Kenya Hara On Japanese Aesthetics
29 October 2009
What makes Japanese design so special? Basically, its a matter
of
simplicity; a particular notion of simplicity, different from
what
simplicity means in the West. So are things in general better
de-
signed in Japan? Well, actually, its not that simple
The New York Times asked us to put them in touch with Kenya
Hara, crea-
tive director of MUJI and professor at the Musashino Art
University. The
NYT wanted to know whether everything in Japan was designed as
well as
the famous bento boxes. Mr Hara gave an answer worth reading and
con-
templating. The text in the New York Times was shortened down to
fit
their format. We are proud to be able to provide the full text
in English
and Japanese.
Why does it seem like Japan is more attuned to the appreciation
of
beauty? Do the Japanese value the aesthetic component and
experi-
ence more than other places? Are things in general better
designed
in Japan?
When coming back to Tokyo from abroad, my first impression
usually is:
what a dull airport! And yet its clean, neat and the floors
deeply polished.
To the Japanese eye, theres a particular sense of beauty in the
work of
the cleaning staff. Its in the craftmans spiritshokunin
kishitsuwhich applies to all Japanese professionals, be they
street
construction workers, electricians or cooks.
A Japanese cleaning team finds satisfaction in diligently doing
their
job. The better they do it the more satisfaction they get out of
it.
The craftmans spirit, I think, imbues people with a sense of
beauty,
as in elaboration, delicacy, care, simplicity (words I often
use). Obvious-
ly, this also applies to bento-making and the pride people take
in making
them as beautiful as they can.
There is a similar craftmans spirit (shokunin kishitsu or
shokunin
katagi) in Europe. Yet in Europe I can see it coming alive only
from a cer-
tain level of sophistication. In Japan, even ordinary jobs such
as cleaning
and cooking are filled with this craftmans spirit. It is is
common sense
in Japan.
While Japanese are known for their particular aesthetic sense,
I
would say we also have an incapacity to see ugliness. How
come?
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We usually focus fully on whats right in front of our eyes. We
tend to
ignore the horrible, especially if it is not an integral part of
our personal
perspective. We ignore that our cities are a chaotic mess,
filled with ugly
architecture and nasty signage. And so you have the situation
where a
Japanese worker will open a beautiful bento box in a stale
conference
room or on a horrendous, crowded sidewalk.
Are things in general better designed in Japan?
A central aesthetic principle in Japan is simplicity, but it is
different
from simplicity in the West. Let me explain the difference by
comparing
cooking knives. For example, the knives made by the German
company
Henckels are well crafted and easy to use because they are
highly ergo-
nomic. The thumb automatically finds its place when you grab the
knife.
Japanese cooks who have special skills prefer knives without any
ergo-
nomic shape. A flat handle is not seen as raw or poorly crafted.
On the
contrary, its perfect plainness is meant to say, You can use me
whichev-
er way suits your skills. The Japanese knife adapts to the cooks
skill
(not to the cooks thumb). This is, in a nutshell, Japanese
simplicity.
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The knifes simple shape is not seen as poor or raw. Beauty
beyond fanci-
ness is an aesthetic principle that is sleeping at the bottom of
Japanese
perception. Its also a guiding principle to Japanese high tech
architec-
ture, and the minimal products of Muji.
Applied to the bento this simply means: dont try to be fancy;
dont
overdo it. A beautiful bento is done using seasonal ingredients;
it is done
quickly and easily.
Original Japanese Text
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