why:
To securely connect Japan's present leading wood industry to the future.
The craftsmanship of shipwright technology that supported the "Awahan" naval forces of Tokushima Prefecture was handed down from the Edo period. This technology developed from the Meiji to the Showa period as a major production area for box furniture that mainly focused on chest drawers, mirrors, and altars. However, Japan's traditional industrial value of production had fallen to 1/5 in the past 40 years. Tokushima's wood industry has been declining year by year, due to changes in modern lifestyle. Along with the rise of cheaper overseas products, Japan's leading box furniture production drove into prosperity. Where the wood industry was going out of business, we questioned what kind of design could revive the industry to create new opportunities for highly skilled carpenters of Tokushima.
Changes in production value of
traditional craft industry.
伝統的工芸品産業をめぐる現状と今後の振興施策について | https://www.meti.go.jp/committee/summary/0002466/006_06_00.pdf
how:
A chair with an animal-like silhouette, formulating a human-like attachment.
A chair with an animal-like silhouette, formulating a human-like attachment.
Together with Miyazaki Chair Factory of Tokushima Prefecture, we produced "an chair" featuring an animal-like silhouette. We questioned what kind of chair humans felt naturally "attached" to, going beyond the function of a standard tool we use every day, revitalizing Tokushima's expert woodworking technology. We realized that chairs considered as masterpieces in the product design world, all have animalistic characteristics. We aimed to express this "attachment" invisible to the eye, acquiring superior formability and functionality, inspired by the silhouette of four-legged animals walking to balance the center of gravity.
now:
Although the design was highly appreciated, the original purpose still needs to be reached.
The prototype "an chair," was the first chair we ever designed. However, although it was highly acclaimed and sold as an unlimited edition, we soon realized that in a crisis-prone production area, this was not enough to make a change. Our original purpose is to create new markets, movements, and relationships through branding and communication strategies, to save as many artisans and production areas as possible. These designs were a part of a series of projects NOSIGNER and Eisuke Tachikawa worked on, as a traditional industrial producer in Tokushima prefecture from 2007 to 2009. This series brought about valuable experiences that would determine our future missions.
what:
an chair
when:
2009
where:
Tokushima, Japan
who:
Art Direction
NOSIGNER (Eisuke Tachikawa)
Product Design
NOSIGNER (Eisuke Tachikawa)
Collaboration
Photo
Masaharu Hatta