Eastern promise

[L-R] Alfred Johnson, Shashi Caan and Mustafa Khamash



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.

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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.

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