THE DESIGN – THE ESSENCE OF THE JAPANESE SPIRIT

Abstract

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