Tag: Kohei Sugiura

Seeing Asian Design through Books

One of the biggest issues I’ve always felt about my understanding of design (and even the world) is it has been largely from the view of the West. Living in Singapore where English is our first language, I’ve easily gained accessed to the tomes (and tonnes) of writing about design from Europe and North America. Most of these are not only from the West, but are also about the West, as English-language writers and publishers are only just starting to take notice of the Asian design scene.

A hint that designers from my neighbouring countries might have something else to offer first came when I attended “The Way of Asian Design” forum in Singapore a few years ago, featuring Kirti Trivedi, Ahn Sang-Soo, Lu Jingren and Kohei Sugiura. Then, I chanced upon Kenya Hara’s Designing Design, one of a select few English-language publications from an Asian designer. At the beginning of this year, I discovered Chinese translations of Japanese design books on a trip to Taiwan, and I immediately bought them—assuring myself that my rusty Chinese language I picked up in school would hold me in good stead.

It barely did, especially since the books were in Traditional Chinese script, and I learnt the language in Simplified Chinese. Nevertheless, I’ve trudged through a few volumes of these Chinese-language design books along with other Asian design books over the year and here are some things I’ve picked up, accompanied by interesting related links:

 

Asian-Design-Books
Clockwise from top left: Books, Text, and Design in Asia (2006), The Way of Asian Design (2010), Dialogue in  Design: Kenya Hara x Masayo Ave (2009), Graphic Design Magazine #21 (2011), Papier Labo (2010), and Ex-formation: Plants (2008).

Books, Text, and Design in Asia (2006) (亚洲之书。设计。文字)
This volume contains the conversations between Japanese designer Kohei Sugiura (杉浦康平) with his contemporaries from Japan (Tsuno Kaitaro 津野海太郎), India (Kirti Trivedi, and the late R.K. Joshi), South Korea (Ahn Sang-Soo 安尚秀 and Chung Byoung-kyoo 郑丙圭), Taiwan (Huang Young-sung 黄永松), and China (Lu Jing-ren 吕敬人).  Each of them have been picked by Kohei because he feels they dig deep into their cultural roots to design, particularly in their typography work and books.

The conversations mostly revolve around the history of craft and culture in the respective countries and how each designer has tapped into that for their design work. One becomes aware of the possibilities when designing in the language of a particular culture; and it struck me that the traditional Chinese character is both a graphic and word that represents what it means, which is unlike the Roman alphabet that makes up most of our modern-day languages.

The Way of Asian Design (2010)
This is the printed volume of the proceedings that went on during a forum held in Singapore in November 2007. Four Asian designers—Kohei Sugiura, Ahn Sang-Soo, Lu Jingren and Kirti Trivedi— shared their design philosophies and showed how their work were underpinned by the region’s cultures and beliefs. Like during the forum, the speeches have been  translated into English, which makes it very useful for those who can only understand Asia through this language.

A standout speech was Kohei’s design philosophy of “one in two, two in one” and “one in many, many in one”, which he attributes to how ancient sages in China and India thought how the universe works, thus the concepts such as  Yin and Yang. In Kohei’s case, he compares a book to a universe, which hosts a multitude of characters, stories and elements in a single form, thus  “one in many, many in one”. The structure of a book can also been seen as many pairs of pages that extend left and right to top and bottom; and this he says represents sky and earth, beginning and end, past and future. Yet, when the book is closed, this duality becomes one, thus “one in two, two in one”.

Summa Cosmographia (1979). Click on the image to see how Kohei has designed, literally, the entire book.

Kohei then extends this design philosophy to the reader too. He says, “…We readers of books have bodies that reflect this same duality, with the left half and right half. When we pray we join our hands together. In doing so, we unite the right and left sides of our bodies into one. Our body hosts one heart, and this one heart is what we offer together with our prayers.”

It is in this view that guides how he designs his books, which unlike contemporary zen-like Japanese designs are full of colour, details and possibilities—and got me re-thinking what I thought I knew as Japanese design.

Dialogue in  Design: Kenya Hara x Masayo Ave (2009) (为什么设计:原研哉 对谈阿部雅世)

Moving from an older Japanese designer to two contemporary ones, this is another conversation-drive book that revolves around Kenya Hara and Masayo Ave, who travelled between their bases of Berlin and Japan to chat about design in the two countries, society and their personal lives. There is certainly a thread here amongst these Japanese designers regardless of generations: how they see design as integral to the way they live. They don’t see it in terms of its “value-add” or how well it sells, or whether it is aesthetically beautiful. To them, design is an expression of values, which makes it such a personal and powerful endeavor.

Reading the conversations between the duo, I found it curious that the Japanese feel design in their country is too insular and needs to make itself understandable to the global arena to survive. Ironically, this is the reverse of what I have been thinking about Singapore, where design is so attuned to globalisation that it has no voice of its own.

GRAPHIC #21 (2011)
Papier Labo (2010)

These two books are really photo books for me because both are in languages I do not understand.

GRAPHIC is an independent South Korean design magazine started in 2007, and is now trying to reach out to the world by publishing both in Korean and English. The issue I got was Korean-only because it is an “archive” of another Korean magazine, DESIGN, which it regards as a pioneer of the community, having been publishing since 1976. It’s a fantastic flip through 400 of DESIGN’s covers and a selection of Korean works that together paint how the scene has evolved. Unfortunately, I ‘m not able to read the essays, which I can only imagine help to make this issue of GRAPHIC, a significant one in understanding its country’s design history.

As for the Japanese-only Papier Labo book, I gathered from online that it is a custom printing press formed in 2007 in the Sendagaya area of Tokyo, and this is a book that documents the work that goes into this studio. I was simply struck by how beautiful the book is as an object, as well as the photography of the works they have created and studio life.

Ex-formation: Plants (2008) (Ex-formation 植物)

This is essentially a report of the 2007 edition of Kenya Hara’s Ex-formation project, an annual research he conducts with students at the Musashino Art University in Tokyo to understand how little we know, to question what we think we know and understand. For this edition, the group explores the theme of “plants” and they design a series of projects that present us new ways of looking at them as silhouettes, food, products, and colours—which makes the book a delightfully unexpected page-turner.

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If you know of other Asian design books worth checking out, do drop me a comment. I understand Jamie Winder and Iain Hector from Where You Going? are already working on a book about Southeast Asian design after traveling through this area, so that should be something to look out for.

Singapore Design: Asian or Western?

It was a gathering of editors from design magazines around Asia — Malaysia, Hong Kong, Taiwan and Singapore — but while the other editors spoke about their country’s respective design scene in Chinese, I was only comfortable to do mine in English and had to depend on a translator.

This odd situation at the Kaohsiung Design Festival’s Editor — Chief Editor’s Forum left me wondering if Singapore Design is “Asian” or “Western”?

Historically, design came to Singapore from the West. The earliest design studios were started by expatriates from UK, Australia and New Zealand and later, Singaporeans schooled in Western design schools. The choice of English as the country’s working language has also made Western design more relevant to us as opposed to that from Asia, which comes in a variety of languages.

Moreover, the concept of Asian in Singapore has also been associated with ‘tradition’. One reason we are taught an Asian mother tongue is so that we do not lose our cultural bearings. But other than that, the development of this country has always been oriented towards the West, which is seen as both economically powerful and culturally influential. In these conditions, “Asian” in Singapore is seen as historical and backward, which creates a further distance between young Singaporean designers and Asia.

However, the rise in China in recent years and the near future may change this. The editors from Taiwan and Hong Kong lamented how many of their best designers have flocked there to practice their design because that’s where the business is. It’ll be interesting to see how Singapore designers react to this, especially since the Singapore government has been very supportive of businesses here to chase the Chinese market.

When asked at the forum about what I thought of design in Asia, my view (in English) was that Singapore designers did not look towards Asia, with the exception of Japan and maybe, Hong Kong. But then again, it’s because these two territories, especially Japan, have received a kind of ‘international’ recognition. I cited language as a major barrier to our understanding of Asian design. Though Singaporeans are bilingual, our primary language is English. More importantly, I didn’t think Singapore designers bothered about this question of their design being “Asian”, “Western” or even “Singaporean” — nationalism or regionalism was irrelevant in a Singapore that wants to be a “global city”. What mattered to design studios today is that they had their own voice in their work.

Surprisingly, the speaker from Taiwan’s Shopping Design, Chan Wei-Hsiung, echoed similar sentiments. Here was a veteran creative director, double most our ages, exhorting Taiwanese designers to globalise so as to bring their conversations outside of Taiwan. He also felt that the future of design was all about individual choices and styles.

The trip up to Taiwan has opened my mind and eyes to designers in Asia and I’m curious if they do have something to offer to the global stage. For one, I realised Taiwan is a good place to learn about Japanese design because while I don’t understand Japanese, I can get access to their writings and works translated to Chinese. For now, I’ve cobbled together a few links related to Asian design below. Let me know if you have more!

  • Where You Going? A duo trying to find design in Southeast Asia
  • art4D A design magazine based in Thailand
  • Cutout Magazine A Malaysian design magazine
  • Malaysian Design Archive A repository of old Malaysian design
  • PPaper A Taiwan design magazine created to introduce design to the masses. Sold in 7-11s!
  • Shopping Design Another Taiwanese magazine that looks at design in everyday life
  • Aaron Nieh Contemporary Taiwanese designer
  • 號外 (Hao Wai) A Hong Kong cultural and lifestyle magazine that has been around since 1976
  • Kohei Sugiura A veteran Japanese designer who has been thinking about Asian design
  • Sulki & Min A contemporary Korean design duo

Nostalgia versus Progress – The battle for the Singaporean psyche

As I watched the series of video interviews at the Singapore 1:1 exhibition it struck me how the older generation of architects, especially those outside the bureaucracy, displayed a deep longing for nostalgia. On the contrary, the bureaucracy’s planners being pragmatic, lived in the present and looked forward to the future. It was set up such that the story of the development of Singapore’s landscape hinged upon this overarching battle of nostalgia versus progress.

It made me reflect on my own fascination with the past. A friend once said that it would be very sad if we only lived in the past because what would the future hold then? I do not feel alone in my love for nostalgia and I think many other young Singaporeans seek out this country’s past because it moves so fast. We are fascinated by the discovery of abandoned places like Woodneuk House, because it is like an oasis that resisted the rapid pace of urban renewal.

Places that do not change stick out like a sore thumb. From a planners perspective, it only accelerates their desire to carry out urban renewal, and from my perspective, it means I better document it before another one bites the dust. Again, we seem to return to this age-old battle that has remained in the crux of Singapore’s development.

So this battle wages on, and the nostalgia camp has come up with various tools to further their case:

The nostalgia film and assorted media
This topic is common fodder for local film-makers and photographers who want to project their love for nostalgia to others. Seletar Airport: Singapore’s Secret Garden and Diminishing Memories are two films that come off my head right now.

Flea markets and the rise in retro fashion
It’s not common to see young Singaporeans decked out in attire paying homage to an era gone by and trawling the flea markets, buying memories of the older generation.

Taking part in policy-making
When it was announced that the old National Library would be demolished, many Singaporeans wrote into the newspapers and started initiatives to try to resist the decision. The recent opening of Old School also seems to have nostalgia in mind, taking over the premises of  a former secondary school and re-converting the space to a design haven. Apparently within the building, there are elements that integrate the building’s history to the current premises.

What is the golden ratio for conservation and development? I’ll say enough of the past so that the present has some bearing of their future. As I’ve quoted Kohei Sugiura, a Japanese designer, some time back:

kohei