Interview

Connecting Society and Design Through Exploration

Daijiro Mizuno

Looking at the World from the Point of Fashion

Have you ever looked at society through fashion?

Why, for example, did the “ko-gals” of yesteryear like to carry the bags of different high schools? Why has cosplay become popular? Why are fashion designers compelled to produce shows biannually? How does something become “popular” among so many designers? And what is the meaning of meaningless design? I consider these kinds of things from a perspective cultivated through practice. I studied abroad at RCA (Royal College of Art) in the UK, but I realized that even if you content yourself with the high fashion industry, society isn’t really any different. There’s a much more interesting story in how clothing is actually used. So, I started out on “practical research.”

Mizuno lab
Mizuno lab
Architecture for Humanity
NPO団体Architecture For Humanityと共に、
南三陸町志津川地区における漁師らと共に作業小屋の使い方について考え、
コミュニティの持続と発展を目的にした場作りに携わっている。
Mizuno lab
Inclusive Design
多様な市民を巻き込みながら、より開かれた社会を目指す
デザインプロジェクト。Inclusive Design Now展の実行委員として、
そして様々なデザインプロジェクトのディレクターとして携わっている。
写真はinclusive architecture (dot architectsとのコラボレーション)の制作風景。

The Answer is Continuing to Question

Some of the projects I’m now working on include editing Fashionista, a fashion criticism magazine; an architectural project in cooperation with the American NPO Architecture for Humanity considering how to use guardhouses with fisherman affected by the disaster in Minami Sanriku; “Design for the Mundane World”, a project with product designers considering the conditions that form “mundane” design; “Belonging & Belongings”, fieldwork that uncovers the identities of people living in cities around the world through researching their positions and behavioral patterns; and “Inclusive Design”, a project to research hospitals and care facilities and design together with patients and staff. It is a wide variety of projects, not limited to only the fashion area. What they have in common, however, is the attempt to bridge society and design.

The Inclusive Architecture project, for example, started in an attempt to discover what types of tools people with disabilities can use, and how they feel about DIY. Using tools such as saws and impact drivers with the blind, we rethought utilizing space and tools in ways they could make the most of. From this, a cardboard shelter was created that can be assembled by hand, like a jigsaw puzzle, and folded. The shelter is also an inquiry into making using urban space more independent.

In projects that deal with social problems, design can immediately provide answers that respond to the problem, but this is only a temporary solution. Not all design needs to solve problems. I believe that precisely grasping problems with an exploratory posture is very important. There are times when throwing out problems is an effective method for continuously bringing about small innovations and constructing design methodology. I think that being tolerant is an important element.

Mizuno lab

Training the Imagination with Doraemon

Imagination is indispensible for bridging the gap between society and design. Predicting the future in a business-like fashion is another method, but I believe that there are a number of things to learn from works of art such as movies and literature. For example, imagining what things would be like if Doraemon’s “Anywhere Door” actually existed allows us to think about public and private boundaries and space, which in turn lets us think about the boundary between online society and real world society. I want to perform exercises where we consider how we can use depictions of the future in art as inspiration.

Then, using these ideas that use the imagination as an outline, I want to produce things. It is said that we are seeing the democratization of production, but we must not focus on technological production alone. In Japan, we have highly refined craftsmanship. XD has an image of producing many masculine gadgets until now, but what I’m looking at are the feminine crafts, such as the stuffed animals that often adorn the walls of Kansai coffee shops, hand-made by someone’s mother. These have created a their own genre called “Okan (“Mama”) Art.” I sense possibility in the creativity to be found in the everyday, and I think that both are kinds of personal fabrication. I think that this may connect to social fabrication. At SFC, we can put “creating while considering” into practice. If one seriously invests time into production, even to the point of spending every night at the university, anyone should be able to create an amazing work.

Mizuno lab
DESIGNEAST
「デザインする状況をデザインする」ことを目的に2009年に発足した
デザインプロジェクト。年1回、トークイベントを中心にワークショップや
展示などを実施、大阪に創造的な状況を来場者と共に考え、
作り出す場の設計に実行委員の1人として携わっている。

English is also a Tool that Connects Society and Design

I believe that research extends from the project proposal to the research, production, presentation and archive, and I demand this of students as well. Depending on what you research, you will likely need to change your presentation style, from expositions, to symposiums, to books and papers. However, I want you to prepare all of your presentations and archives in both Japanese and English. Even if the content is good, being only in Japanese limits something’s ability to be transmitted. It won’t appear in Google searches. By simply presenting all research results in two languages, the possibility of it reaching overseas dramatically increases. It may even lead to collaborations with fun people active in other countries. It would be wonderful if these movements occurred with SFC at the center.