He is a representative of the Japanese design community, this waseda University of Architecture doctor known as the Da Vinci of the Japanese design circle, his works have also been listed as important collections of the Museum of Modern Art in New York, the Denver Museum of Art, and today the Huangcun Cultural and Creative Industry Park introduces you to the representative figure who is known as creating a new era of Japanese architecture and industrial design - Kurokawa Masayuki.
Masayuki Kurokawa, born in Nagoya in 1937, his family is a famous architectural family, in Japan has the status of the patriarch of the architectural world, 29 years old Waseda University doctoral graduation, the same year set up Kurokawa Masayuki Architectural Design Office, has won 31 Times Japan Outstanding Design Gold Award, 27 German IF Awards, Japan Mainichi Design Award, etc., at the age of 70 achieved Japan's rare "Doctor of Art Lifetime Achievement" title.
His brother Noriaki Kurokawa is a famous architect of the 20th century, and he has developed his own set of oriental hazy design aesthetics in his design career, his products are integrated into the oriental "Zen" thought, containing thinking about time and space, creating a precedent for the integration of Japanese Zen aesthetics and Western modern industrial design thinking, and his designs have influenced the design styles of a whole generation of famous designers such as Kengo Kuma, Kenya Hara and Naoto Fukasawa.
Life and sex are the eternal themes of Masayuki Kurokawa's design. IRONY R cast iron pot, is one of the most famous designs of Kurokawa Masayuki, is the perfect fusion of traditional Japanese handicrafts and modern design, the lid and handle use the existing inventory, made by Tetsuyuki Kuroya, in the tea ceremony, cast iron pot occupies an important position, IRONY R cast iron pot can still be used in modern life, its own handle and lid design is a work of art.
Kurokawa maintains inspiration in a very rough way, he said that his inspiration exists in the body, only when the flesh is abused, inspiration can run out, such as the aging Kurokawa still insists on getting up 40 to 50 minutes early every day to walk fast, when the body is very tired, inspiration will appear, so that a little bit of good ideas accumulated, is to keep the design constantly vital source of power.
At the same time, his inspiration also comes from the search for beauty, and obsessed with the process of finding beauty, small enough to eat very good, saying "really delicious", this is a specific example of looking for beauty, he believes that his life is to find beauty, which is a positioning of his own life.
Influenced by his family, Masayuki Kurokawa has always insisted throughout his design career that architecture and design are not for himself, but for society and others, which has also made him fascinated by the profession of architect since childhood. In Kurokawa's view, Japanese people will pay more attention to the starting point of design than the final result.
The $1 coaster is such a design, it is a coaster designed by Masayuki Kurokawa for GOM, collected by the Museum of Modern Art in New York, this set of coasters appears in pairs of concave and convex shapes, with the shape of a $1 coin as a mold, arranged on the coaster into a simple geometric shape, simple and creative.
For tradition, Kurokawa Masayuki believes that tradition should continue in continuous innovation, if you go to protect it, it will disappear, only by constantly pursuing new goals, can it be passed on, which coincides with the attitude of "traditional new creation" of Chinese cultural creation, under the general trend of information globalization, the integration of Chinese culture and world culture has long become a conclusion, how to combine Traditional Chinese culture with modern thought and let the whole world see, this is the cause that all industries are working hard to struggle for, It is also the goal that the Huangcun Cultural and Creative Industry Park has always adhered to.
Masayuki Kurokawa is not only a Japanese who is purely familiar with the aesthetic design of his own country, but also a master of traditional Oriental culture, and he has also put forward his own opinion to young Chinese designers: to play with the culture he is familiar with and expand his horizons.