[ #22 | Chair “Dr. Glob” ]
1968. Model No.4876
Designed by Philippe Starck
Smooth dyed polypropylene seat.
Epoxy-polyester powder coated steel backrest & structure.
Stackable. Suitable for outdoor.
Height 73 cm. Width 48 cm. Depth 47.5 cm. Seat Height 46 cm.
“Dr. Glob Chair” ^ Copyright © Alan TF So
Philippe Patrick Starck (1949- ) 出生於法國，土生土長的鬼才法國設計師，他涉獵範疇廣泛，包括建築、傢具、工業產品及室內設計。Philippe Starck 的父親為一名航空工程師，他入讀一所五年制位於巴黎的私立設計學院 — École Camonodo，曾入讀該校的著名舊生，有傢具設計師 Pierre Paulin、城市規劃師 Jean-Michel Wilmotte、室內設計師 Jacques Grange、越裔演員 Tran Nu Yen Khe，以及建築師 Robert Couturier 等。 Continue reading →
[ #21 | Chair “Spoke” ]
1963. Model No. S-5027NA-ST.
Designed by Kappei Toyoguchi.
Wood structure and legs. Seat upholstered in fabric.
Height 83 cm. Width 81 cm. Depth 69 cm. Seat Height 34 cm.
“Spoke Chair” ^ Copyright © Alan TF So
豊口 克平 (Kappei Toyoguchi；1905-1991) 是日本最早一批現代工業設計師。豊田氏出生於日本秋田縣，先從秋田縣工業學校的機械科畢業，於橫濱市工業學校任職助理。1923 年的關東大地震，他差點兒喪命。之後，他考上東京高等工藝學校的工藝設計系，跟隨名師 宗近 倉田（Kurata Munechika）學習，畢業時為 23 歲。宗近倉田氏是從德國包豪斯（Bauhaus）畢業的日籍設計師。豊田氏曾短暫於宗近倉田氏的 Keiji Kobo 設計公司任設計工作。 Continue reading →
Apart from launching a sole outlet in Minami Aoyama, the Shikoku Towel Industrial Cooperative Association (STICA) still actively participated oversea trade shows. In 2014, they first joint the London 100%-design trade show. Continue reading →
Till the point where the subsidization from “Japan Brand Incubation Supporting Programme” was finished, Imabari Towel still did not have a sole outlet in Tokyo. There were only three collaborating outlets – Mitsukoshi department store, official gift shop in The National Art Center and Isetan Shinjuku department store. So what to do next? Continue reading →
[ #20 | Easy Chair “Corona” ]
1961. Model No. EJ 5
Designed by Poul M. Volther.
Model polyurethane foam structure.
Matte chromed spring steel frame.
Seat upholstered in fabric.
Height 96.5 cm. Width 87 cm. Depth 85 cm. Seat Height 42 cm.
“EJ5 Corona Chair” ^ Copyright © Alan TF So
Poul M. Volther (1923-2001) 也是一位出色的丹麥籍傢具設計師，受訓於哥本哈根藝術及工藝學院。作為設計師，他受包豪斯影響反而是功能主義者，喜用簡單設計及精工，被免太過關注短暫的美術潮流。其後，於丹麥設計學院任教，Volther 當然一樣推嵩他的理念，極力鼓勵他的學生高舉精準工藝。 Continue reading →
During 2007, you can only find an outlet in Texport Imabari, Imabari-shi Ehime-ken that towels made by members of STICA were sold. There once had a guerrilla outlet in Ginza of Tokyo from 2003 till 2006. STICA could barely operate the outlet because they paid too much attention to the profit. Continue reading →
In Mr. Kashiwa Sato’s mind, the “Imabari Towel Japan” mark not only functions as an anti-bogusness, it would be an endorsement of high quality to merchandise. Starting from it’s launch in 2007, a set of identity are required to be applied to every qualified towels made by members of ITIA. Since launching, a member, whom a batch of unqualified towels were affixed “Imabari Towel Japan” identity, was requested to withdraw membership. Continue reading →
[ #19 | Round Rattan Chair ]
1960. Model No.T-3010.
Designed by Isamu Kenmochi.
Rattan woven structure. Wool covered cushion.
Height 75 cm. Width 99 cm. Depth 94 cm.
“Round Rattan Chair” ^ Copyright © Alan TF So
一齊由著名美籍日裔藝術家 野口 勇（Isamu Noguchi, 1904-1988）說起。戰後 1950 年，野口勇再次回到日本，巧遇同名字的日本工業設計師 劍持 勇（Isamu Kenmochi, 1912-1971)。他們不同背景，但藝術修養類同。劍持勇對藤傳統製品極濃，野口氏亦然。他們共同設計及製作了原型樣本—竹籃椅（The Bamboo Basket Chair)，野口氏選用他喜好的雕塑鋼結構作椅腳。這張椅子從未量產，而原版樣本又遺失了，最終只於美國野口博物館，依照一張照片製作了一張「克隆」展出。 Continue reading →
At first, Mr. Kashiwa Sato was not comfortable to accept their invitation because of the lesser-than-enough budget accomplishing a real branding project. What did Mr. Toyama do to convince Mr. Sato? Continue reading →
When you google “Imabari”, you will probably find out that the most outstanding recalls about Imabari-shi are shipbuilding and towel manufacturing. These industries became recognized simply because of its geography. Imabari-shi is located at the Seto Inland Sea of Japan, where maritime culture is implanted into the daily life from the beginning of modernism. Naturally, Imabari-shi has developed its maritime connection from shipbuilding to trade port.
Areas around Osaka and Nagoya are better in growing cotton, but the quality is the best. Basically, during Meiji Restoration (1868-1912), cotton is tended to be imported. With a longer history of cotton growing, Osaka is the largest centre of weaving industrial. Continue reading →