Contents:I. Re-design: Making the ordinary unknown ; Art and design ; Re-design exhibition ; Shigeru Ban and toilet paper ; Masahiko Sato and Entry/Exit stamps ; Kengo Kuma and the Roach Trap ; Kaoru Mende and matches ; Kosuke Tsumura and diapers ; Naoto Fukasawa and tea bags ; The Re-design exhibition travels the world ; The architects' macaroni exhibition ; Food design ; Norihide Imagawa: She & He ; Tadasu Ohe: Wave-ripple. Loop. Surf ; Akio Okumura: i flutte ; Kaoru Kasai: Ottoco ; Kengo Kuma: Semi constructive ; Atelier Zo: Maccheroni ; Kanji Hayashi: Serie Macchel'occhi ; Mayumi Miyawaki: Punching macaroni --
II. Haptic: Designing the senses ; The HAPTIC Exhibition ; Kosuke Tsumura: Kami Tama ; Shin Sobue: Tadpole coasters ; Jasper Morrison: Wall clock ; Toyo Ito: Gel Doorknob ; Panasonic Design Company: Gel remote control ; Naoto Fukusawa: juice skin ; Shuhei Hasado: Geta ; Events on the skin ; Yasuhiro Suzuki: Cabbage bowls ; Shunji Yamanaka: floating compass ; Matthieu Manche: Mom 'n baby ; Keiko Hirano: paper wastebasket ; Kenya Hara: Water pachinko ; Masayo Ave: 800 dots-paperback cover ; Kengo Kuma: cast-off snakeskin paper towel ; Reiko Sudo: gazelles ; Kazunari hattori: tailed gift cards ; Kenya Hara: Humidifier ; Sense-driven ; Spreading the world Atlas of the senses --
III. Senseware: What evokes the senses. A white, tense material. Communicating with materiality ; Architecture of information ; The field of sensory perceptions. The architecture within the brain ; The programs for the opening and closing ceremonies of the Nagano Winter Olympic Games ; Signage system for a clinic ; Matsuya Ginza renewal project ; Palpable media ; The collaboration of tactile designs ; Information as an event ; Nagasaki prefectural art museum: visual identification ; Ripple-like information ; Swatch group: signage system for Nicolas G. Hayek center ; The watch hovering in the air ; A watch in the hand ; Books as information sculpture ; Rediscovering books ; Information is a single soft-boiled egg ; Information sculpture ; Not future but present ; Filing ; Im product. Don't talk about colors ; Optimum ; Paper and design --
IV. White: White as a design concept ; Discovering white ; The implicit color ; Escaping color ; Original forms of information and life --
V. Muji: Visualizing the MUJI concept ; What Ikko Tanaka passed on to me ; MUJI's origin, MUJI's challenge ; Acceptance, not appetite ; World MUJI ; Emptiness ; Placing the logo on the horizon ; Location - in search of the horizon ; House ; What is quality in simplicity? ; The future of design ; Education of desire ; Fertilizing the soil ; MUJI: What happens naturally --
VI. Viewing the world from the tip of Asia: Where all cultures are accepted ; Tradition and universality ; Recreating a mature culture ; Waiting for what nature brings: Gajyoen and Tenku-no-Mori ; Reclaiming Japan's quality in the world's eyes: obuse-do corporation ; Unearthing the meaning of Nothingness: Mukayu ; Identity breed attraction ; The expo that might have been ; The original idea and "nature's wisdom" ; The practical power of ecology ; Our forest vision ; Technology: closer to nature with each evolution ; Familiar nature and life norms, as characters ; The self-propagating / multiplying / Breeding Media ; The Never-ending project ; The Beijing summer Olympic Games Symbol design competition ; The pulse of Asia --
VII. Exformation: Making the world unknown ; Putting a full stop to thinking ; Acquiring knowledge is not the goal ; Making an entrance for curiosity ; The process of making things unknown ; Exformation 1: The Shimanto river ; Exformation 2: Resort --
VIII. What is design?: Hearing the outcry ; Two origins ; Decoration and power ; The origin of design ; Integration of design ; Design in the afternoon of the 20th century ; Standardization and mass production ; Style change and identity ; Thought and brand ; The prank of postmodernism ; Computer technology and design ; Radical dash ; Beyond Modernism --
IX. Naoto Fukusawa --
X. Kenya Hara
Llibre
There are no comments on this title.