Eastern promise

Selina Denman , February 9th, 2010

When it comes to interiors, Eastern design principles are more relevant than ever, Selina Denman discovers

With space becoming an ever-more valuable resource and sustainability becoming increasingly important, ‘eastern’ design principles are more prevalent – and relevant – than ever.

Interior design education has traditionally been very Euro-centric, noted Shashi Caan, president of the International Federation of Interior Architects and Designers (IFI), and founder of the Shashi Caan Collective – but there is still plenty to learn from the East.

“Western interior design education, like that of architecture, has been strongly tied to Euro-Mediterranean history. Eastern philosophy, however, holds a radically different set of design foundations and offers fascinating insights for the western designer.

“Most importantly, having developed from entirely different cultural and geographic conditions, the East challenges us to reconsider our concept of human needs and the conditions required to enhance human life – these being the central concerns of interior designers,” said Caan.

While a number of countries are proving influential, Japan has emerged as a particularly important source of inspiration. “Japan is probably one of the most notable influencers at present. It may be because space and resources are becoming scarce,” said Marie-Noelle Swiderski, managing director, Blanchard.

Japanese design is built upon a series of basic principles – and these are resonating with western audiences more strongly than ever. “Japanese design is very distinctive because of its culture-based philosophy and strong ties to historic tradition. It is also distinguished by a number of principals, or aesthetic terms, which include practical design elements as well as qualitative concerns such as ‘building sincerity into products’, Makoto, and ‘peace of mind and body’, Heisei, which the West might like to call wellbeing,” said Caan.

“It is only recently, perhaps through a greater sense of the word sustainability, that the West has begun to consider these broad – and vital – impacts of design. Sustainable philosophies answer to growing concerns, not only for environmental ecosystems and resource management, but also social awareness and cultural responsibility,” she continued.

For many, Japanese design is defined by its simplicity. “Personally, I believe the characteristics of Japanese design are based on balance and harmony, using a simple material to create a perfect, peaceful space,” noted Mustafa Khamash, managing director of Kart Design.

Balance is key, agreed Alfred Johnson, managing partner, Imagination. “Eastern design revolves around the balancing of the universe and everything within. Our interiors have taken strong cues from the Japanese, such as the use of pastel shades with strong lines to create a visual balance.

“Clean lines and a clutter-free environment full of simplicity and form are some of the defining characteristics in Eastern design. Vintage Japanese design aesthetic revolves around making the centre of a room the focal point, whilst creating a free-flowing space around it,” he continued.

Understated design elements, such as shoji screens that act as room dividers or sliding doors for wardrobes, contribute in creating an overwhelming sense of calm. And at a time when over-indulgence is being shunned, such understatement is incredibly alluring.

“Simplicity, sobriety, focus and discreet elegance in moderation can only appeal to contemporary trends where excess, overstatement and flaunting are no longer fashionable or appealing,” Swiderski pointed out. “We are far from Victorian drawing rooms, although that does not take anything away from their charm!

“There is true refinement in a product or a design that has obviously been thought through, to allow just the right use of material, detail and space, to achieve optimal functional, sensorial or even sensual impact and result.

“Beyond the scope of interior design or even architecture, the global love affair with sushi, in particular, and Japanese food in general, denotes a yearning for simpler choices. We all need purity, simplicity, honesty and integrity,” Swiderski continued.

The growing popularity of Japanese food is mirrored by changing attitudes towards wellness, where eastern-inspired spas, treatments and attitudes are moving into the mainstream. Eastern music, fashion, artifacts and accessories have also travelled well, as have principles such as feng shui, which have been wholeheartedly embraced in the West.

“One very strong yet still developing influence is that of feng shui and related space- and energy-thinking disciplines. These have made their way into our daily approach to space, colour, materials and shapes, as well as in more mundane aspects such as numerology and astrology in women’s magazines! Applied judiciously, these have considerable impact on design and indeed life,” said Swiderski.

That’s not to say that the infiltration of eastern influences into western interiors is a new phenomenon. “From earliest ventures, the colonial era brought exoticism to the colonisers’ shores, whether by the collecting of trinkets and other memorabilia that became familiar, such as incense burners, the influence of a certain conception of space utilisation and planning, or indeed profound changes or introduction of new daily rituals, such as tea,” said Swiderski.

In certain pockets of the interiors industry, eastern influences have been making themselves felt for centuries. Patterned fabrics or low-lying seating in the form of built-in banquets and low-floor cushions are obvious examples.

“Furthermore, innumerable collections and interpretations of Chinoiseries on fabric and wallpaper have created a strong, attractive niche source for design. De Gournay, and more recently Fromental, have developed their trademark paper or paper-backed silk hand-painted wallpapers from Classical or revisited Chinoiseries, or other colonial scene themes,” Swiderski said.

Lacquered furniture, medallion handles and pagoda legs are further indicators of how eastern trends have wound themselves into western furniture design. “Similarly, the advent on the western design scene of very dark wood, which became all the rage towards the late-80s and mid-90s, is directly attributable to forays into Far-Eastern styles, where woods used are of darker essences than the more traditional European oak, cherry and beech.

“More classical European furniture pieces made heavy use of marquetry or painted decorative motifs with curves and detailing, which were often also influenced by the Middle-East. Apart from the beautiful richness of lacquered pieces from China, Asian furniture also often relied on simpler lines enhanced by the beauty of wood grain left visible,” Swiderski maintained.

When it comes to notable ambassadors of eastern design, there is an assortment of names to choose from. Khamash highlighted Tadao Ando, Toyo Ito and Yasumichi Morita, while Swiderski lauded Ryu Kosaka, Noriyoshi Muramatsu for his colourful and very geometric detailed designs, Hiroko Ashihara for her elegant sobriety, Hong Kong’s Joseph Sy for his funky, sometimes supernatural, interiors and awesome use of lighting, and Calvin Wang in Beijing for his contemporary ethnic sophistication.

In the UAE, eastern design influences have made themsleves felt in a range of spaces, from iconic restaurants such as Nobu, Zuma and Okku, to the JAL hotel in Fujairah and Talise Spa at Dubai’s Al Qasr hotel.

There is a deep connection between Eastern and Middle Eastern design, Mustafa suggested. “I think there is a strong relation between Asian design and Middle East design, especially in the UAE where we can assist in mixing styles and culture under the same roof. You can see good examples of this in the hospitality segment, especially in restaurants like Nobu, Zuma and Okku.”

In a period characterised by restraint, at a time when societies are reconsidering their social and cultural attitudes, some of the most basic principles inherent in eastern design are striking a chord. But this does not mark the end of ‘western’ influence.

“I think it means a joining of forces, a cultural cross-pollination, if you will, as neighbours keep discovering each other’s strengths, keep taking a page from each other’s book and keep coming back for more as inspiration is fuelled anew,” said Swiderski.

“Extending our connection with the Japanese design culture and learning to integrate these philosophies will spur new critical thinking which, in turn, can only benefit western interior design,” added Caan.

“The balance, fluidity, simplicity, precision and skillful execution both cultures value will go hand in hand with enhanced conditions for intelligent and ethical design, such as ‘Wa’, the blending of opposite entities in order to take them to a higher level; ‘Shizen’, imitating mother nature; ‘Kanji’, programming of the hand and mind; and ‘Mu-ga’, in effect, designing without ego, to name but a few. Such higher philosophies have the potential, when extended through design, not only to better support human behavior but to energise industry and the economy, and to provide answers for some of the pressing social challenges of the modern age,” she concluded.