High-rise condo building reflected in windows of a modern glass-and-steel skyscraper in Akasaka, Tokyo.
Many years ago, when I was in my late teens and early twenties, I was travelling two or three times a year from the U.S. through the Southeast Asian city state of Singapore. These trips were usually en route to Australia and Papua New Guinea to visit family and make “visa runs” during the summer and winter months. I got in the habit of visiting bookstores in Singapore and picking up a lot of novels along the way to satisfy my voracious reading habit on the long flights and months traveling this part of the world.
In Singapore, there’s a lot of contemporary literature by local writers published in English. One such book was “Man of Malaysia” by Tan Kok Seng. His novel reads like a memoir of a poor, working-class man coming of age and finding a life in a homeland that was going through rapid economic development and social change. For a young, white Western man, his story offered a fascinating and rare perspective.
Many years later, I stumbled upon this book in a box we unpacked during a move to a new home. The minimalist design and line-drawn portrait on the cover make the book stand out and is probably what first got my attention when I browsed the display tables of a bookstore in a mall off Orchard Road in Singapore those many years ago.
Good design can serve many purposes. One is to invite the viewer in, to pique a curiosity and draw them to further explore. This book didn’t change my life, but it offered profound, unique insight that likely I would not have gained had I not noticed the book in the first place.
The Naka-Meguro neighborhood of Tokyo has a distinct feel. It occupies one side of a steeply sloped hill and the expanse of flats bisected by a creek between Daikanyama and Meguro. It’s fashionable in a moneyed-but-hip, indie way, a place where successful creative professionals have settled and where street art is baked into the landscape around every turn.
The optics and media of Japanese political election campaigns are fascinating for their restraint and orderliness. Campaign posters for the various politicians are put up in designated places in local neighborhoods and often in clusters, like the ones pictured above in Tokyo’s fashionable Naka-Meguro area. The politicians each appear in posters that are basically all the same size and visually tame. In short, as outdoor billboard advertising goes (what ad industry people call “out of home” or OOH advertising), these election posters are a relatively unobtrusive part of the cultural landscape.
It’s always great fun being back in Tokyo. It’s really a home away from home for us, and we love having the opportunity to re-connect with our Tokyo posse in person and catch up on all the recent art and design developments going on in the Japanese capital. This trip recent trip was no exception. As we head back to GGHQ in New York, we say “See ya later, Tokyo.” We’ll back again in a few months.
The cafe in the garden of the Nezu Museum in Aoyama, in Tokyo, is a striking example of minimalist architectural design and contemporary Japanese aesthetics. Floor-to-ceiling glass walls on three sides of the rectangular space give a full view of the garden and spectacular autumn foliage. A Japanese washi paper design is part of the ceiling material and allows diffused light into the space. This is one of more contemplative spaces in Tokyo and a fine place to while away an hour in reflection, sipping a coffee or tea.
We’re in Tokyo this week and as those of you who follow us on Twitter and Instagram may have already seen, we’ve been posting some pix from the Japanese capital literally from the moment we stepped off the plane (see below). It’s good to be back in Tokyo, one of our favorite cities and a source of much inspiration in terms of great design, creativity, urban living and style. Plus there’s all the amazing food. We’ll be posting from Tokyo all this week as part of our “Tokyo 14 Project,” so look for pix and updates here, as well as on Instagram and Twitter.