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Designing Design
Kenya Hara approx. 464 p. 400 color ills, 50 drawings 16,5 x 24,0 cm Hardcover EUR 39.90 / GBP 29.90 ISBN 978-3-03778-105-0 english Available May 2007

Japanese design in pure form

Representing a new generation of designers in Japan, Kenya Hara (born 1958) pays tribute to his mentors, using long overlooked Japanese icons and images in much of his work. In Designing Design, he impresses upon the reader the importance of emptiness in both the visual and philosophical traditions of Japan, and its application to design, made visible by means of numerous examples from his own work: Hara for instance designed the opening and closing ceremony programs for the Nagano Winter Olympic Games 1998. In 2001, he enrolled as a board member for the Japanese label MUJI and has considerably moulded the identity of this successful corporation as communication and design advisor ever since. Kenya Hara, alongside Naoto Fukasawa one of the leading design personalities in Japan, has also called attention to himself with exhibitions such as Re-Design: The Daily Products of the 21st Century of 2000. Kenya Hara is one of the key figures behind the international success story of the MUJI brand Captures the essence of Japanese aesthetics and simplicity in modern design First-ever survey and insight into Kenya Hara's work

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An illustration of the ow of decision criteria for packaging forms, 2002

Muji for several years. I intuitively felt that his participation would be vital to restructuring Mujis product quality. It was the 8th of January 2002, when I brought Mr. Fukasawa to Mr. Tanakas ofce to introduce them. Over Japanese tea and buns, we talked of many things, including the prospect of Mr. Fukasawa taking care of matters of product design. This work kept me up at night, it was so fascinating. These are the words of Ikko Tanaka, one of Japans most illustrious designers. Our conversation took place just three days before his sudden death. So transpired the 11th hour passing of the Muji baton from the senior generation to ours.

Mujis Origin, Mujis Challenge

The concept of Muji is the offspring of the good rapport between the aesthetics of graphic designer Ikko Tanaka and the vision of Seiji Tsutsumi, an undisputed leader of Japans distribution industry. The company came into
M U J I Nothing, Yet Ever y thing

Muji magazine advertisement, 2002

existence in the fall of 1980. Its basic concept was the creation of a group of extremely straightforward, low-cost items by thoroughly simplifying the production process. Mujis initial slogan, Lower Priced for a Reason, was the work of Kazuko Koike, who helped prepare Mujis debut. Ms. Koike, a well-known curator of contemporary modern art, also acted as a Muji slogan copywriter. Mujis management is unique in that creators and managers carry equal weight in supporting the companys vision. Rationalizing the production process is a common idea today, but Mujis simplication has never resulted in cheapening. Instead, it has led to the manifestation of aesthetics. Muji, established as a private brand of the Seiyu supermarket, has grown into a solid corporate en230 | 231 232 | 233

pearance has nothing to do with avor. It was simply a shifting of priorities that led to a low-priced dried shiitake product. The same can be said of paper. If the bleaching process is skipped, the nish color is pale beige. Muji uses this paper for packaging, labels, and other materials. The thorough effort of simplifying the production process has led to the emergence of a whole list of products with unparalleled aesthetics. The clear-cut contrast of these products with the conventional, excessively produced merchandise of the era affected not only Japan, but the rest of the world. Muji products earned the support of consumers, who are highly conscious of their living environment, and of opinion leaders, with their sophisticated perception. There are more than 270 Muji branches in Japan, and more than 6,000 products. Muji also has over-

An illustration of the ow of decision criteria for packaging forms, 2002

Concept book for Milano Salone, 2003 Contrasting the Earth/the earth and Muji products.

Muji for several years. I intuitively felt that his participation would be vital to restructuring Mujis product quality. It was the 8th of January 2002, when I brought Mr. Fukasawa to Mr. Tanakas ofce to introduce them. Over Japanese tea and buns, we talked of many things, including the prospect of Mr.

seas branches in Europe and Asia that have attracted a tremendous global response. Muji also has some issues to resolve. In the beginning, the rationalized production process led to an overwhelming price advantage. But as todays industries have founded their production base in countries with low labor costs, we nd it difcult to replicate the price advantage of the early days. We could compete on product cost by following the same methods, but the Muji concept isnt based on being cheap. We cant lose our precious spirit in a frantic effort to lower costs. Furthermore, the whole idea of producing in a country with low labor costs and selling them in countries with high labor costs is not sustainable. Muji should be based on the ultimate rationale of adequate qualM U J I Nothing, Yet Ever y thing

Fukasawa taking care of matters of product design. This work kept me up at night, it was so fascinating. These are the words of Ikko Tanaka, one of Japans most illustrious designers. Our conversation took place just three days before his sudden death. So transpired the 11th hour passing of the Muji baton from the senior generation to ours.

Mujis Origin, Mujis Challenge

The concept of Muji is the offspring of the good rapport between the aesthetics of graphic designer Ikko Tanaka and the vision of Seiji Tsutsumi, an undisputed leader of Japans distribution industry. The company came into
M U J I Nothing, Yet Ever y thing