why:
To connect Japan's leading production center of wood industry to the future.
why:
日本有数の木工業の産地を、未来につなげるために









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.

江戸時代の阿波藩の水軍を支えた船大工の技術が伝承されている徳島県は、明治から昭和にかけて、タンスや鏡台、仏壇を中心とした箱物家具の一大産地として発展しました。しかし、この40年の間に生産額が1/5にまで減少している日本の伝統産業の例に漏れず、ライフスタイルの変化や廉価な海外製品の台頭とともに徳島の木工業は年々衰退し、日本有数の箱物家具の産地は窮地に追い込まれていました。廃業する木工業者が後を絶たない状況の中、高い技術力を持つ徳島の木工職人に新たな手仕事の機会をつくり、産業を復興させるために、デザインには何ができるのでしょうか。










how:
We applied technology used in box furniture, to design innovative drawers.
how:
箱物家具の技術を応用し、引き出しにイノベーションを起こす









Together with the craftsmen of furniture manufacturer "Honrin Furniture" in Tokushima Prefecture, we designed a dining table we called "IMAGINARY". We focused on a technique called “three-way fastening”, which is a method often used when producing box furniture. We embodied an “invisible” drawer placed the side of the table without adding any more additional lines. It was designed to conveniently used the drawer to store cutlery and also documents, without any wasted space that focused on the simplistic beauty of a table.

徳島県の家具メーカー「本林家具」の職人とともに、「虚数」を意味する言葉を冠したダイニングテーブル「IMAGINARY」をつくりました。箱物家具を製作する際によく使われる「三方留め」という接合方法にフォーカスし、シンプルな三方留めのラインを一本も増やすことなく、テーブルの側面に”見えない”引き出しを収めました。カトラリーや書類などを収納できる引き出しの利便性と、無駄を一切排除したテーブルの美しさを両立させるデザインになっています。










now:
Although the design was highly appreciated, the original purpose is still to be reached.
now:
デザインは高く評価されたが、本来の目的はその先に









IMAGINARY was highly acclaimed and received the 2010 Good Design Award. However, at the same time, we realized that it was not enough to create one good design for a production area in a critical situation. Our purpose is to create new markets, movements, and relationships through branding and communication strategies, to save as many craftsmen 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.

IMAGINARYは、2010年のグッドデザイン賞を受賞するなど高く評価されましたが、同時に危機的な状況にある産地には、良いデザインをひとつ生み出すだけでは到底太刀打ちできないほど強い逆風が吹いていることを改めて実感しました。私たちの目的は、そのデザインが高く評価されることではなく、ブランディングやコミュニケーション戦略などを通じて新たな市場やムーブメント、関係性をつくり、少しでも多くの職人や産地を救うことです。NOSIGNER・太刀川が徳島県の伝統産業プロデューサーとして2007年から2009年までに手がけた一連のプロジェクトは、その後の私たちのミッションを決定づける重要な経験となりました。










what:
Imaginary

when:
2009
where:
Tokushima, Japan
who:
Product Design
NOSIGNER (Eisuke Tachikawa)
Manufacturer
MOTOBAYASHI FURNITURE
Photo
Masaru Hatta

who:
NOSIGNER
social design by evolution thinking
 
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The craftsmanship of shipwright technology that supported the "Awahan" naval forces of Tokushima Prefecture was handed down from the Edo period. Read More
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