Creating New Values for Local Power

A topography born of nature, humanity, and history.

We use the name "Kyodoryoku," Local Power, to refer to promoting the connection of economy and culture to the next generation, creating new value for that topography. My job is to offer unified services from initial plan to final development and design across a wide variety of fields, from commercial environments to food to crafts, for a variety of regions. For each level of work, the added value for every region or business is based on a theme of their Local Power. For ryokan in particular commercial environment that brings a new sense of values to the region is key. When planning a ryokan, I offer a design concept that is based on surveys of the local natural and social environments, history, local ingredients and crafts, and especially a sense of era.

Our current age is one of confusion and change in values, and from any perspective, it’s clear this change will continue. Thus, I believe the Local Power way of thinking must become more common in general.

Japan’s Satoyama and Satoumi, the hills and seas that sustain Japan.

In this age of change, I hope we don't lose Japan's beautiful Satoyama and Satoumi, bountiful mountains and seas. Their warmth and splendor soothe and heal the soul. This belief only grew stronger after I visited Tohoku in support of recovery efforts after the earthquake in 2011. What I saw in Tohoku was Japan's original beauty.

No matter how technology advances, I want to value the relationship between nature and humanity, and the wonderful food and crafts born of the careful work of human hands. Caring for the Satoyama and Satoumi can be done by setting rules for the natural world. We must reexamine the way we look at living things, through what is known as Biological Diversity. If we build forests to offer habitat to wildlife, prevent disasters, and preserve clean water, then Satoyama and Satoumi will provide us with their fruits. I often work in Hokkaido, and there see great herds of deer alongside highways, when they should be living in untouched forests. The deer eat all the bark off the trees, and must come down to the towns for food. The same is true of bears. I think that by driving the Japanese wolf to extinction, we have taken a vital link out of the ecosystem, thus causing these problems. I feel that we need to once again value the diversity of life, where every habitat and every role is vital to the future of our Satoyama and Satoumi, and can offer hints to the next generation.

Craft Spaces are Rich Spaces

Each region of Japan has its own craft work. Through Local Power, those crafts can create vitality. A space filled with crafts is a rich one. History, tradition and art connect to create a story. The culture of bamboo work in Oita, Kyushu; the culture of lacquerware in Wajima, Ishikawa; the culture of urushi tapping in Iwate, in Tohoku; the culture of woodcarving in Hokkaido; so many regions have a craft tradition. I believe that creating spaces for these regional crafts will help them thrive. I also believe that this will greatly help in creating an identity for these areas.

In spaces we live in, a wide variety of materials are used. The modern era has brought the use of a number of more efficient, durable materials, but I feel that materials that change naturally over time like wood, earthen walls, washi paper, stone, bamboo, cloth, glass, tatami, iron, or brass create feelings of affection and pleasure. And when those materials are worked with true craft skill, they create an even richer space. A traditional Japanese Sukiya-style building, one made by a true craftsman with the ability to find the perfect mating of materials, is exquisite. Although there is no space as restrictive as one made without vision, that hinders the appreciation of the craft used, I have taken to calling a Craft Space any space in which objects evoking craft skills and sense such as lacquerware, stucco, wrought iron and such fittings are used.

However, in a commercial environment where a large, unspecified number of users calls for durability and economy, the use of these crafts is difficult, and yet I want to do my best to find ways to integrate such craft components. Because above all, the incredible skill shown in Japanese crafts has the power to raise the level of our senses.

Designing Products to Shift Japan's Modern Food Culture

We offer services for product development from planning to package design and sales promotional tools.

In product development, we primarily focus on food-related goods. Japan has any number of local food cultures, represented by things born of the local climate and nature, like miso and soy sauce. And even now, village festivals to pray for good harvests and other folk arts are also deeply connected to nature, and are deeply valued as vital culture. The theme of my product development is evoking the traditional characteristics, skills, and culture of an area for the modern age. Food culture goes beyond the mere nutritional support of the body. Food helps create pleasure and joy in life. It helps add color to the seasons and events, and add highlights to life.

In addition, I offer product development in other areas, such as dishes, furniture, and cosmetics. For each area, I keep my product development rooted in the traditions, history and skills of the enterprise. And when it comes to product planning as a whole, I always strive to build added value and mindfulness. And finally, in every product plan I look to reflect the regional or corporate culture behind it.

Furyu Seikatsu, Better Living and Elegant Lifestyles for Japan

In 1990, I established the brand Furyu Seikatsu, or Elegant Lifestyle, based on the theme of a Better Living for Japan. The underlying idea was "hand work for every lifestyle in every region." I wanted to connect to the creation of value from earnest craft work.

I have always been enchanted with Japanese climate and cuisine and crafts, and so design spaces with such objects and craft work, and develop new things like foods. From the north to the south, I have done a great deal of work, but now I hope to view that work with a new sense of values.

January 2017, Izumi OKABE