Interviews med Yuki Ijichi

Reinterpreting Kagoshima's traditional sake vessel, the “kurojoka,” to suit modern lifestyles, making shochu culture enjoyable in everyday life. The fusion of tradition and modernity is the central theme.

We naturally updated the functional form of the “kurojoka,” born from the lifestyle of its time, into a shape that fits contemporary living. We aimed to redefine the “Kurojoka” for today's era by re-examining forms and functions that had been preserved solely for their traditional status but no longer fit contemporary living.

We position the “Kurojoka” not merely as a product, but as a modern shochu culture originating from Kagoshima to be shared globally. We envision its use as gifts and its adoption in restaurants and bars.

The project required about a year and a half of research and prototyping, including traditional investigations, shape studies, and assessments of suitability for modern living.

The project began with a request from “MATHERuBA,” which operates cafes and shops in Kagoshima Prefecture. They wanted to redesign the traditional Kurojoka ceramic shochu pot, used in Kagoshima, to suit contemporary lifestyles and create an original product.

Planned for release as a MATHERuBA original product. Licensing or sales to third parties will depend on future brand strategy, but initial focus is on development under their own brand.

The traditional value of the “Kurojoka” had been declining. By reviving it in a contemporary form, the aim is to preserve the culture and create new markets.

The traditional design of the “Kurojoka” has significantly influenced this project. We were also influenced by Satsuma ware and historical documents related to its design, particularly the theory regarding its origin from the “abacus shape.”

The target audience is those aged 30 to 60 with an interest in Kagoshima culture and shochu. Additionally, gift demand and overseas enthusiasts of Japanese culture are also targeted.

It is not merely a drinking vessel but “re-edits shochu culture itself.” This distinguishes it as a project that meaningfully carries tradition into the modern era through reinterpretation. Another feature is the design encompassing the entire usage experience, including the warmer and pitcher.

“Kurojyoka Redesign Project” = Clearly indicates the endeavor to redesign the traditional “kurojyoka” for the modern era.

For product design, 3D CAD and prototype verification were used; for graphics, tools like Illustrator and Photoshop were employed.

Cultural narratives were integrated into the experience design. Notably, proposing a new cultural experience: “slowly warming by candlelight.”

Collaboration with ceramic artisans and the MATHERuBA planning team. Technical and cultural insights were fused.

Utilized in manufacturing design and material processing with mass production in mind. This was crucial for translating traditional forms into modern manufacturing methods.

Researched Satsuma ware literature, the historical origins of black clay, and shochu drinking customs (like pre-dilution). Translated these into contemporary living.

・The challenge of adapting traditional forms to modern life without compromising their meaning

・Selecting alternative materials (e.g., addressing the decline of bamboo)

・Balancing mass-producibility with cultural integrity

A desire to spread Kagoshima culture globally. By having the value of regional culture recognized on the international stage, we aim to open new possibilities for preserving traditions.

The critical importance of “translation skills” when modernizing traditional crafts. Realizing that it requires designing cultural experiences, not merely altering forms.

This project extends beyond vessel design; it is an initiative to connect Kagoshima's living culture—the “time spent around shochu”—to the future.

I studied information design and media art at the School of Art and Design,University of Toyama. I then worked in design at Organ Design Office in Gifu Prefecture, Studio Shirotani in Nagasaki, and gained product experience as a member of the ceramics production staff at Hasegawa Ceramic Studio before starting my own business.

My current motivation for design is to solve social issues and problems faced by clients. My personal motivation is to reconstruct the culture of life through all design activities.

I chose to become a designer myself.

I design for a variety of media, without limitation of domain: graphic, product, graphic, and web. Therefore, I want to do consistent branding design from product to space and brand identity.

I also want to design for the culture of the land.

Always be aware of capturing the context of things.

I think the difference is that we are able to dig out the essence from the historical and cultural background, rather than just capturing the current trends.

I think it is about capturing the background and making people experience the essence of the design rather than designing it in a descriptive way.

The value is that it enriches our lives and society.

Because investing in it makes society more affluent.

I want to reconstruct the lifestyle culture and aesthetics of the past and design them as modern interior products. I believe that this will be a message to the next generation.

It is a reconstruction of the culture of life.

It's about digging into things and researching historical backgrounds.

Enzo Mari, Achille Castiglioni, Kosei Shirotani

The SEDIA 1 CHAIR was designed by Enzo Mari.

It made me think again about the meaning of the chair itself, rather than designing a chair based on styling.

It is a Chinza no Manma Ao Project. I think it is wonderful that we were able to create a consistent design for this project, from the architecture to the brand identity, based on the brand concept.

It is about continuing to study and consider historical and cultural backgrounds while observing trends in the world.

Entrepreneur or researcher

It is to eliminate the various distortions that exist in society.

My family and the representatives of the design firms I have worked for in the past.

I used to practice Zen and tea ceremony, and the way of perceiving and embodying things that I learned there has been useful in my design work.

The low value placed on local design still feels like an obstacle to continuing to design.

I think it would be to present it at a global competition like the A'DESIGN AWARD & COMPETITON.

Right now there are a lot of graphic projects such as branding again, but I expect another comprehensive project from architectural design and product design to branding and comprehensive projects. We especially expect projects with a cultural background.

It is to reconstruct the culture of daily life and to connect the past, the present, and the future with that culture and sense of beauty.

I think they are looking forward to designs that have a cultural background and provide insight.

We contribute by solving problems in society.

We develop original products that excavate and reinterpret the lifestyle culture and aesthetics found in Japan.

It is a Chinza no Manma Ao Project. In this project, we were able to understand and accompany the concept and design set forth by the client.

I hope that we will see the creation of designs that are not uniform, but are localized and full of regional flavor, helping to build the lifestyle and culture of each region.

As technology advances, the field of design will continue to expand and change.

In addition, I believe that a new way of designing for different environments, such as outer space, will be required.

Depending on the scale of the project, it can take anywhere from three months to two years.

We start by interviewing the client and project organizers to extract the issues and possibilities that exist.

Living as a "consumer" is the key to being able to understand the way consumers think and the issues they face, and then design accordingly.

Trends are created, but on the other hand, things that touch latent needs will spread naturally and remain. I think that trends that touch those latent needs determine design.

It is about efficiency and expansion of expression.

Adobe Series and Fusion360

Mac

It's cognitive communication.

I would like to ask about the concept and the background to its creation.

We will think about the meaning and social role of the thing itself.

I believe in co-design because it takes you beyond your own field and gives rise to unexpected ideas.

Kosei Shirotani

This is “Chami” by Shozo Okuda.

It represents the spirit of the tea ceremony, but I continue to be influenced by the way he prepares himself and his awareness to face design as a human being.

My skills were honed through guidance from senior designers at the design firm, and through practice and reflection after going independent.

I would like to meet with researchers and entrepreneurs to gain various insights and discuss the future of society.

I realized that my experience and design up until now were not wrong, and I want to share that with the world.

I didn't even think about it.

A thousand years from now, we may look different from the people we are today. Even then, we will coexist with other beings, and in this way, I hope that we will be able to live as people a thousand years from now. I will try to create a design now that will lead us to that point.

I have always loved making things with my hands. With this background, I was inspired to become a designer when I saw a TV program when I was a student that showed a designer working with craftsmen at a local factory to create something and then using that design to break out into the world.

Zero Hours Design Studio designs in all media, including graphics, products, and spaces, and we transcend genres in order to find the best solutions to our clients' challenges.

I think it is about solving problems, connecting smoothly to people and society, and making changes without stress for the better.

I like to design not just a form, but to rethink it in terms of meaning and concept, and to design it in such a way that it can be experienced.

My favorite design is a work in which I redesigned the traditional Kagoshima sake cup "Kurojyoka" from my hometown, Kagoshima, to fit the modern age.

Knowing the background of how it has remained as a tradition, finding the points where it diverged from the modern living environment, and designing objects with consideration of the mechanisms that would make it a modern craft, was an opportunity for me to find my own design style.

Tea utensils

These are the natural materials used in crafts (wood, lacquer, ceramics, metal, dyeing, etc.) and the handcraft techniques of the artisans who work with them.

I feel most creative when they become things that allow you to experience their worldview and message, rather than just explain it.

Emphasis will be placed on delving into the background of human, social, and cultural illiteracy.

We try to flatten the emotion as much as possible with a deep sinking image.

Then, depending on the project, become one with the target user's emotions and look for design clues.

Along with a sense of accomplishment, we also feel a sense of tension as we stand on the starting line to market.

I think what makes a design successful is that it digs down to the root of things, and from there the consistency is worked down to the object.

Consider whether the expression of the object is consistent with the concept, purpose, etc.

We plan to dig into the culture of life nurtured in the land and initiate a project to update the concept to meet the needs of the modern age.

I work by myself in developing designs.

I can be reached via my email (info@0hoursdesignstudio.com).

The "Chinza" in the restaurant's name means "the calming of divine spirits" in Shinto, and the owner's theme was "not just a meal, but to face food as the source of life."To embody this theme, the building was designed as a special space where the source of life, food, gathers, and is composed of a staggered shape based on the motif of the shape of "Shide," a paper streamer that symbolizes a special realm in Shinto.The owner also requested a flexible spatial design that would be open from morning to night, and could accommodate both normal use and private use by reservation.For this reason, the shape of the "Shide" is used to divide the space in two, allowing the private and open areas to be used separately.In this way, the meaning of Shinto and the architecture became one, and the interpretation of the space evolved.

In Japan, it has long been believed that gods reside in certain special rocks, and shrines have been built there. Placing this rock, which symbolizes sanctity, in the kitchen, the center of dining, creates an atmosphere in which meals have a spiritual weight.Shirasu is also used for the walls, which has a moisture-regulating effect that keeps the space comfortable. Expressing the softness and solemn atmosphere of natural materials such as stone, wood, and earth with the simplicity of Shintoism brings out the sense of life that resides in food and encourages a positive attitude when facing food. This spatial design creates space in the mind, resulting in a dining experience that cultivates spiritual richness.

"Chinza No Manma Ao" Architecture did not reproduce the shape of the shrine as it is, but incorporated the structure and Shinto meaning of the shrine architecture and reconstructed it to suit the site conditions and functions as a restaurant to balance tradition and modernity.In particular, the composition of the building is based on the use of the space required by the owner, and the spirituality and Shinto meaning of the shop are blended into it. This brings together the spirit of traditional shrine architecture and the convenience of modern restaurants.

In the project, three stores will be set up on the site of the hospital, and the project started with which area each store would choose, and the area where the trees were originally gathered was selected.It has been decided by the owner until the stage of building a Japanese restaurant and Shinto-themed building, and when deciding on an area on the premises, the area where these trees gather is regarded as the “Chinju no Mori" of Shinto.Then, in the form of utilizing the original trees, the direction was set to take into account the shape of the building, the location, and the way light enters, and the concept of a shop was fused while making use of nature around it.

The approach to incorporating morning light into the architecture of "Chinza No Manma Ao" stems from the store owner's desire for the importance of breakfast. In addition, the shopkeeper cherished the "food that fosters life" and wanted them to feel its value, and we reflected in the architectural design the effects of the light in the morning and the capture of scenery on the food space.

In this project, the essence of Japanese Shinto culture and its significance has been condensed into a modern building. We hope that this project will reinterpret the meaning of traditional culture, merge it with contemporary architecture, and showcase the potential for design to inherit cultural meaning in a new form.

Based on the “Shide” (which symbolizes a special area in Shinto), which is characterized by its alternating shapes, the architecture also has an alternating configuration, and by dividing the space into private and open areas, the design can flexibly respond to the owner's needs, from regular use to private use by reservation, thus achieving harmony by combining the significance of Shinto with the practicality of the space. The design is a fusion of Shinto meaning and the practicality of the space, achieving harmony.

With the goal of “creating a special realm where life resides,” we used the “Shide,” which indicates a special realm in Shintoism, for the physical space, and the “Warahimo,” which also indicates a special realm in Shintoism, for the brand identity.By combining these two semantics, the “special domain” in Shintoism was embodied as a meaning.

We have seen Shirasu walls used in the architecture of Kagoshima several times in the past.And this time, in “Chinza no Manma Ao,” “chinza,” which means that the divine spirit resides in a place, and “food,” which means “to receive things from the land,” are all associated with the earth, and so Shirasu, a characteristic of the earth of Kagoshima, was used as a symbol of the local earth.This choice not only provides functionality, but also a symbolic meaning that expresses the spirit of Shintoism and the characteristics of the region.

In the process of researching and executing this project, when I took a fresh look at Japanese culture and Japanese Shintoism, I realized that the simplicity of the expressions therein creates a sense of a tentative world, and that it holds a deep meaning.This simplicity has the potential to evolve into a new style while retaining cultural value in conceptual design. Unlike inorganic contemporary design, we felt that designs that are simple yet express rich cultural qualities indicate the next direction of contemporary design.