Series [digital image]. Available at: https://uk.pinterest.com/ pin/852517404432129706/ [Accessed 12 November 2016] Fig 32 - Traditional Japanese Interior. [digital image]. Available at: https://uk.pinterest.com/ pin/852517404432084406/ [Accessed 20 November 2016] Fig 33 - Nagakin Capsule Tower. [digital image]. Available at: https://uk.pinterest.com/ pin/852517404432081441/ [Accessed 20 November 2016] Fig 34 - Bauhaus Poster. [digital image]. Available at: https://uk.pinterest.com/pin/124271270947205303/ [Accessed 21 November 2016] Fig 35 - Kenya Hara, 1995. Musubi Posters [digital image] Available at: www.ndc.co.jp/hara/en/ works/2014/08/musubiposter.html [Accessed 21 November 2016] Fig 36 - Kenya Hara, 1995. Musubi Posters [digital image] Available at: www.ndc.co.jp/hara/en/ works/2014/08/musubiposter.html [Accessed 21 November 2016] Fig 37 - Kyoto Traditional Street. [digital image]. Available at: https://www.flickr.com/photos/127790525@ NO6/30738837102/sizes/k/ [Accessed 25 November 2016] Fig 38 - Kyoto Fushimi Inari. [digital image]. Available at: https://upload.wikipedia.org/wikipedia/ commons/1/16/KyotoFushimiInariLarge.jpg [Accessed 25 November 2016] Fig 39 - Kappo Hisago Restaurant. [digital image]. Available at: http://retaildesignblog.net/wp-content/ uploads/2014/07/Kappo-Hisago-restaurant-by-Ichiro-Nishiwaki-Design-Office-Niigata-Japan-04.jpg [Accessed 30 November 2016] Fig 40 - Bullet Train. [digital image]. Available at : http://stockarch.com/files/12/09/bullet_train_japan.jpg [Accessed 30 November 2016] Fig 41 - Street in Kyoto. [digital image]. Available at: https://www.flickr.com/groups/iki/pool [Accessed 20 November 2016] Fig 42 - Japan Yasaka Pagoda Empty Night Street. [digital image]. Available at: blamethemonkey.com/wpcontent/uploads/2014/04/Instagram-Kyoto-Japan-Yasaka-Pagoda-Empty-Night-Street.jpg [Accessed 20 November 2016] Fig 43 - Harajuku Girl. [digital image] Available at: https://uk.pinterest.com/pin/852517404432155477/ [Accessed 1 December 2016] Fig 44 - Harajuku Girl. [digital image] Available at: https://uk.pinterest.com/pin/852517404432155478/ [Accessed 1 December 2016] Fig 45 - 『干物妹！うまるちゃん』PV第2弾, 2015. [Youtube] TOHO animation. 22 June. [digital image].

Available at: https://www.youtube.com/watch?v=PJ10D-q8kLw [Accessed 1 December 2016] Fig 46 - Tamako Market Anime Trailer 2, 2012. [Youtube] Diogo Costa. 21 December. [digital image].

Available at: https://www.youtube.com/watch?v=QYv_mfEoyvg&feature=youtu.be [Accessed 1 December 2016] Fig 47 - TVアニメ『未確認で進行形』PV第2弾, 2013. [Youtube] TOHO animation. 28 December. [digital image]. Available at: https://www.youtube.com/watch?v=zF0oKX45fQA&feature=youtu.be [Accessed 1 December 2016] Fig 48 - Akihabara Shops 17, 2015. [digital image]. Available at: www.dannychoo.com/en/posts/tag/ akihabara/landscape [Accessed 1 December 2016] Fig 49 - Toyko, 2016. [digital image]. Available at: www.globetrotting.com.au/wp-content/uploads/2016/09/ Tokyo_international-traveller-map.jpg [Accessed 1 December 2016] Fig 50 - Daigo ji Temple. [digital image]. Available at: http://gallery.yopriceville.com/World/Daigo_ji_ Temple_in_Autumn_Kyoto_Japan_Wallpaper#.WEbCe4XXIdU [Accessed 1 December 2016]

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Appendix My Personal Design History Timeline

On my 16th Birthday I was bought my first pair of Dr Martens.

They were 8 hole Dr Marten black leather boots, the first pair of shoes i owned that cost a reasonable amount of money.

I remember them being so heavy and bulky compared to my previously owned trainers and vans. After wearing them constantly for about 6 months they went from pristine leather boots to the dirtiest, scuffed shoes I’d ever owned, however to me this did not matter and in my eyes the boots aged well. I believe that ‘Docs’ and the references they have back to an origin in the punk movement, have shaped the way that I dress today. I was the only person at my High School who would not wear trainers on ‘non-uniform days’. and the idea of standing out from a crowd and not following the norm interested me.

Clothing should showcase your personalty and be something personal to you, not just follow a trend. To this day I still wear ‘Docs’ and i couldn’t see myself not wearing them at any point in the future. Both of my parents used to also own Dr Martens so this only strengthens the connection that I have to them. I still own my first pair of ‘Docs’ even if they are mangled and dirty they are still a very important item to me, as they were a pinnacle moment in my life which shaped the person I am today.

The Influence of Technology Product Description

Those awkward situations when you wish you hadn’t said the wrong thing at the wrong time is now a thing of the past. The small and subtle ear piece moulds perfectly into any ear shape after first use. When approaching someone for a conversation, the new technology registers the situation and will give helpful hints to keep talking and not end up putting your foot in to.

The futurist design is many steps ahead of anything else created, eventually this ear piece will no longer be an accessory, but a necessity. Along with saving you from embarrassment, the ear piece can quickly and clearly translate any conversation in quick enough time to give a response that is relevant. With the ability to complete all these responsibilities, modern day tasks will become a thing of the past. A small and simple ear piece is what everyone needs for ease and comfort.

The Maker and Craft

My preconceptions of craft were that it was probably not that hard. However after trying to dive in at the deep end of the task was a mistake as it is now evident you do need some basic knowledge of what you are doing, to be able to understand the instructions. The learning curve for craft seems to be quiet high and an obvious vested interest is need to motivate yourself to succeed. Craft is seen as a ‘hobby’ so you would have thought it might be easier. I struggled to make any knot apart from ones I had previously learnt. This could be down to my lack of interest or my lack of motivation. “repetition is key”, however in my case it wasn’t, no matter what i tried I couldn't manage to tie the correct knots. Although frustrating, I doubt that this is something that I would do well with string.

I struggle with precise work as I am not a very delicate person, therefore tying knots may not be the craft for me. After a long struggle I was however able to complete a simple plait.

We were asked to give away one of our knots and see how we felt about it. Although in an hour I only completed one knot, there was no remorse about giving it away, probably due to the fact that I was not proud of my work. Although if I professionally made crafts I could see how something precious that you has spent a lot of time on, would be personal and therefore there is a personal connection to the product and emotions associated with giving them away. If i could give a value to the craft that I produced today I would probably give it away for free. Although it took a long time, I would not sell something that I was not proud of.

Mass Production and the Consumer Society

As part of a production line the speed of producing should be reduced, with more people creating one product. However when we started producing the product there were glitches and unforeseen problems, as not all the tasks were split at an equal pace, as some people had more some tasks compared to others having quiet complicated ones. There was also a problem with mot being able to do certain aspects of the origami. Due to the slow start of the production line there were very few final organ pieces made. There the end result was disappointing but at the end of the day we were able to produce 10 origami angel fish. Due to only completing only a few fold of the origami, the ownership felt slightly different because there was no real part of it that I helped to create that could be seen on the final product.

As this mass production task was designed to make as many as possible there was less of a feeling of personal loss associated with giving the origami away. Compared to the craft task the previous week where more work had to be put in for a much smaller result. Although It was nice to see more final products created, there was an underwhelming feeling about what I really contributed to this workshop compared to the previous craft workshop, which felt a lot more personal.

Modernity and Modernism Modernist Manifesto

We believe that modernism in it’s most simplistic form is based on experimentation. This includes experimentation in form, materials, manufacture, style and aesthetics.

In our opinion modernism is a rejection of previous styles and a creation of it’s own. Which influenced styles such as surrealism, cubism, impressionism, minimalism and futurism. A lot of this can be found in the geometric style of these designs especially seen in the Bauhaus movement, with not only their architectural design but also their use of block colour and little decoration.

Bauhaus was based on the theory “why can’t we design cheap stuff that is nice too”, as a response to the arts and crafts movement.

We believe that this is one of the key ideas which inspired the change in form, materials and manufacture. If we look at Le Corbusier as one of the pioneers of architecture. We can see how his modernist approach is shown in the form of his designs, such as ‘notre dame du haut’ and the feature of the windows, which showcase how going against the norm can create something inspirational. Modernism is a movement which encompasses all areas of design from literature to graphics design. Our belief is that modernism is about moving away from tradition through experimentation,while still remaining conservative.

Postmodernity and Postmodernism Journalistic Piece

The exhibition was focused on American politics and the outcome of the presidential election. This was aimed at the repercussions of Donald Trump being elected president. By looking at Post Modernism from a satire and kitsch perspective with the influence of the media in mind. Some of the negative of Trump in the piece shows Mexican immigrants hanging from a household object, an object which represents Trump and the ‘old fashioned’ ideologies he has as well as the stereotype of a Mexican worker. All while the American peoples clouded opinions through the use of media overshadow this.

The exhibition plays on the morals and ethics of the American people b humanising the effects of electing Donald Trump. This in turn is made more comical by the cartoonish representation of the Mexican people, and creates the satire aspect of the piece. The initial shock of the election is reflected in the piece. However the piece could have improved by creating a more comical approach to the clear consequences of this event. For example the Iron could have related more to Trump and be more humanised by something like covering it in a yellow wig. With the American medias influences say on just watching the consequences. The visual representation of this basic idea shows comedy can portray a serious problem through Post Modernism.