Japan + Japanisme

Delia Tacheny

INT 332 - History of Interiors II

Japan and Japanisme

I loved learning not only about Japanese design this week, but also how it pertains to Japanese culture. I found the book's beginning point very intriguing and eye-opening: often, us westerners perceive Asian design as a certain style that never really changes. It's important to remember that they have their own history, and therefore periods of varying design as well.  

Japan has had a long history of competing clans, various emperors, and many dynasties. It's design and culture has both influenced and been influenced by many different European and Western people-groups. In 1542, small amounts of trading began with Europe through Portuguese ships. In 1549, the first known European arrived in Japan -- Francis Xavier -- a Spanish monk. A few decades later, Rokuemon Hasekura was the first Japanese ambassador to Mexico; his presence in N. America actually started a trend in furniture design -- Japanese screens ("biombo").  Screens are a big part of Japanese design, which I will mention again later... In 1638, during the Tokugawa Shogunate/ Edo Period, Japan became completely shut off from the outside world for 200 years, tightly controlling trade with only the Chinese and the Dutch. 

In 1853, Admiral Matthew Perry sailed to Japan and so began the re-opening of Japan to the world. Interestingly, in the following years the young United States and the "New" Japan would rise at the same time, as Japan would reinvent itself during the Meiji Era and the U.S. would experience the Gilded Age. In the 19th century, with the outburst of international exhibitions all over the world, Japan's arts and designs grew in publicity. 

In 1872, the French critic Philippe Burty coined the phrase Japanisme referring to the European art influenced by the "exotic" culture of Japan. 

While in many ways influenced by the Chinese, Japan's design style is distinct. In contrast the Chinese emphasis on formality, axiality, lineage, permanence, and perfection, Japan has more of an impromptu style with off centered elements; they value serendipity, change, variance, and even imperfection. 

Architecturally, the Japanese tend to utilize rows of columns, graceful curves, and orthogonal framing. Japanese architecture is often organized by an odd number of "bays" and rather than the use of permanent partitions, they use moveable panels and screens. Material-wise, wood is by far at the top. 

The interior design of Japanese buildings has been, for most of history, focused on the floor. Hierarchy is created through the elevation of floor sections, and the size + shape of rooms are based on the "tatami floor mat" (3 x 6 ft). The interiors are connected to the outdoors and are generally simple and yet decorative, including the "tokonoma" (display), flowers, artwork, etc. 

Prior to the use of chairs (NOT integrated in Japanese culture until the 20th century), the most popular pieces of furniture were mats, beds, platforms, storage chests, and shelving. Fun fact, the futon was actually a popular item for the upper class of Japanese society, and was introduced to the West in the 20th century. 

The primary aspects of Japanese design are plainness, naturalness, and attention to detail; religion (Ex. Buddhism); and the geography of Japan. 

Many Europeans/ Westerners took part in modernizing Japanese architecture and also representing Japanese culture in their own work. English architect, Josiah Conder began designing Japan's first public park in 1877, and become known as the father of modern Japanese Architecture. Frank Lloyd Wright (who manages to always get mentioned... in literally everything) is another architect in the ranks of those who valued and utilized Japanese design. He is responsible for the design of the Imperial Hotel in Japan (1913-1923). 

One Step Further: Marion Mahoney (1871 - 1961)

At the end of our chapter on Japan in the book History of Furniture, Marion Mahoney Griffin (1871-1961) was discussed as being responsible for many of Wright's perspective renderings. She was also the first licensed female architect in Illinois. Apparently, her rendering style came in part from her familiarity with Japanese woodblock prints. In her renderings for Wright, she portrays his buildings as being surrounded by "flowing vegetation" (pg. 427).  -- a Japanese compositional technique seen in Japanese prints. Even though his buildings were in the prairies of the Midwest, she connected them to nature through her renderings. Eventually marrying architect Walter Burley Griffin, they moved to both Australia and later India for a variety of projects. Much of her husband's success may also have contributed to her talent in rendering (427).

In my additional research, it is clear that Mahoney was a pioneer for females in Architecture. She was born in Chicago, and she was the SECOND woman to graduate from MIT with a degree in Architecture. Her first job was in the drafting room of her cousin's firm, where Wright shared office space, leading to her formerly discussed job connection. She worked for Wright for 14 years developing her rendering style which became the sought after American Architectural rendering style. Even after her husband's death in 1937, Mahoney stayed active within the profession - "writing, painting, lecturing, and expanding upon her interests in botany and the natural world."

Marion Mahony Griffin's Signature Style and Pioneering Influence - Institute of Classical Architecture & Art (classicist.org)