Analysis of Cross-Cultural Design Language of Sori Yanagi in the Rise of Critical Regionalism

Sin 1 Rambert Sin Eric Nay VISD3001-001 December 5th, 2017 Analysis of Cross-Cultural Design Language of Sori Yanagi in the Rise of Critical Regionalism In the midst of the popularity of the “modern” style of design, characterized by its simplicity, usage of new techniques, and post-war technology and materials, sprout a newfound fascination of design that offered more. With critiques such as Robert Venturi, who famously said “less is bore” (Merkel), the foundation of a contemporary style came through reactions towards modernity from overseas, in particular, Japan. Due to the post-war “economic miracle”, Japan entered a “process of industrialization and westernization, becoming a global manufacturing power… [transforming the country] into a consumer society” (Sparke 17). Sori Yanagi, a Japanese-born designer who studied architecture at the Tokyo Art School, was influenced by Le Corbusier, and worked under Charlotte Perriand in France (Sparke 23), became a widely popular designer, most famous for his Butterfly and Elephant Stools, as well as the Olympic torch holder for the Tokyo Olympics in 1964. Through analysis of his design principles, his fusion of western “modernity” with local cultural elements, or critical regionalism, is seen as a reaction towards “modern design.” Through this analysis, an understanding of the success of the Butterfly Stool as a “must-have” in a foreign environment is achieved.

First, through formally examining Sori Yanagi’s Butterfly Stool, the design language is established for the rest of the paper. Then, the deeper connections in the relationships, such as with his father, a founding member and leading promoter of the Mingei movement (Spark 23), as well as with French architect and designer Charlotte Perriand, his mentor, will be assessed in the cultivation of his aforementioned style. A brief introduction towards critical regionalism, as defined by Kenneth Frampton, will be given for creating the correlation between modernity and the popularization of this reaction, critical regionalism. Comparisons to Japanese architect Tadao Ando will be drawn as similarities are found in the widespread popularity and recognition in an overseas environment, as well as both being stylistically critically regional. The additional examinations will provide a more complete research that proves the legitimacy of the thesis, not only for Yanagi’s design, but all critical regionalism. Through analysis of this, the propagation of this “Japanese Orientalism” in North America and Europe is clearly due to the waning interest of

Sin 2 modernity. This will all be completed with the aid of several readings such as Kenneth Frampton’s Critical Regionalism, several news agency articles on Yanagi’s exhibitions, as well as Penny Sparke’s Japanese Design.

As the purpose of this essay is on proving the popularity of Yanagi’s design in the midst of modernity, background information on production dates, and also looking deeply at materials is irrelevant as it does not have much to do with its widespread popularity. Instead, exhibition and sales pamphlets provide insight into the viewpoint of the public, as supposed to a design theorist. Yanagi’s Butterfly Stool is described formally in Pearman’s news article in the Sunday Times, stating: Two double-curved pieces of plywood are bolted together where they touch, to make a comfortable and beautiful stool. A nickel-plated brass rod keeps the two shells apart as they divide to form a stable base. There are no overt references to Japanese culture, but they are all there in abstract form, from the temple to the Samurai mask as well as the eponymous butterfly. (n.p)

Sori Yanagi’s Butterfly Stool (1954)

Sin 3 Pearman alludes to the Japanese forms of the mask as well as the butterfly, both of which are often seen as symbols of the country. As seen in the press preview of the exhibition “Beauty Born Not Made: Sori Yanagi”, the Ten Design Principles state that “Traditional style exists for the cause of creation. Design without tradition and creation is inconceivable.” Yanagi highlights the importance of tradition, even as Japan is going through the miraculous economic growth and mass-industrial manufacturing. This is reflected in the symbolisms described, while subtle, provide inspiration for design. The cause of this is most likely from his background and upbringing in a traditional crafts environment.

As already stated in the premise of this essay, his father Soetsu Yanagi, is the founder of the Mingei movement in Japan. Mingei or folk craft in English, is based on the principle of “hand-crafted art for ordinary people” (Kikuchi n.pag). Similar to the Arts and Crafts movement

by Ruskin and Co. this movement was a reaction towards the industrialization of design, focusing on craftsmanship instead. Having grown up in an environment where craft was ever

Sori Yanagi Prototyping using clay

Sin 4 present, the effect on the young Sori Yanagi can be seen in his stool. His methodology for ideation stems directly from this, where he would “[approach] every idea by creating or sculpting it by hand, before committing to paper. Yanagi reshaped and revised his design considering usefulness, or balance of shape and weight” (Beauty Born Not Made press preview). This method was often known as “think by hand”, a process similar to what traditional pottery artisans were known to do (Sparke 23). In addition to the influence of Soetsu Yanagi, his education in architecture school, as well as his mentorship with French architect Charlotte Perriand also had a profound influence on his design style.

Charlotte Perriand is one of the most prominent designers of mid-century modern design, having done collaborations with Le Corbusier and other designers of the time. The modernist designer often created interior pieces for the architect, with a famous example being the LC/4 Chaise Longue, a modern reclined chair that is currently in the MoMA as part of its permanent collection. Gaining great prominence for the work with Le Corbusier, Perriand grew her own practice, with several pieces also found in the MoMA. Versed with new materials, techniques, and great prominence as a designer, Perriand was invited by the Department of Trade Promotion in Japan in 1951 (Britannica). Through her mentorship, Yanagi learned the modernist style of minimalism, as well as new techniques such as steam-bending wood (which is seen in the stool).

Perriand’s influence on Yanagi can be seen in his products and furniture, featuring a sleek modern design, while hinting at his craft upbringing.

The cross-cultural design language is seen through the influences as mentioned in the two paragraphs above. The cultural elements of the Mingei movement, featuring allusions of Japanese symbolisms of Shinto temples, samurai masks, and the harmonious butterfly, and his modern design training with Perriand, are key reasons to his unique modernist style that became extremely popular during the 1950’s. This style can easily fit into Kenneth Frampton’s definition of critical regionalism, as seen in his essay Prospects for a Critical Regionalism. Frampton argues for the local variation in contrast to the growing universality of architecture. A similar argument can be presented towards Yanagi in his conception of a Japanese variation of a stool. A comparison of similarities is drawn specifically to the section about renowned Japanese architect Tadao Ando’s reasoning towards critical regionalism in his work, which will be instrumental in gaining insight towards post-war Japanese design.

Sin 5

Charlotte Perriand, Le Corbusier, Pierre Jeanneret, LC/4 Chaise Longue 1928

Modern Art Museum of Fort Worth, USA, Tadao Ando, 2002

Sin 6 Frampton summarizes Tadao Ando’s writing, stating that the purpose was “to recover and sustain some vestige of that time honoured triad,-man, nature, culture against the obliterating onslaught of Megalopolitan development”(185). In the midst of rapid post-war regrowth, Japan rebuilt large areas in “modern” universal styles. Residential apartments were being built out of concrete in simple rectilinear forms, as influenced by westernization of Japan in this new regrowth. Ando’s architecture is a response to this, with modern elements of sleekness and usage of concrete present, while keeping a traditional Japanese openness, as well as subtle hints of traditional symbols. In many of his buildings in Japan, the underlying theme of Zen is the inspiration for the balances achieved in the light and shadows, as well as for usage of materials.

An interesting example of his style is found overseas in North America, in his Modern Art Museum of Fort Worth, where the concept of Zen is expressed throughout the rounded glass paneled pavilion, as well as the sections with the overhanging roofs, drawing subtle queues towards Japanese temples(Frampton 159). The fascination of this exotic architecture is comprehensible for its unfamiliarity, as well as vast contrast from the universal style of simplicity, rectilinear forms, and uniformity.

Similarly, the design language of Sori Yanagi focuses on the same issue. In the same post-war rebuild, the industrial push for manufacturing meant that furniture [products in general] were being de-humanized. While understanding that the Mingei principles might not be possible in full effect, Yanagi’s stool design utilizes the modern technique of moulded plywood as developed by the Eames, but holds onto the cultural elements of the Mingei movement, which Pearman describes as “Zen-like”.

In addition to this, both Ando and Yanagi share a same principle towards culture. Culture in the sense that even in the rapid growth of the country, the traditions are kept, whether in the conception of ideas with inspiration from cultural elements, such as Ando’s Zen influence or directly in the methodology of craft, as found in Sori Yanagi’s “think by hand” method, which was used by traditional craftsmen. Through combining this cultural element to “modern design,” while still sleek and unadorned, have a new dimension of interest.

The popularity of Yanagi’s stool in the 1950’s in Europe, as well as North America is highlighted by Hugh Pearman, calling it a “must-have in modern interiors”. This is interesting yet not surprising for several reasons. Firstly, the historical context of these parts of the world must be considered. The post-war boost of economics meant large growth in spending and also

Sin 7 industrial-scale production. In addition, the modern style of design was the trending movement of the time, with the likes of the Bauhaus and Arne Jacobson behind its success. As Robert Venturi famously said, “less is bore” in reaction to modernity, the argument that a shift away from modern design tastes can be found. The excessive simplicity being unusual in the common household, and for more usable examples, the design was simply too “plain, subtle, and modest for American tastes” (Merkel).

In addition to looking at Yanagi’s stool, the secondary example of Ando’s Modern Art Museum of Fort Worth, as previously used in the essay, is seen as a response to modernity. The question “why is this product/building of another origin so popular here?” is answered by the growing distaste towards pure modernity. Merkel discusses this shift, stating: Modern architects had built many interesting houses, but these never really caught on with the general public because they looked too unusual. They were also, perhaps, too plain, subtle and modest for American tastes. (n.pag) In contrast to this plain appearance, Ando’s Modern Art Museum of Fort Worth is “ambitious” and interesting through his “play of light and natural elements…” (Lagasse n.pag). The fascination of the public towards this seemingly exotic temperament of the design, partially due to the oriental nature of the designer is clearly refreshing in the midst of the “plain” modern design.

Sori Yanagi also receives similar success for his designs, being so different from what was available. The simple two piece construction is ingenious, being so simple and well thought out. The subtle hints of Japanese culture, either towards Shinto shrines, samurai masks, or even a Japanese Kanji character, as suggested by Shaw.

Another strong allusion towards the popularity of this arguably critical regionalism of Sori Yanagi’s design is to the Arts and Crafts movement. As a reaction to industrialization, the Arts and Crafts movement focused on craft and the human quality of the design. The popularity of this movement grew in the uncertainty of the public of what industrialization meant. While short lived in its popularity, it became a key factor to how modernity was started.

Similarly, the popularity of Sori Yanagi in America is due to the public distaste towards modernity, with its plain designs not fitting the growing post-war economics. A look at the design of the time will prove to contrast, and demonstrate the public preference of this culturally distinctive design. By showing not just design icons, but instead, what was available to the

Sin 8 general public as functional chairs for the normal North American household, a more realistic analysis is completed.

The Eaton’s 1950-1951 Autumn and Winter catalogue provides context as to what the general public’s perception on furniture at the time was. Similar to Merkel’s statement about modern architecture, while icon chairs were being designed at this time period, the general public receives a very different product than the design icons of today.

Page image from Eaton - Automne et hiver 1950-1951 catalogue

As seen in the images, the chairs and stools are very basic in form, with no change in the design from the Arts and Crafts movement. While iconic new chair designs such as the Eames Lounge chair (1956) and Jacobson’s Series 7 chair (1955) being in production within the same decade, it is great insight to see the Eaton’s catalogue selling stools that featured a round seat portion that is connected to three or four legs, all of which is made of wood. Similarly, the chairs are large, block-like, and obtrusive, which was no longer the desired style of the public. With this context, the contrast of Yanagi’s stool is clear, and its success and popularity comprehensible. The Butterfly stool is simple in its form and construction, but has a powerful design presence. With a

Sin 9 strong allusion to seemingly exotic elements of “Oriental” culture, such as what Pearman describes as “Zen-like”, the clear fascination of the Yanagi’s Butterfly Stool is ever so present.

Due to both the seemingly new and “oriental” design language, as well as the growing distaste towards modernity, Sori Yanagi’s Butterfly Stool became very popular not only in his homeland of Japan, but also overseas, in America, and also Europe. The analysis of Yanagi’s influences created a foundation for the analysis of his style. The idea of critical regionalism as discussed by Kenneth Frampton is hypothesized for Yanagi’s design language, and a close comparison to critical regionalist Tadao Ando is drawn for this. Finally, with the aide of Merkel’s When Less Was No Longer More, the understanding of the growing distaste towards modern design is established. In looking not only at iconic designs of the time, but also from catalogues that showed what was available for the general public, the reasoning for modern design’s downfall is seen.

In looking at Sori Yanagi’s “dedication to craft, as well as respect for tradition” (Shaw), his deeply rooted Mingei background is found in his modernist Butterfly Stool. With a simple construction of two formed panels of wood and a brass rod that runs across, the simplicity is a result of his modernist training, but the form is greatly influenced by craft. From Pearman’s description of the piece as a “must-have in modern interiors,” the question of why it was so popular in the age of Arne Jacobson and the Eames, both of whom had designed design icons that are largely celebrated and viewed in museums, and were much more accessible. Through the cultural differences, the influence of different symbols, as well as a deep tie to tradition, Yanagi’s Butterfly Stool offers a new layer of complexity that is sought after by modernist followers, and for the general public, the oriental exoticism is enough of a factor for it’s popularity; the pure intrigue of the name; Sori Yanagi.

Sin 10 References: Anderson, Catherine. “Charlotte Perriand.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 Jan. 2016 "Ando, Tadao." The Columbia Encyclopedia, Paul Lagasse, and Columbia University, Columbia University Press, 7th edition, 2017. Credo Reference Eaton's Autumn & Winter Catalogue. 1950. ARCHIVED - Item Display - A History of Canadian Mail Order Catalogues, Frampton, Kenneth. “Prospects for a Critical Regionalism.” Perspecta, vol. 20, 1983, pp. 147– 162. JSTOR, JSTOR. Kikuchi, Yūko. Japanese Modernization and Mingei Theory: Cultural Nationalism and Oriental Orientalism. London and New York: Routledge Curzon, 2004.

Merkel, Jayne. “When Less Was No Longer More.” The New York Times, The New York Times, 29 July 2010 Shaw, Catherine. “Hong Kong Show Celebrates Sori Yanagi, Industrial Design Legend.” South China Morning Post, 3 June 2015, "Sori Yanagi Butterfly stool; Design classics." Sunday Times [London, England], 13 Oct. 2002, Print Sparke, Penny. Japanese Design. The Museum of Modern Art, 2009.