Wires Are Attractive in Their Own Right

Oniki Design Studio (ODS) has been developing a wide spectrum of designs ranging from retail spaces, architecture and products. Among many stunning works, the exhibition "CORD/CODE ODS X THE GINZA" (2019) presented at the Shiseido Gallery was a striking example of the functional aesthetic usage of wires in space and furniture. The year prior to the exhibition, Mr. Oniki had designed the store on the ground floor, the lounge on the second floor, and the basement gallery of this luxury cosmetics brand in Ginza. In addition, he was commissioned by the brand to exhibit his work there. We spoke with Mr. Oniki about the exhibition.
The gallery consists of a partially low-ceilinged space and a soaring double-height atrium, with a large mirror at the highest area to make the ceiling appear higher than reality. How can I incorporate this mirror into the exhibition? I began my design with the question in mind: How can I portray the state of something happening in the air? The idea was to create something interesting by hanging something in the space and, simultaneously, to bring out brand identity. Still, it is oundbreaking because it questioned the relationship between what hangs and what gets hung. In this case, an attempt was made to change the common notion that the thing to be hung is the subject, and those that hang it are
merely there to make it possible. As a result, he settled on producing an object showcasing the wire itself rather than separating the subject-subordinate relationship between those two.
After performing studies, it was found that it would be challenging to use the stainless-steel wire to extend a long distance in a space because of its weight and deflection, so resin ropes were to be used in the gallery. As Mr. Oniki continued the research, he thought it would be pleasant if visitors could sit in them. So it was decided that a portion of the line concept for the space would be cut out and applied to the chairs. As you can see in the model, four lines of cords (resin ropes) form a grid, which rotates by 2 degrees and rises by 45 mm. It looks complicated at first glance, but it is a simple structure of 46 layers of a single grid-like object that rotates. While working on it, he was reminded of the Fibonacci sequence, a mathematical sequence he loved as a student.

The pronunciation of the two English words in the exhibition title "CORD/CODE" is similar, but the first word is for strings, and the second CODE means rules or regulations. In other words, there is a pursuit to see if it is possible to give a rule to a string and create an expression of vacuousness. The golden ratio, which is onsidered the standard of beauty, is also a simple rule of mathematics, but the result is found in nature as is. And people find beauty in it," says Oniki, who is mystified by this. The core of this installation is the beauty of things that are produced by mechanical and monotonous mathematical rules.
In the case of the chairs, "the rules are not as simple as in the case of space, because they were created to accommodate human bodies. The diagonal stainless-steel wires of the chair are basically stretched horizontally, as can be seen when viewed from the side, and the "cords are arranged in such a way that they change to form the backrest and seat surface. Transparent acrylic panels were used as the chairs' material to show the curved surfaces created primarily by wires.

Mr. Oniki explains that as part of his profession, he frequently asks himself about the definition of beauty, continually thinking about what constitutes and inspires aesthetics that people appreciate. According to Oniki, creating something in a space free from gravity would be interesting.
What is essential in store design is the surprise and excitement visitors feel when they enter the store, along with a memorable experience that is imprinted in their minds through the store's brand.
He explains, "My first thought after using the stainless-steel wire and ARAKAWA GRIP was its strength and delicacy. Wires are often used to hang something, but CORD/CODE is composed mainly of wires. This reversal concept of subject and object is in line with the current times".
He continues, "It is a common belief that when composing a space, there is a foundation and then a finish. Still, in this exhibition, the foundation is used as the finish as it is. We can create richness and new value by reducing the number of elements." There are ways to make the base or skeleton appear more appealing. And there are ways to use what is conventionally regarded as supporting elements, such as wires, and make them the main focus of the work. Mr. Oniki's work demonstrates this point. What approaches can be taken to achieve such a shift between subject and background? For example, metal coloring methods are constantly evolving, so if we could add color to the wire or give it some individuality, it could become a richer element when it becomes the main subject of the piece. He says he is conducting research aiming for that approach in his designs. This concept is not limited to design and materials. Consumers' interest in food, for instance, extends to its producers, while in the case of clothing, the focus is on the fabric and even the thread from which it is made. Even a simple system of wires and grips could be a glimpse of a deeper consideration of the times, design, function, and materials.