Charlotte Perriand and Japan.
Norma| N° d'inventaire | 17613 |
| Format | 24 x 31 |
| Détails | 335 p., color illustrations, hardcover with dust jacket. |
| Publication | Paris, 2018 |
| Etat | Nine |
| ISBN | 9782376660163 |
Invited in 1940 by the Japanese government to guide the country's industrial art production, Charlotte Perriand discovered an ancestral way of thinking, lifestyle, and architecture, in line with the modernist precepts she championed with Le Corbusier and Pierre Jeanneret. The development of her "art of living," which profoundly changed the way French people lived in the 1950s, was born from the reflections she conducted during her mission in Japan. In return, she passionately contributed, through her interventions in production workshops, to the revival of Japanese craftsmanship. "Of all the Westerners who worked in Japan, she is probably the one who had the greatest influence on the world of Japanese design," declared the great designer Sôri Yanagi, who was her assistant. Her exhibitions in Japan, "Selection, Tradition, Creation" (1941) and "Proposition d'une synthèse des arts" (1955), which had a great impact, her publications and her studies, her achievements in Tokyo, the house of Jacques Martin (1953), the Air France agency (1959), or in Paris, the residence of the Japanese ambassador (1966-1969), the Shiki Fabric House showroom (1975) and the Tea House at UNESCO (1993) are all testimonies to the links between Western and Japanese cultures and their mutual enrichment. The work, which reveals the freedom of thought of this great creator in the face of the challenges of a complex period, is a valuable lesson for new generations of architects and designers, but also for the man of today.
Invited in 1940 by the Japanese government to guide the country's industrial art production, Charlotte Perriand discovered an ancestral way of thinking, lifestyle, and architecture, in line with the modernist precepts she championed with Le Corbusier and Pierre Jeanneret. The development of her "art of living," which profoundly changed the way French people lived in the 1950s, was born from the reflections she conducted during her mission in Japan. In return, she passionately contributed, through her interventions in production workshops, to the revival of Japanese craftsmanship. "Of all the Westerners who worked in Japan, she is probably the one who had the greatest influence on the world of Japanese design," declared the great designer Sôri Yanagi, who was her assistant. Her exhibitions in Japan, "Selection, Tradition, Creation" (1941) and "Proposition d'une synthèse des arts" (1955), which had a great impact, her publications and her studies, her achievements in Tokyo, the house of Jacques Martin (1953), the Air France agency (1959), or in Paris, the residence of the Japanese ambassador (1966-1969), the Shiki Fabric House showroom (1975) and the Tea House at UNESCO (1993) are all testimonies to the links between Western and Japanese cultures and their mutual enrichment. The work, which reveals the freedom of thought of this great creator in the face of the challenges of a complex period, is a valuable lesson for new generations of architects and designers, but also for the man of today.