DESIGN NEWS 263

('03.9.10)

Sustainable Void

Motion to Emotion
Flower Robotics - Works and Visions

Innovation in European Design

Feature: The Strategic Management of Design Dept.

ABONET from Sapporo

Urban space consists basically of the three dimensionally formulated positive footprint of buildings, structures, parks, and their negatives, streets, alleys, gaps and voids. The degree of diversification of tasks and activities determine the degree of liveliness and vibrancy of a city. In contrast, mono-structured areas invite crime and often serve as places for activities whereat nobody wants to be caught with. These places are “voids”. Mostly they appear as by-products of massive constructions of infrastructure, as highways, railway tracks, shopping centers, graveyards, stocks, harbors, airports and so on.
In the following, projects, Toyota Junction by Ayumi Han + Studio Han and Moerenuma Park by Isamu Noguchi + Architect5 Partnership, suggestions, Tokyo Recycle Guide by Atelier Bow-Wow, and Urban Roof Scape, a comment on the attempt of the new roof top greening ordinance to combat the heat island, will be introduced.

Mahoko Hoffmann, Architecture Journalist

“The fascination of robotic design lies in the way in which something that ushers forth the happiness to be provided by technology|or perhaps one might go further and describe this as the refinement|is present in hidden guise within robots. The attraction lies in creating such components and in opening up new paths.”
Tatsuya Matsui, who is currently the most noted robot designer in Japan talks.
This article focuses on Matsui's approach to design and on the aims of Flower Robotics Inc., the company he established in 2001. We look at everything from the humanoid robots Pino and Posy, with which he made his international debut, to his most recent projects, Palette and Platina.

Tatsuya Matsui, Designer, President, Flower Robotics Inc.

“John Thackara is director of Doors of Perception, which offers a forum for exploring experimental concepts of design for the future such as “@home,” “Info Eco,” “Lightness” and “Flow.” As one of the leaders of opinion in the field of European design, he recently visited Japan on the invitation of Musashino Art University.
In this article, we present an interview with John Thackera conducted during his visit to Japan concerning new developments in European design with the focus on “Innovation,” which is currently one of the main themes in European design.

John Thackara, Design Director, Doors of Perception, interviewed by Design News

Japanese industrial design is unthinkable without reference to in-house designers. These designers have created many of the most outstanding Japanese products and have responded to international conditions with their organizational and management capacity.
However, within the difficult economic environment currently facing them, the in-house design departments of companies are being forced to reform themselves in various ways. These include rationalization or restructuring, breakaway to gain separate company status, becoming more closely attached to the production area, and collaborating with people outside the company.
In this feature, we've planned “new business models for in-house design” in order to consider the current state of the in-house design sector of companies along with future strategy. From the four approaches of the “team (organization)”, “star designers”, “free agents”, and the concept of “designership,” we consider the proposition that new modi vivendi for in-house designers are going to provide the strategic key to their survival.

Keiichiro Fujisaki, Design Journalist and Design News

“Abonet” is a hat for use during the winter season. It preserves the functional aspect of "head gear" of the type used by handicapped people as a welfare tool, but at the same time it is easy to use by anyone due to its being lightweight and highly fashionable. This project got off the ground in October 2000 as an experimental project aimed at establishing new welfare industries in Sapporo city, Hokkaido. The Sapporo city authorities have combined the design strengths of the Sapporo School of the Arts, which has its own industrial design course, with the production development capacity of local welfare-related companies. The project is intended to lead to the development of the design and commercial production of welfare items with universal design qualities originating in Sapporo.
Manufacturing industry in Sapporo is weak and relatively sparse. Partially because of this, the city has very little of the production technology that companies should possess or of the know-how needed to develop commercial products. It is also extremely weak when it comes to experimental facilities for ensuring product quality. The role of coordinators is thus important in enhancing awareness of design and furthering an understanding of what designers are all about. The Sapporo city authorities are playing a major role in this project as coordinators, while designers have been involved in total direction of the project from surveys and experiments to public relations and sales activities.
In this article, Toshiaki Morita, who was involved in the design of “Abonet”, discusses design development in connection with “Abonet” and the potential of production rooted in the regional features of the city of Sapporo.

Toshiaki Morita, Product Designer, Lecturer, Sapporo School of the Arts