• Marko Ruzin
Keywords: letter, synonym, design


The modern Japanese design today is in a historical momentum of change. Japanese designers define new orientations for the coming decades and announce a new technical and spiritual sphere. In the last two decades, events in this domain were growing in and out of Japan, hundreds of exhibitions were organized, a huge number of projects were realized, a number of debates dedicated to the design were initiated. Designers from various generations, layers, styles, features took part in such intense dynamics. Common denominator of the described frequent communication was the sending of signals to a new vision, which surpassed the ordinary frames or the abundant creation of new aesthetic objects. This tendency was increasingly oriented towards the experimentation and application of new materials and technologies. It is also trying to preserve or renew manual and craft local traditions. This evolution fuels on "the extreme individual specialization which is accompanied by an" interdisciplinary and cooperative orientation ". Such a relationship raises the boundaries of objects of their physical and imaginary potential to the fullest extent, and in the same way, devises and fills within the living space. The mobilization of the senses becomes even more evident.
During 2003, the Japanese daily Asahi Shimbun published a letter from the famous fashion designer Issey Miyake (titled "Timeto Create a Designe Museum"). In this text he is committed to building a Design Museum in Japan. At the same time, he is trying to analyze the design in Japan and recalls the requirements for refreshing the design ten years after the economic crisis in Japan. In this review, Mijake notes that "the Japanese have become indifferent to new ideas and original technologies as well as to design processes that give them" form ". He addresses his compatriots that "they should be more sensitive to modern designs that can improve their lives". Mijake tells the elites that there is an unwanted effect of intellectual and creative impoverishment, because "designers look only forward without turning back and exploiting the lessons learned from the past. Fifteen years later, it can be concluded that Japan does not yet have a design museum, but the campaign of Mijane, Kenya Haro and art historian Masanori Aoyagi has grown into a kind of movement. In 2013, the realization of the creation of a national design center was launched. It was another motive to begin the interest of Japanese designers to engage in the implementation of new materials, technology and innovations to the energy that influenced the cohesion of society. Kenya Aharo succeeded in gathering the largest living Japanese creators and the most successful creative crews in the domain of design, art, architecture, engineering of Japan. The basic slogan of this esteemed company was "to live our life in a new way". His concept goes beyond the framework of the usefulness and beauty of the object. The rediscovery of the earth and the tree allows one to find a new force that has created the harmony between people and the spirituality of life. Japan has come alive in a new era of design.


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Rossella Menegazzo / Stefania Piotti - "WA - L'essence du designe japonais", Paris: Phaidon Press Limited, 2016

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Tomoko Sato- "L'art japonais" Toulouse: Ed.Milan, 2011

How to Cite
Ruzin, M. (2019). THE DESIGN – THE ESSENCE OF THE JAPANESE SPIRIT. Knowledge International Journal, 30(5), 1347 - 1352. Retrieved from