From Technology to Art

From Technology to Art

Takashi Nagatani is one of the leading figures in the field of industrial design in Japan. He is an honorary member of the Japanese Society for the Science of Design (JSSD), a devoted member of the Japan Industrial Design Association (JIDA) serving as its supervisor, a professor emeritus at Aichi University of the Arts, and the president of Takashi Nagatani Design Office. The designer has been engaged in a wide range of design projects from furniture and products to urban design, including the well-known metropolitan bus design with green lines, 24-hour clocks installed in every JR Yamanote Line stations, the Naganohara Megane Bridge at the Yanba Dam, and the Haruta Bridge in Fukushima Prefecture. He has been involved in the field professionally since his undergrad days and was also deeply invested in the development of the ARAKAWA GRIP.
Takashi Nagatani, who has a profound history with ARAKAWA GRIP, expressed deep sentiment towards the company's 50th anniversary. He recalls the company was located on the second floor of an apartment building in Waseda, Tokyo, and there were only three employees at the time. The conversation with the founder, Mr. Arakawa, started with a request for advice I received on a patented device that the founder wanted to incorporate into various products. Though the project was initially limited to a device for gripping wires, Takashi developed a series of ideas because he was convinced it had fascinating potential. Around that time, the interior display industry was thriving. However, the only display systems available were retail shelf units with brackets. So, I started developing sketches, presented them to Mr. Arakawa, and created a prototype using shelves and SUS rails.

Takashi researched similar wire-grip-type products from all over the world. Despite the absence of the Internet, there were various design magazines. He had monthly subscriptions to overseas design magazines such as Domus (Italy), Design (UK), Form (Germany), and ID (US) from when he was a student, so he had a considerable collection at home and was able to look through them all. And a unit with wires used in a winery caught his eye. The unit tied the grape vines with an iron wire to hold them in place. He discovered this on a magazine page introducing new products, and from what he gathered, the basic mechanism was simple. It would be an incredible product and the first of its kind worldwide if they were more versatile and adjustable. Furthermore, if they could be produced at a lower cost, there would be a wide range of usages. In the past, for example, when people wanted to hang something at home, they would have to use nails or heatons to fasten it in place, which took work. However, the process becomes straightforward with the wire-and-grip unit, ARAKAWA GRIP. As for the shape of the grips,
Takashi went through 30 sketches with Mr. Arakawa before settling on designs that would interest the consumers. After making roughly six prototypes, they finally decided on two types. Although I like the squarish design from the past, Takashi explained that today's rounded shape is most appropriate considering its usability. At the time, he also presented color variations, selecting five colors, including pink. However, adding more color variation would have been costly, and the display's centerpiece is the item to be hung. As a designer, our job is mainly behind the scenes. From this perspective, Takashi created products that are as user-friendly and cost-effective as possible.
Seemingly simple principles are challenging to emerge from a mind bound by stereotypes. While a simple ultimate form may seem ordinary, it results from a designer's meticulous efforts. The episode in which a wire unit inspired the designer in a winery perfectly demonstrates the golden rule of design—transforming the familiar into the unfamiliar and the unfamiliar into the familiar.

Since ARAKAWA GRIP were not designed exclusively for artworks, their mechanical appearance would stand out when integrated into a sculpture. It led to the idea of daring to reveal their aesthetic features. The positive feedback from the visitors of exhibitions who had the chance to hold and feel the artworks also encouraged the sculptor. As he continued to utilize ARAKAWA GRIP, it became clear that it needed some adjustments, so he sometimes consulted with Mr. Arakawa and had samples created. In addition, an Italian craftsman kindly fabricated unique metal attachments, which allowed the units to be inserted nicely.
As a result, Kyoji believes that ARAKAWA GRIP affected aspects of artistic expression.
Other challenges had to be resolved for the hanging pieces. At first, the sculptor hung white porcelain material, which weighed less than one kilogram. However, sculptures made of bronze weighed considerably more. For example, a set of bronze pieces he has recently created weighs 15 to 16 kilograms. Mr. Arakawa assured Kyoji that one set of ARAKAWA GRIP alone could endure 10 to 15 kilograms. On the other hand, as for cases in Italy, there are sometimes issues with the ceiling in old buildings. Even if the units themselves have strength, he has to exercise the utmost care in managing the safety of the installation as a whole. His brother Takashi, who designed ARAKAWA GRIP, offered suggestions on such occasions.
Contrasting perspectives of the brothers on ARAKAWA GRIP are interesting. In contrast, the older brother Takashi pursues an industrial viewpoint, while the younger brother Kyoji sees conceptual and philosophical meaning. Kyoji explained, "From musicians, chefs, and artists, creators share the hardship of originating something from scratch. They cannot produce what they desire without a thorough understanding of raw materials. In a broader sense, artists draw inspiration from where life comes from; similarly, the concept of hanging carries connotations of such deep nuance. ARAKAWA GRIP allow collectors who own my pieces to encounter and experience the sculptures directly, and they enjoy the pleasure of being a part of the art."

Takashi's mentor, Koike Iwataro of Tokyo University of the Arts, one of the pioneers of Japanese industrial design, used to say that design is generated from love. Takashi explains, "When hearing this at a young age, the idea didn't quite resonate with me, even as a matter of debate.
Nevertheless, now that I am fortunate enough to have experienced a wide range of design work, I realize the meaning of this phrase. It is the very act of the creative process. In all aspects of producing user-friendly items, there must be love for them to be appreciated." Takashi enjoys visiting museums overseas to find ARAKAWA GRIP used in exhibitions. The designer and sculptor brothers share a common love for what they create. text by Masaaki Takahashi