INSIGHTS

2019.10.29

R&D DISCUSSION Vol. 19

Pioneering the future with the power of design
Discovering Young Artists [Part 2]

Toshiki Kiriyama Director

R&D DISCUSSION TOP

Top image: Milan Salone 2018, where Kiriyama served as producer.
Seiko Watch Exhibition "THE FLOW OF TIME" [photo: Daisuke Oki]

Q: You have often used young creators in the projects you have been involved in both domestic and internationally.

A: I am often asked, "How did you know this person for so long?" or "How do you discover new, unknown people?" I always look at people from a curatorial perspective. In other words, I make a hypothesis based on the history and trends of society and design, such as "In the future, such people will appear in such fields," and when I watch for people entering that field, I sometimes get caught. The probability of casting a net and getting caught is low. I have a certain degree of matrix in my mind about what future manufacturing will be like, and I look at the world with the awareness that there will be such people here.

In particular, at the Milano Salone International Furniture Fair [Photo 1], which I have been attending for 34 consecutive years without fail, I keep a close eye on not only the world's top designers but also the people around them, and continue to research who will be coming next and what kind of people they are. I also pay close attention to the staff of designers and architects who collaborate on projects. When you work with someone, you can pretty much tell what they are focusing on and what their theme is. Even if you only talk to them for about 15 minutes, you can understand their interests and what they are pursuing, so there are people who I want to talk to a little more about. It's like a kind of intuition (laughs).

Also, since 1999, I have been running a series called "Designers to Watch" [Photo 2] on the design information website Japan Design Net (JDN). For 20 years, I have been introducing nearly 250 young designers that I have noticed every month, so young people also come up to me and ask me to "see their work." Sometimes students come, and when I ask them to show me their work, I can understand something, so when I point it out to them, we usually become friends (laughs). Then they come to see me regularly and send me information. That's how I get to know the younger generation and do research.

[Photo 1] For "THE FLOW OF TIME," creator Satoshi Yoshiizumi (TAKT PROJECT) and CG director Shingo Abe were appointed. Kiriyama guides designer Motomi Kawakami (left). [Photo: Daisuke Oki]

Q: Can you name some creators that you've been paying attention to for a while?

A: Recently, in the field of design, there is Satoshi Yoshiizumi. After graduating from the Faculty of Engineering at Tohoku University, he worked at the design office nendo and Yamaha Design Research Institute. Since founding the "TAKT PROJECT" in 2013, he has been developing a series of experimental projects that overturn preconceived notions, and is currently one of the most talked-about designers. I think his style of focusing on the purpose of the project, the process by which the project is created, and the possibilities is very unique.

In the field of architecture, Junya Ishigami. I knew him before he became famous, and at the 2005 Milan Salone, I persuaded the client to select him to design the exhibition space for Lexus' exhibition "L-finesse the art of Lexus" [Photo 3]. This was a success, so I also hired him for Canon's exhibition "NEOREAL" in 2008. Ishigami's favorite phrase is "I have to try a little experiment," and his style of trial and error is attractive. I also knew Akihisa Hirata, who I asked to design the exhibition space for the same Canon exhibition in 2009 and 2010 [Photo 4], from when he was working at Toyo Ito's office. He is an architect with a strong will to break into new territory.

Normally, you would evaluate someone by looking at the design they produce, but I don't think you can do this job that way. The times evolve, both in the sense of moving forward and deepening. I evaluate people based on whether there is something in them that looks more attractive than now and whether there is something that can see into the next era. However, whether the client will accept it is another matter, so you have to be determined about that (laughs). There is a young architect I am currently nurturing. It may be presumptuous to say I am nurturing him, but I find projects where he can demonstrate his abilities, and sometimes I even create them. Also, various experiences broaden a person's horizons, so it takes several years. What I do is a bit similar to how entertainment companies sell their talents. I think about how to best express the person's charm and to whom. If we are just going to push forward with one point, I don't think I need to do it. How can we set up areas other than the current path, and will the other party be interested and on board? Sometimes we have endless discussions until late at night. The other party is young, so this job requires stamina (laughs).

[Photo 2] Japan Design Net series "Featured Designers" https://www.japandesign.ne.jp/kiriyama/
[Photo 3] "LEXUS L-finesse — Modern Japanese art meets automotive design," Lexus' first exhibit at the Milan Salone in 2005. Junya Ishigami (center) was in charge of the layout of the venue, and Hiroshi Senju (left), Kazuyo Sejima (right), and Ishigami were appointed as creators. Kiriyama was in charge of the overall production.
[Photo 4] For Canon's "NEOREAL" exhibition at the Milan Salone in 2010, which was also produced by Kiriyama, architect Akihisa Hirata (right) was in charge of designing the venue, with Hirata and artist Kyota Takahashi (left).

Q: How do you convince your clients?

A: All we can do is to get companies to understand and buy our beliefs and ideas. Of course, we make ample predictions, but in reality, there are cases where it works and cases where it doesn't. However, gradually, understanding progresses, and in the end, the company and the designer work together to complete the creation. It is very moving, and I think this job is the same as creating a play. In other words, the key is how to create an emotional place called a stage. First of all, how to cast. Various creators such as designers and architects are needed. The scenario must be highly accurate, and how to direct is also important. Also, we can't tell the client, "I made something good, but it's in the red," so we have to properly adjust the budget. But of course I'm happy when things go well and the client is pleased, but what I think is good about doing this for so many years is that there are many young designers who say, "I'm just happy to be able to work with you."

The same goes for government agencies. We don't say, "Let's make something that is already visible," but rather, "We should make something like this from now on," so documents and drawings are difficult to understand. We have to make each other feel that we can leave it to this person, but this depends on how we present it. Furthermore, in the case of government agencies, we have to get a budget first, so it has to be something that the financial department and the parliament can understand. We break through this with logic. The section chief-level staff that we deal with in practice can provide high-level plans in terms of administration, but they are not good at things like matrices that look at the whole picture, so we take charge of that part or give hints. It's not like "everyone has their own specialty," but we share our strengths and work together. In any case, patience is required, but in most cases, we become a good team as we actually work together.

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PROFILE

Design Director

Toshiki Kiriyama

Toshiki Kiriyama

Born in Nagano Prefecture in 1952. After working as a researcher in technology development, advertising marketing, and design/architecture editor, he founded the design planning and production company TRUNK Co., Ltd. in 1988. He has been involved in producing exhibitions both in Japan and overseas, and in launching the design information site/web magazine Japan Design Net (JDN). Since 1993, he has been working towards the establishment of the Toyama Prefectural Design Center. He is currently based in Tokyo, Toyama, and Milan, and is involved in direction, brand production, exhibition curation, etc. He is the director of TRUNK Co., Ltd., director of the Toyama Prefectural Design Center, and deputy director of the Toyama Prefectural Museum of Art.

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R&D TOP

Update : 2018.09.21

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