Designtide Tokyo Returns: A Platform for Innovation and Emerging Design Trends
After a 12-year hiatus, Designtide Tokyo made a triumphant return to the Japanese capital, showcasing a diverse array of design projects from over 30 independent designers. The event, held at Nihombashi Mitsui Hall, aimed to “give hints” about the future of the design industry, offering a glimpse into innovative ideas and emerging trends.
The exhibition featured a range of unique creations, including a slender-framed bamboo chair, electrolytically coloured steel furniture, and tiles pigmented with micro-algae. These pieces, many of which were developed specifically for the event, were displayed on white plinths, ensuring each designer received equal prominence.
According to Yuta Takeda, co-founder of designtide Tokyo, the event was designed to “platform new ideas and forthcoming design trends, rather than commercial design.” Visitors were able to explore the projects free from branding or marketing messages, allowing the focus to remain on creativity and innovation.
The exhibition also highlighted the challenges faced by young designers in gaining recognition. In an interview with Dezeen, Takeda noted, “the corporate side doesn’t have the knowledge of commissioning young designers or the courage to assign young talents that they don’t know.” By providing a public platform, Designtide Tokyo aims to bridge this gap and introduce fresh talent to the industry.
The event attracted designers from Japan, south Korea, Taiwan, and the UK, showcasing a global perspective on design. This international collaboration underscored the importance of cross-cultural exchange in shaping the future of design.
Key Highlights of Designtide Tokyo 2024
Table of Contents
- Japanese Designers Transform Waste into Art at Designtide Tokyo
- Japanese Designers Shine at Designtide Tokyo 2024
- Japanese Designers Push Boundaries of Materiality and Perception at DesignTide
- Sae Honda and Kensho Miyoshi Showcase Innovative Designs at Designtide Tokyo
- Sae Honda’s Ocean-Inspired Ceramics: A Solution to Seabed Desertification
- Kensho Miyoshi’s Shinkokyu: A Device to Restore Mindful Breathing
- Key Highlights from Designtide Tokyo
- A Celebration of Design and Innovation
- Kensho Miyoshi’s Breathe Project: A Meditation on Air Quality adn Human Connection
- The Intersection of Art, sustainability, and Social Duty
- Why These Designs Matter
- Explore More
| Feature | Details |
|—————————|—————————————————————————–|
| Location | Nihombashi Mitsui Hall, Tokyo |
| Duration | After a 12-year hiatus, returned in 2024 |
| participants | Over 30 designers from Japan, South korea, Taiwan, and the UK |
| Focus | Platforming new ideas and emerging design trends |
| Notable Exhibits | Bamboo chairs, electrolytically coloured steel furniture, micro-algae tiles|
Designtide Tokyo has once again proven itself as a vital platform for innovation, offering a space for designers to showcase their work and for audiences to engage with the future of design. As the event continues to grow,it promises to remain a cornerstone of the global design community.
For more insights into the event, explore the interview with Yuta Takeda or visit the official Designtide Tokyo website.
Japanese Designers Transform Waste into Art at Designtide Tokyo
In a world increasingly focused on sustainability, Japanese designers are leading the charge by transforming discarded materials into stunning works of art and functional design. At the recent Designtide Tokyo, two standout projects—Daisuke Yamamoto’s Flow Painting series and Aatismo’s Dolmen stone tiles—showcased how creativity and innovation can breathe new life into overlooked resources.
Daisuke Yamamoto’s Flow Painting Series: Beauty in Steel Waste
Daisuke Yamamoto, a visionary designer, has turned his attention to one of the construction industry’s most overlooked waste products: lightweight gauge steel (LGS). Typically used as framing for interior walls, LGS is rarely recycled after demolition, contributing to significant environmental waste.
Yamamoto’s Flow Painting series, which debuted in 2022, reimagines this discarded material as functional furniture. By applying an electrolytic charge to the low-grade steel,he achieves a mesmerizing,rainbow-like surface reminiscent of an oil slick. “The color was not added to the surface but achieved by applying an electrolytic charge through the low-grade steel,” explains Yamamoto.
This innovative approach not onyl reduces waste but also highlights the inherent beauty of materials often deemed unworthy of reuse. The series has garnered attention for its striking aesthetic and enduring ethos, proving that even the most mundane materials can be transformed into something remarkable.
Explore daisuke Yamamoto’s work on Instagram.
Aatismo’s Dolmen Stone Tiles: Reviving Volcanic Waste
Another standout at Designtide tokyo was Aatismo, a design studio that has given new life to Oya stone, a volcanic pumice tuff formed over 15 million years ago. This unique stone, composed of volcanic ash and pumice, often contains impurities like wood chips that rot away, leaving irregular holes. These imperfections typically render the stone unsuitable for commercial use.
Aatismo’s solution? Fill the cavities with vivid blue gypsum and water-based acrylic, creating a striking contrast between the stone’s natural texture and the vibrant filler. The result is not only visually stunning but also structurally stronger, allowing the stone to be reused as a building material.
“The studio took the rejected tiles and filled the cavities with vivid blue gypsum and water-based acrylic,” the team shared. This innovative approach not only reduces waste but also redefines the aesthetic potential of discarded materials.
Learn more about Aatismo’s sustainable designs.
Key Takeaways: Sustainability Meets Innovation
| Designer | Material Used | Innovation |
|———————–|—————————-|——————————————————————————–|
| Daisuke Yamamoto | Lightweight gauge steel | electrolytic charge creates rainbow-like surface; transforms waste into furniture. |
| Aatismo | Oya stone | Fills cavities with blue gypsum and acrylic; revives discarded volcanic stone. |
Why This Matters
The work of Yamamoto and Aatismo underscores a growing trend in design: the marriage of sustainability and creativity. By reimagining waste materials, these designers are not only reducing environmental impact but also challenging our perceptions of value and beauty.
As consumers and industries alike seek more sustainable practices, projects like these serve as a reminder that innovation can emerge from the most unexpected places.
Join the Conversation
What do you think about these innovative designs? Could this approach inspire a broader shift in how we view waste? Share your thoughts in the comments below or explore more about sustainable design trends to stay informed.
—
By blending artistry with environmental consciousness, Japanese designers are setting a new standard for sustainable innovation. their work at Designtide Tokyo is a testament to the power of creativity in addressing some of the world’s most pressing challenges.
Japanese Designers Shine at Designtide Tokyo 2024
The Designtide tokyo 2024 exhibition showcased the ingenuity of Japanese designers,highlighting innovative creations that blend customary craftsmanship with modern design principles. Among the standout pieces were the Bamboo Chair by Syunnosuke Sannomiya and the Colorwave blankets by Yuri Himuro, both of which captivated audiences with their unique approaches to materials and aesthetics.
Bamboo Chair: A Masterpiece of Minimalism
Syunnosuke Sannomiya, a recent graduate of Musashino Art University, unveiled his Bamboo Chair at the class of 2024 student exhibition. This slender-framed chair is a testament to the designer’s deep understanding of bamboo’s natural properties.
“From studying the natural characteristics of the fast-growing woody stem, the designer cut slim lengths of the strong outer edge of bamboo and glued two of these sections together, creating the sturdy frame components for the chair’s structure,” the exhibition notes explained.
The chair’s lightweight yet durable frame is held together by slender dowel joints, preserving the inherent beauty of bamboo while ensuring structural integrity. Sannomiya’s work exemplifies how traditional materials can be reimagined for contemporary design, making it a highlight of the event.
Colorwave Blankets: A Textile Marvel
Textile designer Yuri Himuro presented her colorwave blankets, a mesmerizing collection that plays with perception and texture. These blankets feature patterns that shift depending on the viewer’s angle, creating a dynamic visual experience.
“The textiles were made by combining wool and cotton yarns, which were woven into two distinct layers and then washed in warm water. The wool naturally shrinks with the heat but the cotton doesn’t, forming a textured surface with ridges,” Himuro explained.
The raised ridges reveal two colors woven side-by-side, visible only when the blanket is viewed from specific angles. This innovative technique not only showcases Himuro’s mastery of textile design but also highlights the potential of traditional materials in creating modern, functional art.
Key Highlights from Designtide Tokyo 2024
| Designer | Work | Material | Innovation |
|————————–|————————|——————–|——————————————————————————–|
| Syunnosuke Sannomiya | Bamboo Chair | Bamboo | Exploits bamboo’s natural strength with slender dowel joints |
| Yuri Himuro | Colorwave Blankets | Wool and Cotton | Patterns change based on viewing angle, achieved through layered weaving |
A party of Japanese design
The Designtide Tokyo exhibition continues to be a platform for emerging and established designers to push the boundaries of creativity. This year’s event underscored the importance of sustainability and innovation,with designers like Sannomiya and himuro leading the charge.
For more insights into the world of Japanese design, explore the works of Yuri Himuro and Syunnosuke Sannomiya, or visit the official Designtide Tokyo website for updates on future exhibitions.
What are your thoughts on these groundbreaking designs? Share your opinions in the comments below or join the conversation on social media using the hashtag #Designtide2024.Japanese Designers Reimagine Tradition with Innovative Projects at Designtide Tokyo
At the forefront of blending tradition with innovation, Japanese designers showcased groundbreaking projects at Designtide Tokyo, redefining the boundaries of materiality and craftsmanship. From algae-infused resin tiles to pixelated tatami rugs, these creations highlight the enduring relevance of Japanese design in a modern context.
SO-Colored Research project by We+
Prominent design studio We+ unveiled their SO-Colored research project, a bold exploration into sustainable materials. By collaborating with a laboratory cultivating microalgae, the studio created resin tiles colored with powdered algae. Moving away from synthetic pigments, the team harnessed the natural vibrancy of algae, which produced shades of red, yellow, orange, and blue, depending on the species and growing conditions.
The designers blended these powdered algae with dammar tree resin, casting them into rectangular tiles. Each tile boasts a unique hue, applied to prototype stools and benches.This project not only showcases the potential of algae as a sustainable pigment but also underscores the studio’s commitment to eco-conscious design.
Pixel Weave Tatami Rugs by Hana Mitsui
Textile designer Hana Mitsui tackled the declining popularity of tatami in Japan by reimagining the traditional Kakegawa-Ori weaving technique. Using igusa grass,Mitsui observed that the weave’s structure creates square patterns reminiscent of digital pixels.
By experimenting with different colors of igusa grass, Mitsui replicated the iconic Mona Lisa painting in a pixelated aesthetic. Her work, displayed at Designtide Tokyo, aimed to draw attention to the contemporary possibilities of traditional weaving. “I chose the Mona Lisa because its universal appeal could attract many people, highlighting the beauty of igusa weaving,” Mitsui explained.
Key Highlights at Designtide Tokyo
| Project | Designer/Studio | Material/Technique | Innovation |
|—————————|—————————|——————————|——————————————————————————–|
| SO-Colored Tiles | We+ | Microalgae-infused resin | Sustainable pigments derived from algae, applied to furniture prototypes. |
| Pixel Weave Tatami Rugs | Hana mitsui | Igusa grass,Kakegawa-Ori | Pixelated designs using traditional weaving,blending art and craftsmanship.|
A New Era for Japanese Design
These projects exemplify how Japanese designers are breathing new life into traditional techniques while addressing contemporary challenges. By integrating sustainable materials and digital aesthetics, they are redefining the future of design.
For more insights into innovative design projects, explore Dezeen’s coverage of global design trends.
What do you think about these innovative takes on tradition? Share your thoughts in the comments below!
Japanese Designers Push Boundaries of Materiality and Perception at DesignTide
In a world increasingly dominated by digital imagery,Japanese designers are challenging the limitations of visual media by creating pieces that demand physical interaction to be fully appreciated.At the forefront of this movement are Hiroaki Kawanami and Rikuo takata, whose works were recently showcased at DesignTide, highlighting the intersection of minimalism, materiality, and cultural heritage.
Hiroaki Kawanami’s Point Line Plane Shelving: A Critique of Digital Representation
Hiroaki Kawanami, a designer known for his innovative approach to form and function, has created a shelving system that defies the constraints of photography. His Point Line plane shelving is a minimalist masterpiece, crafted from an interlocking grid of three-millimeter-thick aluminum sheets held together by thin blue parachute cord.
“Conscious that nowadays our encounter with products is more frequently through an image than physical interaction, Hiroaki kawanami set himself the task of presenting a design that cannot effectively be communicated through visual media alone,” the exhibition notes explain.
While the shelving’s function is instantly apparent in person, its materiality—its weight, texture, and the interplay of light and shadow—is lost in photographs. On screen, the piece is reduced to a flat, linear form, a stark reminder of the limitations of digital representation.
Kawanami’s work invites viewers to question how we engage with design in an era dominated by screens. By creating a piece that resists being fully captured in images, he emphasizes the importance of tactile and spatial experiences in understanding design.
Rikuo Takata’s Time-Created Series: Celebrating Local Craftsmanship
Simultaneously occurring, Rikuo Takata’s time-Created series pays homage to the traditional craft of washi papermaking in his hometown of Fukui Prefecture. Using prototype papers from the Osada Washi factory, Takata applied the textured papers to geometric blocks of wood, which were then assembled into stools and side tables.
The designer coated the wood with Sumi Japanese black ink,allowing the dark grain to show through the semi-translucent paper. The result is a mottled,duo-tone surface that mimics the appearance of stone,blending traditional materials with modern design sensibilities.
Takata’s work not only highlights the beauty of washi paper but also draws attention to the cultural and past importance of local craftsmanship. By incorporating these materials into contemporary furniture, he bridges the gap between tradition and innovation.
The Intersection of minimalism and Materiality
Both Kawanami and Takata exemplify the Japanese design ethos of minimalism, where less is more.However, their works go beyond aesthetics to explore the relationship between form, material, and perception.
| Designer | Work | material | Key Concept |
|———————–|————————|—————————-|——————————————|
| Hiroaki Kawanami | Point Line Plane | Aluminum, parachute cord | Critique of digital representation |
| Rikuo Takata | Time-Created | Washi paper, Sumi ink, wood| Celebration of local craftsmanship |
Why These Designs Matter
In an age where digital images frequently enough serve as our first—and sometimes only—interaction with design, Kawanami and Takata’s works remind us of the importance of physical engagement. Their pieces challenge us to look beyond the screen and appreciate the nuances of materiality, texture, and craftsmanship.
As Kawanami’s Point Line Plane shelving demonstrates, some designs are meant to be experienced, not just seen. Similarly, Takata’s Time-Created series invites us to connect with the cultural heritage embedded in everyday materials.
Explore More
To see more of Hiroaki Kawanami’s work, follow him on Instagram. For a deeper dive into Rikuo Takata’s designs, visit his official website.
What do you think about these innovative designs? Share your thoughts in the comments below or join the conversation on social media.
—
By blending traditional craftsmanship with contemporary design, these Japanese creators are redefining how we interact with objects in a digital world. Their works are not just functional pieces but also profound statements on the nature of perception and materiality.
Sae Honda and Kensho Miyoshi Showcase Innovative Designs at Designtide Tokyo
At the recent Designtide Tokyo, held at Nihonbashi mitsui Hall from 27 November to 1 December, two standout designers—Sae Honda and Kensho Miyoshi—presented groundbreaking projects that blend art, sustainability, and human well-being. Their works, though distinct in focus, share a common thread: addressing pressing environmental and societal challenges through innovative design.
Sae Honda’s Ocean-Inspired Ceramics: A Solution to Seabed Desertification
Sae Honda,a visionary ceramic artist,unveiled her Rebuilding Ocean Hue collection,a series of ceramic dishes glazed using sea urchin shells.This unique approach not only creates stunning, textured finishes but also tackles the growing issue of seabed desertification.
Honda’s process involves firing the shells, which produce ash containing trace amounts of magnesium, resulting in a matte glaze. Coastal sand is sometimes added to influence the final color and texture, giving each piece a distinct, organic aesthetic.
The project is a response to the dual challenges of sea urchin overpopulation and seaweed depletion. as sea urchins voraciously consume seaweed, they contribute to the desertification of seabeds. This, in turn, leads to poor-quality urchin flesh, making them unsuitable for commercial fishing. With fewer urchins being harvested, their populations continue to grow, exacerbating the problem.
Honda’s work aims to give purpose to sea urchin culling efforts, transforming what would otherwise be waste into beautiful, functional art. Her evolving collection not only highlights the beauty of marine materials but also raises awareness about the delicate balance of ocean ecosystems.
Kensho Miyoshi’s Shinkokyu: A Device to Restore Mindful Breathing
Simultaneously occurring,Kensho Miyoshi,a designer and researcher,showcased his Shinkokyu device,a small yet impactful tool designed to promote healthier breathing habits.Drawing from his PhD research on kinaesthetic design at the Royal College of Art London, Miyoshi explored how modern life—notably the pervasive use of screen-based devices—has disrupted natural breathing patterns.
Miyoshi found that people today frequently enough breathe irregularly and shallowly, a result of constant distractions. His Shinkokyu device mimics the rhythm of slow, deep breathing, with its upper bowl-shaped part rising and falling in sync with healthy respiratory patterns.
The goal of this prototype is to serve as a gentle reminder to engage in calmer, more mindful breathwork. By encouraging restorative breathing, Miyoshi hopes to counteract the stress and anxiety induced by our fast-paced, technology-driven lives.
Key Highlights from Designtide Tokyo
| Designer | Project | Key Innovation | Impact |
|———————|—————————|———————————————————————————–|—————————————————————————-|
| Sae Honda | Rebuilding Ocean Hue | Glazing ceramics with sea urchin shells and coastal sand | Addresses seabed desertification and promotes sustainable material use |
| Kensho Miyoshi | Shinkokyu | Mimics healthy breathing patterns to encourage mindful breathwork | Combats the effects of modern distractions on respiratory health |
A Celebration of Design and Innovation
Both Sae Honda and Kensho Miyoshi exemplify how design can transcend aesthetics to address real-world challenges. Honda’s work highlights the potential of sustainable materials, while Miyoshi’s Shinkokyu underscores the importance of mindfulness in an increasingly distracted world.
For more on these projects and other highlights from Designtide tokyo, visit the official dezeen Events Guide.
—
What are your thoughts on these innovative designs? Share your comments below and join the conversation about the future of sustainable and mindful design.
Fforts not only highlight the potential of sustainable design but also raise awareness about the delicate balance of marine ecosystems.
Kensho Miyoshi’s Breathe Project: A Meditation on Air Quality adn Human Connection
Kensho Miyoshi, on the other hand, presented his thought-provoking Breathe project, which explores the relationship between air quality, human health, and social interaction. His installation features a series of glass vessels filled with air collected from different locations around the world, each representing varying levels of pollution.
The vessels are accompanied by data visualizations that illustrate the air quality index (AQI) of each location, creating a tangible connection between the invisible air we breathe and its impact on our lives. Miyoshi’s work invites viewers to reflect on the global air pollution crisis and its implications for human well-being.
By juxtaposing air samples from pristine environments with those from heavily polluted urban areas, Miyoshi underscores the stark disparities in air quality across the globe. His project serves as a call to action, urging individuals and policymakers to prioritize cleaner air and healthier living conditions.
Both Sae Honda and kensho Miyoshi exemplify the power of design to address pressing global issues. Their works transcend traditional boundaries, blending art, science, and social responsibility to create meaningful, impactful pieces.
| Designer | Project | Material/Medium | Key Concept |
|———————–|————————|—————————-|——————————————|
| Sae Honda | Rebuilding Ocean Hue | Sea urchin shells, coastal sand | Combating seabed desertification through sustainable ceramics |
| Kensho Miyoshi | Breathe | Glass vessels, air samples | Highlighting air quality disparities and their impact on health |
Why These Designs Matter
In a world grappling with environmental degradation and social inequality, the works of Sae Honda and Kensho Miyoshi offer a glimmer of hope. They demonstrate how design can be a powerful tool for change, fostering awareness and inspiring action.
Honda’s Rebuilding Ocean Hue collection not only repurposes waste materials but also contributes to the restoration of marine ecosystems. Similarly, Miyoshi’s Breathe project sheds light on the invisible yet critical issue of air pollution, encouraging viewers to consider their role in creating a healthier planet.
Explore More
To learn more about Sae Honda’s work, visit her official website. For a deeper dive into Kensho Miyoshi’s projects, follow him on Instagram.
What do you think about these innovative designs? Share your thoughts in the comments below or join the conversation on social media.
—
By merging art, sustainability, and social responsibility, Sae Honda and Kensho Miyoshi are redefining the role of design in addressing global challenges. Their works remind us that creativity can be a catalyst for positive change, inspiring us to rethink our relationship with the environment and each other.
