By Shirley Surya
A glimpse of the graphic designer’s cross– disciplinary collaborations in 1960s Tokyo.
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R C 1 Michael Bierut, “Warning: May Contain Non–Design Content,” http://observatory. designobserver.com/ entry.html?entry=4137. 2 Through the exhibition “Metabolism, The City of the Future: Dreams and Visions of Reconstruction in Postwar and Present– Day Japan” http:// moriartmuseum.cocolognifty.com/blog/2011/07/ metabolism-in-a.html
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on a desire for renewal that is in response to, but also one that exceeds, a particular context — however incomplete or transient.
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As a constant mediator of text, images, and symbols representing all types of messaging, institutions, and ideologies on multiple formats and medium, graphic design is, as what Michael Bierut once wrote, “almost always about something else. Corporate Law. Professional football. Art. Politics. Robert Wilson.”1 His statement was part of a call for the graphic designer to be excited about that “something else” other than graphic design, beyond the designer’s given associations or token knowledge of the client and related subject matter. This article is a way of asking what is at stake in the “excitement” that Bierut called for, by considering 1960s Tokyo graphic designer Awazu Kiyoshi as one of the few and far examples of a graphic designer who was conceptually and visually engaged with other disciplines such as art, film and architecture — going beyond the utilitarian structure of work, and into a joint production of meaning. The subject of choice began with a discovery of Awazu’s involvement in an influential architectural movement called Metabolism.2 Present realities of knowledge gaps between disciplines and designers’
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reluctance to collaborate due to hubris or counter–productivity raised questions about a visual communicator’s capacity to take part in a project of envisioning the organicist development of a city. However, relatively recent publications and exhibitions have revealed Awazu’s other roles apart from the obvious scope of designing the collective’s publication. Through his thinking and practice, networks, as well as the social context, Awazu created a collective creative output which historians considered as radical not only in terms of its content but also the cross– disciplinary practice it resulted from. Framed by the availability of literature of a rather under– researched topic, this article hopes to reveal patterns in the motivation, mechanism and effects of such a mode of work — what led to it, how was it done, and what came out of it. It is neither a comprehensive review of all graphic designers’ collaboration with architects and artists of the time, nor is it about advocating a particular practice. But rather, through Awazu’s work, it raises the possibility of extracting a model from the potentials and limits of working across disciplines based
“INTERMEDIALITY” AND THE CARTOGRAPHIC IMAGINATION Beginning with the Bauhaus– inspired Jikken Kobo (Experimental Workshop), consisting of members involved with everything from sculpture to lighting design in the 1950s, followed by the 1960 World Design Congress (WoDeCo) led by architect Tange Kenzo and graphic designer Kamekura Yusaku from which the Metabolism group3 was launched, to the formation of the Environment Society4 and its cross–disciplinary events in 1966,
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to the theatrical laboratory set up by graphic designer Yokoo Tadanori and playwright Terayama Shuji at the Sogetsu Art Center, and culminating with Expo ‘70 in Osaka – this period of cultural development in Tokyo could not deny how central “cross– disciplinarity” was to the debates across artistic genres in the 1960s. While respecting the individuality and diversity of cultural production, each genre has to be seen in dynamic collaboration with another due to the concepts that bind various practices searching for a totality in response to the overwhelming agenda of socio–cultural renewal and urban reconstruction.5
While Japan’s return to world affairs since the nation regained self– rule through the Japan–United States Mutual Security Treat of 1952 (also known as Anpo) had brought about a creative vigour in devising new cultural modes, it was the dramatic urban growth and changing media landscape that contributed most to the concepts that fueled cross– disciplinary collaborations.6 Concepts of “graphism” or “graphication”, which traversed a wide range of fields and offered a connection between painting, print, photography, graphic design, architecture, and music, were incubated amid the transforming urban environment and its envisioned plans.7 Construction of the web–like metropolitan highway network in preparation for
A. Members of Metabolism. Reproduced from Project Japan: Metabolism Talks..., P. 182–183. Courtesy OMA/AMO.
3 The Metabolism group consisted of critic Kawazoe Noboru, architects Isozaki Arata, Maki Fumihiko, Otaka Masato, Kurokawa Kisho, Kikutake Kiyonori, industrial designer Ekuan Kenji, and Awazu Kiyoshi. 4 The Environment Society consisted of participants spanning the field of art, music, industrial design, graphic design, and architecture, including Awazu Kiyoshi,. 5 Thomas Havens, “Introduction – Postwar Vectors in the Japanese Nonverbal Arts,” in Radicals and Realists in the Japanese Nonverbal Arts (University of Hawaii Press, 2006). 6 Miryam Sas, “Intermedia, 1955–1970,” in Tokyo 1955–1970: A New Avant–Garde, ed. Doryun Chong (New York: The Museum of Modern Art, 2012). 7 Michio Hayashi, “Tracing the Graphic in Postwar Japanese Art,” in Tokyo 1955–1970: A New Avant– Garde, ed. Doryun Chong (New York: The Musem of Modern Art, 2012).
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