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A-POC ABLE ISSEY MIYAKE
TYPE-I MM project
Documentary
Directed by: Yu Yamanaka
Duration: 14 min.
A-POC ABLE ISSEY MIYAKE
TYPE-I MM project
In 1998, the Japanese fashion brand Issey Miyake launched his project titled A-POC (acronym for "A Piece of Cloth"), which revolutionized conventional design methods. An industrial weaving machine is pre-programmed to generate a large continuous roll of fabric with varied seams that, when cut, can form dresses, shirts, socks and gloves, for example. The customers can easily make cuts along these seams, creating unique pieces.
This system relates three aspects in an innovative way: the possibility of mass production, self-service and customization of pieces by customers and less waste of resources, as the fabric is previously calculated to minimize leftover material after the development of the pieces.
Today, A-POC Able is led by designer Yoshiyuki Miyamae, who developed the TYPE-I MM project collection, which has music as its motto. Together with Japanese conductor Michiyoshi Inoue (1946, Tokyo), the following issues were discussed: how should a classic be passed down? What is the balance between beauty and comfort? How do garments get updated?
In response to this, a set of clothes was developed with weaves that mix lines with Triporous™, a material created by the Sony Group whose raw material is rice husks. In Japan, over two million tons of this input are generated every year. The creation of this fabric presents itself as a more appropriate destination than disposal. In addition to a sustainable approach, the objective was to create a new shade of black that could not be obtained through conventional dyeing processes. The fabrics are pleated with a steam technique (Steam Stretch), which gives them freedom of movement, bringing an even lighter, more comfortable feel. The blazer, pants and dress created have a wide variation of patterns conferred by the stripes that resemble the five-lined staffs that comprise musical scores.
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BUAISOU
百色幟 (ひゃくしょくのぼり)
Strips in 100 tones
Indigo is a plant from which one of the oldest plant dyes in the world originates. After arriving in Japan via the Silk Road approximately 1,400 years ago, it gained popularity among aristocrats, warriors and, starting in the 17th century, the working class.
Tokushima Prefecture is one of the biggest producers of this plant in Japan, and for about 800 years it has been used in aizome dyeing. Its location was fundamental for the development of this technique, as the Yoshino River, which runs through northern Tokushima, irrigates the land, providing an ideal environment for cultivation.
Located in Kamiita, a town in Tokushima where indigo grows in abundance, is Buaisou, an organization dedicated to the entire manufacture of aizome. From the cultivation of indigo, its processing and fermentation (known as sukumo) to the dyeing process, everything is done manually by highly specialized artisans. The process does not include chemical additives, and only indigo leaves, lye, bran and shell lime are used to obtain the natural blue. The residues that result from this system are also treated locally, minimizing waste in attempts to lower the impact on nature.
Through plenty of research and dedication, Buaisou developed 100 shades of blue that can be seen in the installation present in the exhibition. Despite its delicate character, the dye is very consistent. Applying various techniques, the organization revives tradition, but is also in touch with the current scene. Buaisou has collaborated with several major international brands, developed a dye for jeans and frequently conducts workshops to spread this practice, always striving for a harmonious ecosystem between nature, human beings and fabrics.
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IKUYA SAGARA, KUSAKANMURI
生まれながらにして、還るところが約束されている
From birth there is a promised place to which one must return
reed construction
Ikuya Sagara (1980) was born in Kōbe, located in Hyogo Prefecture, where he currently lives and works. Sagara presents himself as an artisan of kayabuki (the traditional roofs of Japanese houses commonly made of straw), and his work consists of making, preserving, teaching and disseminating the art of building with straw.
There are records of this type of roof described in the two oldest books of Japanese history, Kojiki and Nihon Shoki, both compiled in the 8th century, which demonstrates its long history. In the 1960s, over five million buildings that utilized straw were registered in Japan. However, by 2010, this number had fallen to 100,000, an alert of changes in construction methods and the use of other materials, such as metals. The decrease in this type of construction makes it difficult to perpetuate a traditional technique. With less demand, the work of artisans is becoming scarce, as is young people's interest in learning the craft, impacting a cultural and social chain.
In the region where Sagara lives, there are 700 preserved specimens of these traditional roofs, thus prompting him to maintain his craft while looking for ways to promote and explore the possibilities of these plants and their benefits. These roofs guarantee great thermal comfort, with good insolation and ventilation. They are water-resistant. They can be made from the raw materials available at the time or those that are typical of a certain place. And all the elements that comprise their structure are biodegradable: straw, bamboo and rope. Traditionally, rice is prevalent in these constructions, as its history is linked to the development of Japanese culture, in addition to being an example of the maximized use of a resource: rice straw, husks and bran have a variety of purposes in handicrafts and industry, in addition to the cereal being used in ceremonies of a spiritual nature.
For this exhibition, the artisan based his work on ancient Japanese shelters and used reeds, a species grown in abundance in the São Paulo municipality of Registro, as a way to minimize environmental impacts by making use of a local raw material that was already available. He explores Japanese techniques and craftsmanship while reflecting on the need for responsible cycles. Observing the surroundings, he sees how the experiences and needs of a person or a community are capable of establishing a sustainable relationship with nature, regenerating it to preserve it.
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KOSUKE ARAKI
Agar Plasticity
Package – round
Loose-fill cushioning
Fiber box with some cushioning
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature. Agar Plasticity consists of a research project that explores the utilitarian potential of agar (a gelatinous substance derived from red seaweed) as an alternative to synthetic plastics.
In Japan, agar is popular and traditionally consumed as a food. It is also used in medical and scientific fields around the world. In block form, it has a porous, feathery structure and is also extremely light. These characteristics led the designer to explore it as a material for packaging.
Araki developed prototypes of loose cushioning to fill packaging and also packaging with integrated cushioning using agar. Because they are biodegradable, these products can be disposed of in an environmentally-friendly way and can also be used to increase water retention in the soil or as fertilizers.
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KOSUKE ARAKI
Agar Plasticity
Package – round
Loose-fill cushioning
Fiber box with some cushioning
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature. Agar Plasticity consists of a research project that explores the utilitarian potential of agar (a gelatinous substance derived from red seaweed) as an alternative to synthetic plastics.
In Japan, agar is popular and traditionally consumed as a food. It is also used in medical and scientific fields around the world. In block form, it has a porous, feathery structure and is also extremely light. These characteristics led the designer to explore it as a material for packaging.
Araki developed prototypes of loose cushioning to fill packaging and also packaging with integrated cushioning using agar. Because they are biodegradable, these products can be disposed of in an environmentally-friendly way and can also be used to increase water retention in the soil or as fertilizers.
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KOSUKE ARAKI
Anima
Cup – low I
Low cup
Cup – small I
Small cup
Bowl Φ68
Bowl – 68 mm
Bowl Φ80
Bowl – 80 mm
Bowl Φ80
Bowl – 105 mm
Bowl Φ120
Bowl – 120 mm
Bowl Φ130
Bowl – 130 mm
Bowl Φ145
Bowl – 145 mm
Bowl Φ195
Bowl – 195 mm
Plate Φ138
Plate – 138 mm
Plate Φ158
Plate – 158 mm
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature, and are born from his reflections on ways to improve living experiences.
Anima is a set of tableware handcrafted from food waste and the Japanese lacquer known as urushi. In the words of the designer, "food is not a thing but life. We eat food for our existence, but, probably, not so many people are seeing food as life when trading, buying or eating...”
With this premise, he registered and collected all the food discarded in his own home for two years in an exercise of reviewing his eating and consumption habits. This analysis included only inedible parts, such as rinds, peels, shells and bones, which amounted to approximately 315 kilograms. After collecting the material, he dried the residue and mixed it with urushi, which made it possible to create a material to be molded into high-resistance, waterproof and glossy tableware. This process produced objects of a dark brown hue resulting from the oxidation of the lacquer.
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KOSUKE ARAKI
RRR
stool
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature, and are born from his reflections on ways to improve living experiences.
This project consists of stools made from rice, sawdust and jute. The name RRR is an acronym for "Rice-Reinforced Roll." To develop this furniture, the designer accompanied research into plant-based materials and their processing techniques, focusing mainly on those present in Japanese culture, searching for possibilities to produce something resistant without using synthetic plastics.
As a result of his investigations, he arrived at the traditional rice paste used as glue in Japanese crafts. Delving into the potential of rice, Japan's most consumed grain, he discovered that tons are wasted due to poor storage or because they contain too many agricultural chemical inputs. This rice cannot be consumed and does not have a proper destination. Its large volume was what led Araki to experiment with new ways to use it as raw material in his objects.
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KOSUKE ARAKI
RRR
stool
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature, and are born from his reflections on ways to improve living experiences.
This project consists of stools made from rice, sawdust and jute. The name RRR is an acronym for "Rice-Reinforced Roll." To develop this furniture, the designer accompanied research into plant-based materials and their processing techniques, focusing mainly on those present in Japanese culture, searching for possibilities to produce something resistant without using synthetic plastics.
As a result of his investigations, he arrived at the traditional rice paste used as glue in Japanese crafts. Delving into the potential of rice, Japan's most consumed grain, he discovered that tons are wasted due to poor storage or because they contain too many agricultural chemical inputs. This rice cannot be consumed and does not have a proper destination. Its large volume was what led Araki to experiment with new ways to use it as raw material in his objects.
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KOSUKE ARAKI
RRR
stool
Kosuke Araki (1988) lives and works in Tokyo, Japan. His works and projects result from much observation of his surroundings, everyday materialities and nature, and are born from his reflections on ways to improve living experiences.
This project consists of stools made from rice, sawdust and jute. The name RRR is an acronym for "Rice-Reinforced Roll." To develop this furniture, the designer accompanied research into plant-based materials and their processing techniques, focusing mainly on those present in Japanese culture, searching for possibilities to produce something resistant without using synthetic plastics.
As a result of his investigations, he arrived at the traditional rice paste used as glue in Japanese crafts. Delving into the potential of rice, Japan's most consumed grain, he discovered that tons are wasted due to poor storage or because they contain too many agricultural chemical inputs. This rice cannot be consumed and does not have a proper destination. Its large volume was what led Araki to experiment with new ways to use it as raw material in his objects.
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Molten
MY FOOTBALL KIT
Soccer ball
With the aim of popularizing soccer in areas where the sport is not widely practiced and offering a playful experience, the MY FOOTBALL KIT project developed an assemblable ball so children can have contact with this practice.
Founded in 1958, Molten is one of the world's leading manufacturers of sports balls and is also dedicated to the dissemination of sport in its actions. Committed to contributing to the Sustainable Development Goals (SDGs), global targets set by the UN, the company understood that it would directly address two of them with this project: "Quality Education" and "Responsible Consumption and Production."
The educational component is the core of this initiative, which leads children to physically experience the pleasure of learning and practicing sports – in this case, soccer. They get together, use their skills to set up the ball and play. This is an educational mechanism capable of stimulating a child's thinking and socialization.
Meanwhile, the notion of "Responsible Consumption and Production" is linked to the production of the balls, whose material is made from recycled polypropylene and elastomeric synthetic resin. Consisting of 54 parts, the balls do not need to be inflated, and their manufacture is inspired by the Japanese technique takemari, in which a resistant spherical structure made of bamboo is created. In addition, these balls can be used for a long time, representing a good cost-benefit.
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PORTER
Corn kernels and castor beans
Nylon fiber made from dried corn and castor beans
Illustration of the manufacturing process
TANKER HELMET BAG
bag
TANKER DUFFLE BAG
travel bag
Porter is a subsidiary brand of the Japanese company Yoshida & Co. With widespread production of bags, backpacks, suitcases and luggage-related accessories, it was founded in 1962 and has established itself with great international popularity for its quality and design.
One of its best-known lines is called TANKER. Produced since 1983, it is inspired by the model of the United States Air Force MA-1 jackets, designed to be worn during flights. They are light and resistant, made from nylon and polyester. The bags are handcrafted from the same material.
To celebrate the 40th anniversary of this iconic line, Porter has teamed up with Toray Industries, Inc., a multinational headquartered in Japan that mainly produces synthetic fabrics, to develop a new material: the first plant-based nylon. With the slogan "Everything has changed and nothing has changed," Porter launched a line titled ALL NEW TANKER, which combines the established design of some of the most emblematic models in the TANKER line with production that utilizes a nylon known as Ecodear™ N510, made from corn and castor beans, replacing traditional nylon derived from petroleum.
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PORTER
Corn kernels and castor beans
Nylon fiber made from dried corn and castor beans
Illustration of the manufacturing process
TANKER HELMET BAG
bag
TANKER DUFFLE BAG
travel bag
Porter is a subsidiary brand of the Japanese company Yoshida & Co. With widespread production of bags, backpacks, suitcases and luggage-related accessories, it was founded in 1962 and has established itself with great international popularity for its quality and design.
One of its best-known lines is called TANKER. Produced since 1983, it is inspired by the model of the United States Air Force MA-1 jackets, designed to be worn during flights. They are light and resistant, made from nylon and polyester. The bags are handcrafted from the same material.
To celebrate the 40th anniversary of this iconic line, Porter has teamed up with Toray Industries, Inc., a multinational headquartered in Japan that mainly produces synthetic fabrics, to develop a new material: the first plant-based nylon. With the slogan "Everything has changed and nothing has changed," Porter launched a line titled ALL NEW TANKER, which combines the established design of some of the most emblematic models in the TANKER line with production that utilizes a nylon known as Ecodear™ N510, made from corn and castor beans, replacing traditional nylon derived from petroleum.
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SHELLMET
helmet
Japan is among the world's top 10 producers of aquaculture, an activity related to the cultivation and rational production of aquatic organisms, such as fish, mollusks, crustaceans, amphibians, reptiles and aquatic plants for human use. In this scenario, scallops stand out as the most consumed mollusk in the country and one of its most exported. Data from 2023 from Japan's Ministry of Agriculture, Forestry and Fisheries (MAFF) indicate that 160,000 tons of these sea creatures were produced in the two-year period of 2021 and 2022.
For each mollusk produced for consumption, a shell is discarded, accumulating in the soil without a proper destination, which can lead to contamination and impact on an entire community. It was with this in mind that Koushi Chemical Industry, in partnership with Professor Hiroshi Uyama of Osaka University, developed a pioneering material based on scallop shells from the village of Sarafutsu in Hokkaido. The recycling of these residues makes it possible to extract calcium carbonate (the main element in the composition of shells) and join it with previously recycled plastics, creating a type of material known as SHELLTEC.
This new material reduces CO2 emissions by up to 36% when compared to materials made entirely with new plastics and can also be recycled again, ensuring new life cycles and avoiding waste.
Calcium carbonate increases the strength of the plastic added to its mixture by 33%. Thanks to the solidity guaranteed by SHELLTEC, the company created the SHELLMET, a helmet with a shell-like structure used for fishing production.
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SHELLMET
helmet
Japan is among the world's top 10 producers of aquaculture, an activity related to the cultivation and rational production of aquatic organisms, such as fish, mollusks, crustaceans, amphibians, reptiles and aquatic plants for human use. In this scenario, scallops stand out as the most consumed mollusk in the country and one of its most exported. Data from 2023 from Japan's Ministry of Agriculture, Forestry and Fisheries (MAFF) indicate that 160,000 tons of these sea creatures were produced in the two-year period of 2021 and 2022.
For each mollusk produced for consumption, a shell is discarded, accumulating in the soil without a proper destination, which can lead to contamination and impact on an entire community. It was with this in mind that Koushi Chemical Industry, in partnership with Professor Hiroshi Uyama of Osaka University, developed a pioneering material based on scallop shells from the village of Sarafutsu in Hokkaido. The recycling of these residues makes it possible to extract calcium carbonate (the main element in the composition of shells) and join it with previously recycled plastics, creating a type of material known as SHELLTEC.
This new material reduces CO2 emissions by up to 36% when compared to materials made entirely with new plastics and can also be recycled again, ensuring new life cycles and avoiding waste.
Calcium carbonate increases the strength of the plastic added to its mixture by 33%. Thanks to the solidity guaranteed by SHELLTEC, the company created the SHELLMET, a helmet with a shell-like structure used for fishing production.
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SHIGERU BAN ARCHITECTS
CARTA bench
cardboard and wood bench
Shigeru Ban (born 1957, Tokyo) is a Japanese architect who won the Pritzker Prize (2014), the highest award in his profession. Since the 1980s, Ban has conducted research and tests related to cardboard and its possibilities. This material is low cost, 100% recyclable and ecologically sustainable, but it also has the mechanical properties necessary to support structural loads. Its installation process consists of fittings and lashings, it is easy to dismantle and reassemble and it does not require specialized labor.
A pioneer in the application of this material that is part of the daily lives of so many people in different cultures, Shigeru Ban initially produced temporary structures, such as exhibition scenography, and gradually became recognized for the use of this type of paper, which reached its maximum potency in the "Disaster Relief Design" project. This program began in 1995 and provides for the construction of temporary shelters in cases of natural disasters or in situations of social vulnerability.
The creation of furniture developed as a side project. The bench presented here is part of the series CARTA, which began with a chair that the architect designed for his own home. The structure is made of plywood and the seat is composed of thin paper tubes.
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Siita 漆板
Urushi Alaia
Alaia board
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Sweet Potato
Longboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Rice Ball Mini
Shortboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita is an initiative that combines sport and reverence for nature. Takuya Tsutsumi (1978) is a lacquer craftsman based in Kyoto Prefecture, the fourth generation of a lacquer workshop that has been in operation for over 100 years, Tsutsumi Asakichi Urushi. Rodrigo Matsuda (1981) is a craftsman and shaper who lives and works in the same region. Together, they combine the tradition of working with Japanese lacquer, known as urushi, with the development of innovative surfboards and skateboards.
The longboards, shortboards and skateboards presented in this exhibition are handcrafted out of wood from the Japanese trees known as Kiri (Paulownia) and Sugi (Japanese Cedar). These woods, however, are reused after their barks were peeled by bears, which use their claws and teeth to remove it from the trunk and then feed on the sapwood (the lightest and youngest part of the tree's trunk), which is sugary and rich in carbohydrates. Because of its lighter weight and increased flexibility, the wood of these trees is ideal for the manufacture of sports equipment.
Urushi, in turn, is a natural resin extracted from the lacquer tree, a plant native to the Asian continent. With a unique shine and texture, it has only recently been employed in sports, but has proven extremely effective thanks to its water-repellent properties. It reduces resistance and provides the boards with greater capacity for acceleration, for example.
Meanwhile, the Alaia board demonstrates another way to reuse materials: its wood comes from the same tree from which the lacquer is extracted, so that the plant is utilized completely, consciously and without generating waste.
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Siita 漆板
Urushi Alaia
Alaia board
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Sweet Potato
Longboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Rice Ball Mini
Shortboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita is an initiative that combines sport and reverence for nature. Takuya Tsutsumi (1978) is a lacquer craftsman based in Kyoto Prefecture, the fourth generation of a lacquer workshop that has been in operation for over 100 years, Tsutsumi Asakichi Urushi. Rodrigo Matsuda (1981) is a craftsman and shaper who lives and works in the same region. Together, they combine the tradition of working with Japanese lacquer, known as urushi, with the development of innovative surfboards and skateboards.
The longboards, shortboards and skateboards presented in this exhibition are handcrafted out of wood from the Japanese trees known as Kiri (Paulownia) and Sugi (Japanese Cedar). These woods, however, are reused after their barks were peeled by bears, which use their claws and teeth to remove it from the trunk and then feed on the sapwood (the lightest and youngest part of the tree's trunk), which is sugary and rich in carbohydrates. Because of its lighter weight and increased flexibility, the wood of these trees is ideal for the manufacture of sports equipment.
Urushi, in turn, is a natural resin extracted from the lacquer tree, a plant native to the Asian continent. With a unique shine and texture, it has only recently been employed in sports, but has proven extremely effective thanks to its water-repellent properties. It reduces resistance and provides the boards with greater capacity for acceleration, for example.
Meanwhile, the Alaia board demonstrates another way to reuse materials: its wood comes from the same tree from which the lacquer is extracted, so that the plant is utilized completely, consciously and without generating waste.
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Siita 漆板
Urushi Alaia
Alaia board
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Sweet Potato
Longboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Rice Ball Mini
Shortboard surfboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita 漆板
Skateboard
Skateboard
Shaper: Rodrigo Matsuda
Urushi: Takuya Tsutsumi
Siita is an initiative that combines sport and reverence for nature. Takuya Tsutsumi (1978) is a lacquer craftsman based in Kyoto Prefecture, the fourth generation of a lacquer workshop that has been in operation for over 100 years, Tsutsumi Asakichi Urushi. Rodrigo Matsuda (1981) is a craftsman and shaper who lives and works in the same region. Together, they combine the tradition of working with Japanese lacquer, known as urushi, with the development of innovative surfboards and skateboards.
The longboards, shortboards and skateboards presented in this exhibition are handcrafted out of wood from the Japanese trees known as Kiri (Paulownia) and Sugi (Japanese Cedar). These woods, however, are reused after their barks were peeled by bears, which use their claws and teeth to remove it from the trunk and then feed on the sapwood (the lightest and youngest part of the tree's trunk), which is sugary and rich in carbohydrates. Because of its lighter weight and increased flexibility, the wood of these trees is ideal for the manufacture of sports equipment.
Urushi, in turn, is a natural resin extracted from the lacquer tree, a plant native to the Asian continent. With a unique shine and texture, it has only recently been employed in sports, but has proven extremely effective thanks to its water-repellent properties. It reduces resistance and provides the boards with greater capacity for acceleration, for example.
Meanwhile, the Alaia board demonstrates another way to reuse materials: its wood comes from the same tree from which the lacquer is extracted, so that the plant is utilized completely, consciously and without generating waste.
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WASARA
maru
round plates
kaku
square plates
totte
holder/tray with handle
nagakaku
elongated rectangular tray
wasara
triangular plate
bowl
bowl
compote
bowl
choko
small cup
tumbler
cup
wine cup
wine cup
coffee cup
coffee cup
hachi large bowl
large bowl
oval bowl
oval bowl
kozu taster
recipient for small portions
bamboo fork
fork
bamboo knife
knife
bamboo spoon
spoon
WASARA is a Japanese brand that produces eco-friendly, single-use tableware made of paper. Its product line includes plates, cutlery and containers typical of Japanese daily life, such as the so-called choko, a type of small cup popularly used for sake consumption. The items are made using renewable raw materials, such as bamboo, an abundant plant in Japan that can be regenerated, and sugarcane bagasse, which, after the juice is extracted, generates a soft, malleable fiber. The residues, when mixed with water, form a moldable pulp that results in a type of paper that is resistant to oil and water, later employed by artisans to give shape to the objects. With an annual production of approximately 100 million tons, the use of sugarcane fiber demonstrates the sustainable commitment of the production process.
In addition, WASARA's production does not use bleaches, dyes, glues, resins nor plastic coatings, allowing for its products to be disposed of safely in landfills or destined for composting, promoting a healthy cycle of use and return to nature.
Another feature of these utensils that stands out is their design: organic lines that value the tradition of Japanese craftsmanship in pieces that are pleasant to the touch and suitable for the curvature of the hand, combining beauty and functionality with a lower environmental impact.
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YAMAHA
Designed by Nature Clarinet
The Designed by Nature Clarinet is a Yamaha prototype instrument that highlights the natural and unique characteristics of Grenadilla (also called African blackwood), a wood known both for its rarity and sonic capacity, commonly used in the manufacture of wind instruments.
This tree has a number of particularities: it has a lighter area near the bark that mixes with the darker heartwood (the innermost part of the trunk, which allows its support), creating a specific pattern at this intersection. It also has natural unevenness and incisions, and since the trunk twists as the tree grows, its wood acquires a mottled appearance, with darker spots.
The direction and density of the fibers not only impact the appearance but also influence the quality of the sound of the instrument to be built. The model presented here is called KINTSUGI, as it highlights the uniqueness of the material, its natural veins and cracks, through the application of an ancient Japanese restoration technique of the same name.
The kintsugi technique literally means "joining with gold," and it is traditionally performed to repair ceramics and porcelain. Broken pieces are glued together using a mixture of lacquer or glue with gold powder. The object thus becomes unique, with reassigned meaning to its beauty. In the case of clarinets, this procedure reinforces the materiality of the wood with its inherent characteristics, which would not usually be designated for the production of the instruments because of their marks. This results in an exclusive instrument, with a unique shape and sound, therefore making the utmost use of such a rare wood.
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fabula
Concrete plates made from food waste
Foods used: purple yam, tea leaves, citrus, corn, red pepper, grape, mandarin orange and cacao husks
fabula Inc. is a startup founded in 2021 and originated at the University of Tokyo. As its name states, the company was created to expand the "stories" and possibilities for using the organic waste that is simply discarded and often considered undesirable. Based on thorough research of different foods and their components, fabula develops materials and objects of various types using this debris.
In 2021, a study organized by the UN found that about 17% of all food available for human consumption in the world is wasted every year, generating major environmental impacts without benefits to the world's nutrition or having a proper destination, such as composting for soil fertilization.
Concerned with creating sustainable cycles for food scraps, fabula owns technologies that allow the creation of materials that are more resistant than concrete and which do not use petroleum-based binders, being completely natural. So far, over 100 types of vegetables, fruits and grains have already been transformed into construction materials or everyday objects, such as plates, bowls and furniture.
This exhibition features concrete plates made from purple yams, tea leaves, citrus, corn, red pepper, grape, mandarin orange and cacao husks. The manufacturing process consists in drying out food waste, turning it into powder and then pressing it on high heat in a mold. Each step contributes to obtaining the color and texture and preserving the aroma of the pieces. fabula has found that the resistance of some materials made from these residues is up to four times greater when compared with traditional concrete. A plate that measures just five millimeters is capable of supporting 30 kilograms, demonstrating its potential to become a common element in the constructions of the future.
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nendo
cabbage chair
nendo is a design studio founded and directed by designer Oki Sato (1977). The firm's name comes from the Japanese word for "clay," thus demonstrating its visual, sculptural approach combined with concepts of versatility, creativity and good humor.
The cabbage chair was designed in 2008 for the exhibition "XXIst Century Man." Curated by Issey Miyake, the show commemorated the first anniversary of 21_21 Design Sight, a cultural space in Tokyo. The fashion designer commissioned the studio to develop a piece of furniture that would use the papers employed in the process to manufacture the pleated fabrics characteristic of Miyake's brand. This material, also pleated, was produced in large quantities and usually discarded. The solution to the challenge proposed was to roll the papers into a cylindrical format. When cut in half vertically, layers appear which can be "peeled" one by one, forming a chair.
The paper used contains resins that were added during its production process. They increase its resistance and capacity for memory of form. The folds that generate the pleat give the chair elasticity and flexibility, providing the user with a comfortable sitting experience.
The chair's simple design presents a practical solution that attends manufacturing and distribution costs, as well as issues of the environment and waste reuse. In addition, the object has no internal structure and finish, nor does it require tools for assembly. It can also be transported in a compact manner, completely rolled up.
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nendo
cabbage chair
nendo is a design studio founded and directed by designer Oki Sato (1977). The firm's name comes from the Japanese word for "clay," thus demonstrating its visual, sculptural approach combined with concepts of versatility, creativity and good humor.
The cabbage chair was designed in 2008 for the exhibition "XXIst Century Man." Curated by Issey Miyake, the show commemorated the first anniversary of 21_21 Design Sight, a cultural space in Tokyo. The fashion designer commissioned the studio to develop a piece of furniture that would use the papers employed in the process to manufacture the pleated fabrics characteristic of Miyake's brand. This material, also pleated, was produced in large quantities and usually discarded. The solution to the challenge proposed was to roll the papers into a cylindrical format. When cut in half vertically, layers appear which can be "peeled" one by one, forming a chair.
The paper used contains resins that were added during its production process. They increase its resistance and capacity for memory of form. The folds that generate the pleat give the chair elasticity and flexibility, providing the user with a comfortable sitting experience.
The chair's simple design presents a practical solution that attends manufacturing and distribution costs, as well as issues of the environment and waste reuse. In addition, the object has no internal structure and finish, nor does it require tools for assembly. It can also be transported in a compact manner, completely rolled up.
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nendo
cabbage chair
nendo is a design studio founded and directed by designer Oki Sato (1977). The firm's name comes from the Japanese word for "clay," thus demonstrating its visual, sculptural approach combined with concepts of versatility, creativity and good humor.
The cabbage chair was designed in 2008 for the exhibition "XXIst Century Man." Curated by Issey Miyake, the show commemorated the first anniversary of 21_21 Design Sight, a cultural space in Tokyo. The fashion designer commissioned the studio to develop a piece of furniture that would use the papers employed in the process to manufacture the pleated fabrics characteristic of Miyake's brand. This material, also pleated, was produced in large quantities and usually discarded. The solution to the challenge proposed was to roll the papers into a cylindrical format. When cut in half vertically, layers appear which can be "peeled" one by one, forming a chair.
The paper used contains resins that were added during its production process. They increase its resistance and capacity for memory of form. The folds that generate the pleat give the chair elasticity and flexibility, providing the user with a comfortable sitting experience.
The chair's simple design presents a practical solution that attends manufacturing and distribution costs, as well as issues of the environment and waste reuse. In addition, the object has no internal structure and finish, nor does it require tools for assembly. It can also be transported in a compact manner, completely rolled up.
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Japanese principles: design and resources
Curator
Natasha Barzaghi Geenen
Curator assistants
Carolina De Angelis
Thelma Nakae
Executive production
Karen Garcia
Erika Litsumi Uehara
Production assistant
Natália Longhi
Exhibition design
RADDAR
Sol Camacho
Eric Ennser
Gabriel Souza
Maria Vitória Martins
Matheus Santos
Thamires Garcia
Reed suplier
Artvale
Scenography
Equipa Group
Patricio Malvezzi
Fabio Utahara
Carlos Almeida
Renato dos Santos
Cristian Almeida
Luiz Antonio
Luiz Bezerra Rodrigues
Alexandre Pereira da Silva
Luis Henrique Fonseca
Adriano dos Santos Silva
Audivan do Nascimento
G5 Cenografia
José Aldo Dell’ore
Baldoino Vidros
City Film
Climate control system consulting
Bruno Fedeli
Painting
Manos Cogrossi
Lighting design
Iluminarte | Kristhyan Natal
Lighting
MMV Montagens Audiovisuais
Conservation
Heloisa Biancalana
Leila Cristina Antero Cordeiro
Lilian Magalhães
Maristela Magalhães Mônaco
Rita Torquete
Assembly setup
Projeta Produções Culturais
Assembly coordination
Rafael Filipe
Assembly team
Ana Beatriz Mieka Fujimoto
Hélio Iwasa
Ludmila Diniz
Maira Key Takiy
Renato Santos
Wanderley Santos
Visual communication
Thiago Minoru
Printing of visual communication
Omamulti Stickers
Logistics
TS Logistica | Tiago Souza
International transportation
Waiver Logística
National transportation
ATM Janus Logística
Translation
Komorebi Translations
Flávia Couto
Matthew Rinaldi
Alcance Consultoria de Idiomas | Eduardo Lasota
Text revision
Armando Olivetti
Interpreter
Yu Kawahara
Fire security team
Jk Fire Freitas
Institutional photography
Luciana Izuka
Institutional video
Fuerza Films
Accessibility
Hiromi Saito
Felipe Lima
Vinicius Garcia Pires
Leonardo Stephens Domingues
Accessibility consulting
Daina Leyton
Tactile and visual communication
ArtSim
Seal Acessibilidade
Brazilian sign language (LIBRAS)
Ponte Libras
Audio description
Danielle França e Milton Carvalho
WebApp
Umpratodos
Acknowledgements
We thank all the creators and participating companies: Bashofu Orimono Kobo, BUAISOU, Inc., ©fabula inc., ISSEY MIYAKE INC., KOSUKE ARAKI, KOUSHI.inc, ©KUSAKANMURI, MIYAKE DESIGN STUDIO, ©Molten Corporation, ©nendo, ©SHIGERU BAN ARCHITECTS, ©Tsutsumi Asakichi Urushi Inc., WASARA Co., Ltd. Yamaha Corporation, Yamaha Musical do Brasil Ltda., YOSHIDA & Co.
We also thank the support of Satoru Saito.
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Mottaina.i 勿体無い: a quality to appreciate
With a new word, a new heart.
Motta, a noun composed of the ideograms that denote "deny" and "body," came with the Buddhist sense, introduced in the 6th century in Japan, of "the true body [value, character] of things," indicating the importance of all the beings, animate or inanimate, that make up the world.
With the connection of the particle nai which indicates negation, mottainai changes its grammatical category, becoming a qualifier which means "to lose the true body [value, character] of things," and its meaning undergoes cultural changes.
Today, its best known meaning is "feeling sorrow for the useless result of not having succeeded in making the value of things shine [to waste]." If we discard an object that can still be used, this is mottainai. Spending time chitchatting is mottainai. So is a grain of rice abandoned in the bowl. Still, knowing when or what "waste" is isn't always easy. In many ways, a mottainai attitude shows itself as ontological humility to problems that are external to individuals. Hence the environmental movement emerged as a response to an excessive and savage industrialization. Attitudes that consider solutions that minimize mottainai use connect with one another to combat pollution, the destruction linked to residues from the heavy metal industry. The karma of waste falls on us, because we are fundamentally connected in an interdependent web of causality with everything that exists outside our body.
The qualifier mottainai, therefore, brings to contemporary consciousness the need for us to connect to the environment in a humble and respectful way, without waste, attributing due value to all matter, in an animistic interpretation of new ecologies.
Madalena Natsuko Hashimoto Cordaro
Senior lecturer in the Visual Poetics Program at ECA/USP
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Rethinking resources
There is a growing collective awareness regarding the scarcity of resources and the need for increasingly intelligent and fruitful use of materials. The topic is on the global agenda and features prominently in the Sustainable Development Goals (SDGs) established by the United Nations (UN).
Japan is a country that is especially aligned and engaged with this cause.
The exhibition Japanese principles: design and resources presents examples of great innovations in the field of design, executed by Japanese creators striving to make better use of resources and materials, as well as lower environmental impact.
While such principles are the foundations of these objects, they also evoke the perception of the origins of so many traditional productions that had already taken these premises into account. This awareness is rooted in Japanese culture, which greatly values respect for nature.
In this exhibition, we focus on pieces that can be understood in different categories linked to the issue of the environment. There are solutions that enable the maximum use of a certain material, such as the Alaia surfboard, made with wood from the same tree that provides the lacquer – used as a waterproofing agent – thus taking full advantage of the plant. We also have pieces created from waste, designed to solve problems related to garbage and give it new life, such as concrete made from food scraps. We also have objects that are created to replace less sustainable ones, such as the nylon made from castor beans and corn as a substitute of common nylon derived from petroleum.
In addition to contemporary technological and aesthetic innovations are some traditional examples that reinforce how the mottainai philosophy is inherent to Japanese thought.
Rice, the base of the Japanese diet, marks its presence right at the exhibition's entrance, with the work of Ikuya Sagara, utilizing rice straw in the construction of roofs according to the ancient Japanese technique known as kayabuki. It also appears in the fabric obtained from the development of the bold, sophisticated technology of A-POC ABLE Issey Miyake, and in stools made of rice, sawdust and jute by Kosuke Araki.
The inspiration for this exhibition was born from the mottainai philosophy, which preaches "no waste." This term is born out of a combination of the Buddhist word mottai, which refers to the essence of things and the perception that everything has value, with the particle nai, which indicates negation in the Japanese language.
Japanese people often employ this expression when something can still be used.
This concept, however, is not limited to material waste. It proposes a better use of available resources, but also great care in personal relationships, with nature and even with time.
Therefore, the exhibition offers visitors an overview of initiatives imbued with the mottainai spirit, achieved thanks to consistent investment in research, technological development and a high capacity for creativity, and it aims to inspire our society to seek solutions that are so necessary and urgent.
Natasha Barzaghi Geenen
Curator of the exhibition and Cultural Director of Japan House São Paulo
#PrincipiosJaponeses #DesignNaJHSP
Following the premise of the exhibition, all the material of the exhibition furniture was made from recycled banknotes in Brazil.
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