[ Craft x Tech Lecture Series Vol. 6 ]“Aizu Hongo Yaki × Echizen Washi x Lexus” @The University of Tokyo

“Craft x Tech” is a new initiative that connects traditional Japanese craftsmanship with contemporary technology. By exploring the beautiful materials and techniques of Japanese crafts from both historical and futuristic perspectives, it elevates them into new and exceptional works of art. The project produces collaborations between artisans from traditional craft regions and internationally active designers and artists. Aiming to bring new discoveries to crafts that sometimes have histories spanning hundreds of years. The sixth installment of the Craft x Tech lecture series featured presentations by artisans and designers from fields such as Aizu Hongo Yaki, Echizen Washi, and Lexus.

This session marks the final event in the Craft x Tech special lecture series, which began at the University of Tokyo in 2023. For this sixth and final lecture, we welcomed three distinguished speakers: Shuji Yumita, CEO of Ryūmon-yaki, a kiln producing Aizu Hogo Yaki, a craft with a 400-year history in Fukushima Prefecture. Yoshinao Sugihara, CEO of Sugihara Shōten, a company that has been making Echizen Washi with a tradition over 1,500 years in Fukui Prefecture. And lastly, Kōichi Suga, Head of Lexus Design at Toyota Motor Corporation, who leads innovative automotive design at Lexus International. These three leaders, each accomplished in their fields of traditional crafts and design, shared insights into their current projects and approaches.

*Aizu Hongo Yaki, which is the oldest kiln in Tohoku, originated in 1593. It is said that the master of Aizuwakamatsu Castle, Gamo Ujisato, invited tilers from Harima Province to make tiles for renovation of the castle. Aizu Hongo Yaki has pottery inherited from original tile-making and porcelain made from Okubo Stone, and is famous for tea pots, clay bottles and flower vases.

Lecture by Shuji Yumita, Aizu Hongo Yaki

Shuji Yumita
Representative Director of Ryumon Yaki Co., Ltd. Representative Director of Aizu Hongo Yaki Business Cooperative Association. Representative Director of Tohoku Craft Tech Liaison Council.
Studied ceramics in Seto City, Aichi Prefecture, and learned pottery making from shaping on the potter's wheel to firing in Mashiko Town, Tochigi Prefecture. Then, returned back to home town.
Since 1902 (the 35th year of the Meiji era), as a kiln owner of Aizu Hongoyaki, the sole porcelain-producing region in Tohoku, along with handicrafts, has been advancing the production of insulators, lighting fixtures, tiles, etc., while exploring the characteristics of Takubo porcelain stone, which is the raw material, and the possibilities of porcelain

400 Years of History Crafted in the Harsh Winter

The history of Aizu Hongo Yaki spans approximately 400 years, originating from the craft of making roof tiles. Around 400 years ago, the Aizu domain invited tile craftsmen from Harima Province in Hyōgo Prefecture to make roof tiles for Tsuruga Castle. Due to the extremely cold climate of the Tōhoku region, ordinary roof tiles would crack when moisture inside them froze. To combat this, a special technique was developed using red clay to make the tiles, which were more durable in freezing temperatures. This method of creating red tiles proved effective not only for roofing but was also found to be applicable to other ceramics, marking the beginning of the Aizu Hongo Yaki industry. Craftsmen from Seto in Aichi Prefecture were brought in to refine this technique, which eventually grew into a thriving ceramic industry.

Since 1719, Aizu Hongo Yaki has prospered as the official kiln of the Aizu domain. The roots of Aizu Hongo Yaki are deeply intertwined with the Aizu domain itself.Around 200 years later, artisans from the eastern regions discovered a method for producing porcelain by crushing clay. Aizu adopted this technique, leading to the development of its own porcelain-making technology. The primary clay used for Aizu Hongo ware is sourced from the same local mountain. Making Aizu Hongo Ware a rare and unique production area in Japan, renowned for manufacturing both pottery and porcelain simultaneously.

Aizu Hongo Yaki as a “Folk Kiln”

However, Aizu Hongo Yaki underwent a transformation with the abolition of the Aizu domain. With this change, Aizu Hongo Yaki became a “folk kiln” and faced a difficult period of war and fires. Despite these challenges, it eventually gained recognition, particularly for its teapots and tea bowls, which became popular both domestically and internationally. During the Meiji era, teapots became particularly famous, and Aizu Hongo Yaki started to be distributed in major markets like Tokyo. The production of teapots was labor-intensive, and only a few kilns could produce them.However the demand remained high, with as many as 150 kilns in operation at one point. The simple, strong aesthetics of Aizu Hongo Yaki, influenced by the local environment, were highly regarded.

A significant turning point came in 1926 with the Mingei (Folk Art) Movement, which encouraged the promotion of “folk crafts” throughout Japan. This movement sought to emphasize the simple beauty of objects rather than their functional qualities.Thus giving rise to the concept of “functional beauty” (yō no bi). In 1958, Aizu Hongo Yaki gained international acclaim when a herring bowl from the region won the Grand Prix at the Brussels World Expo. This event firmly linked Aizu Hongo Yaki with the Mingei movement, contributing to its reputation as a folk ceramic and marking a major turning point in the development of the ware’s identity.

A New Image of Aizu Hongo Yaki and “Ryūmon-yaki”

In our pursuit of a new vision for Aizu Hongo Yaki, a creation emerged that would come to symbolize our efforts. This creation is “Ryūmon-yaki,” which also became the name of our company. The inspiration for “Ryūmon-yaki” came from our experience with the production of insulators—the ceramic components used on utility poles. Aizu has long been renowned for its ability to produce these insulators at both high quality and low cost. In fact, by the year 1900, the Ministry of Communications had introduced Aizu’s insulators nationwide, and we continue to produce approximately 100,000 insulators each year.
It was this expertise in insulator production that led to the development of “Ryūmon-yaki.” The process of making insulators involves coating ceramics with a glass-like membrane using a variety of colorful glazes. These glazes are then melted and allowed to flow in a high-temperature kiln, creating vibrant, fluid patterns. This technique, known as “flow glazing,” allows us to craft ceramics with unique designs, with no two pieces ever the same.

But why does “Ryūmon-yaki” now symbolize the essence of Aizu Hongo Yaki? Traditionally, Aizu Hongo Yaki focused on functional items such as tiles and insulators, prioritizing durability and practicality. Over time, however, the focus shifted towards the pursuit of beauty in design, moving beyond mere functionality. The flowing patterns created by “Ryūmon-yaki” ceramics embody this evolution—representing a harmony of “beauty in function.” These patterns also carry significant meaning within the folk craft movement, aligning with the ideals we aim to promote. This is also why we chose to participate in the Craft x Tech initiative, where traditional craftsmanship meets modern innovation.

Revitalizing the Region and New Initiatives

At the beginning, it was quite difficult to establish a distinct image for Aizu Hongo Yaki. The wide variety of products, from ceramics to porcelain, made it hard to define a single image for the brand. To help with this, we introduced a logo and label for Aizu Hongo Yaki to create a stronger sense of identity. In addition to this branding effort, Aizu Hongo Yaki has been evolving through initiatives like the Regional Revitalization Corps. Young people in the region are using traditional techniques to create new industries, such as making jewelry from fragments of ceramics. This has led to a new form of craftsmanship that draws on local resources and has contributed to the economic revitalization of the region.

Today, Aizu Hongo Yaki is benefiting from marketing strategies that leverage regional trademarks, and its recognition is growing both domestically and internationally. More and more people are discovering and appreciating its unique charm. The future of Aizu Hongo Yaki looks promising, as it continues to evolve while preserving its rich history. Furthermore, the contributions of the younger generation are ensuring that the craft will continue to grow and thrive in the years to come.

Aizu Hongo Yaki is no longer just a form of pottery.It is a key part of the region’s culture and industry, playing an important role in its identity and contributing to the community’s future. We are committed to continuing to spread the beauty and significance of Aizu Hongo Yaki to people around the world.
Aizu Hongo Yaki has evolved alongside its rich history, making it a rare and valuable region known for both ceramics and porcelain. As a key part of Japan’s traditional crafts, it will continue to be cherished, not only as a heritage but also as a bridge to explore new expressions within traditional craftsmanship. With the addition of new efforts from the younger generation in the region, there is great potential for further growth and innovation.
Aizu Hongo Yaki transcends the realm of pottery—it plays a vital role in supporting both the local culture and industry. We hope to continue sharing its unique charm with people around the world in the years to come.

Lecture by Yoshinao Sugihara, Echizen Washi

Yoshinao Sugihara
Tenth-generation owner of Sugihara Shoten, a traditional washi paper business. Born in 1962. Has contributed to numerous washi installations, including window displays for GUERLAIN in Paris, the National Stadium, Grand Hyatt Tokyo’s Keyakizaka, and ANA lounges. Developed and holds trademarks for Habutae-shi and Uruwashi, innovative washi paper materials. In 2016, received the Grand Prize at the inaugural Mitsui Golden Takumi Awards. In 2019, invited by Japan’s Ministry of Foreign Affairs to conduct washi seminars in Dubai and Poland. Recognized as a Washi Sommelier.

Reinterpreting “Tradition”

In the village known for Echizen Washi (Echizen paper), there is a shrine dedicated to the “God of paper-making.” Every year, a festival is held to celebrate the craft of paper-making, and there is a legend that God taught the villagers how to make paper. Echizen Washi has a history of over 1,500 years, and about 30 of the nation’s traditional craftmasters are based in Fukui Prefecture. Thus, Echizen Washi is recognized as a traditional craft of the region.However, I do not see my role as merely preserving tradition.

The technology of paper-making itself was brought to Japan from China over 1,500 years ago. It was a cutting-edge technique for its time, and the Japanese have continuously refined and improved it. In fact, the technique of Washi (Japanese paper) has been evolving throughout its history. As a person involved in selling paper, I know that many paper enthusiasts in the Washi-producing regions are constantly creating a wide variety of papers. This is why I believe we must reframe the concept of “traditional crafts” in the modern era. It is not simply about preserving tradition, it is about thinking about how to apply Washi in contemporary design and architecture.

The Allure of Washi Lies in Its Light

Echizen Washi is handmade from natural materials such as kozo (mulberry), mitsumata and ganpi. The handmade process is the most distinguishing feature of Washi. By making it by hand, a unique texture is created in the paper. Another appeal of Washi is its light transmission properties. Unlike regular paper, washi is made from natural materials, with its fibers intricately interwoven. This gives it unique properties, such as regulating humidity, blocking UV rays, and capturing dust from the air. However, the most characteristic feature is Washi’s ability to lower thermal conductivity and scatter light through the complex reflection of fibers, softly diffusing it. This characteristic plays an important role in lighting and interior design. In particular, Washi is widely used in lighting fixtures and interior elements, adding warmth to the space. For example, the interiors of Aman hotels and the stores of the luxury French brand “Guerlain.” Both designed by architect Kengo Kuma, incorporate Washi. Additionally, Washi has been used as a material in art, with renowned artists such as So-un Takeda and Richard Serra creating works using it.

Preserving the Old While Creating Something New

After the paper-making technology arrived from China, the Japanese made their own improvements. By replacing the original hemp with indigenous Japanese plants, the strength and durability of the paper were enhanced. This is why the “Genji Monogatari” (The Tale of Genji) has been preserved for over 1,000 years as a national treasure, retaining the beauty of its writing. Moreover, it has served as a key factor in distinguishing the authenticity of ancient written records.

While there is a history of such progress, we have entered an era where the survival of traditional crafts has become increasingly challenging. As Japan modernized during the Meiji period, traditional items like tatami mats and sliding doors slowly disappeared. This is why I feel we need to reconsider the meaning of traditional crafts. As mentioned earlier, the diverse applications of Washi, including in architecture and art, should be further explored. For instance, we recently collaborated with Lexus to create a large art piece made of Washi. This was part of the Craft x Tech initiative. The project involved creating over 30 sheets of Washi.Each measuring 1.3 meters wide and 4 meters tall, which was a significant undertaking. We completed it on a tight schedule between the end of the year and February for an exhibition, thanks to the cooperation of skilled craftsmen.

Our goal is not merely to “preserve” Echizen Washi but to integrate its tradition into modern life. Washi was originally used as traditional stationery and building materials in Japan, but now it is showing new potential in the fields of design, art, and architecture. Sugihara Shoten is taking steps to open up this future. At our gallery in Echizen City, Fukui Prefecture, we offer an opportunity to experience Washi firsthand on the fourth Saturday of every month. I would be delighted if you could visit and feel the beauty of Washi yourself.

Lecture by Koichi Suga, Head of Lexus Design

Koichi Suga
General Manager of Lexus Design Division, Lexus International. Joined the company in 1988. In 1996, studied at ArtCenter College of Design in the United States, followed by a three-year assignment at the design hub in Nice starting in 2001. In 2008, received the Good Design Grand Award for the iQ. Transferred to the Lexus Design Division in 2010, serving as Chief Designer for the LS project. Assumed his current position in 2018 and has also overseen GR Design since 2022.

Innovation at Lexus and the Challenge of “Beauty”

Since Lexus was established in 1989, we have continuously pursued “Innovation.” We are always striving to exceed our customers’ expectations with new challenges. In the design department, as a team we are working tirelessly to create cars that can only be made by a Japanese manufacturer.

The Lexus GX, recently released, is a tough and robust off-road vehicle, designed with a powerful, sporty blue color. The design emphasizes a solid, squared shape, making it easy to see all corners while driving. On the other hand, the LS sedan features a low, flowing silhouette with elegant lines, emphasizing its graceful form. Though the GX and LS are very different in concept, both emphasize “beauty” as an important design element.

“Functional Beauty” and the Struggles of Design

In automotive design, the term “functional beauty” is often used. Cars are products where functionality—such as safety and performance—plays a critical role. As designers, we are constantly tasked with balancing functionality and aesthetics. However, industrial designer Toshiharu Yamanaka, a graduate of the University of Tokyo, once wrote in his column: “Overusing functional beauty in the manufacturing process can narrow the designer’s role and invite excessive expectations. This is a kind of myth and can be a curse for the maker.” I have worked in design for many years, and I fully agree with this idea. When we focus too much on functional beauty, the overall aesthetic can be sacrificed, leading to uninspiring, soulless designs. Additionally, with the increasing use of new technologies like software and AI, we are constantly contemplating the future of design that intuitively appeals to our sense of beauty.

Recently, I had the opportunity to visit Katsura Imperial Villa. Every building and furnishing there is crafted based on the concept of yō no bi—the beauty of utility. Yō no bi refers to the idea that an object’s beauty is deeply intertwined with its functionality while enriching the life and movements of its user. This concept differs from “functional beauty” (kō no bi). Functional beauty often results from prioritizing utility, which frequently leads to minimalist design. In contrast, yō no bi emphasizes beauty as an integral part of function, refined to its utmost potential. While an object’s practicality is central to its appeal, it must also possess inherent beauty beyond its utility. This philosophy has provided me with a fresh perspective on design and its deeper meaning.

The Future of Lexus and Craftsmanship

At Lexus, we pay great respect to Japanese crafts and craftsmanship, challenging ourselves to incorporate them into our designs. What makes crafts unique is that every piece is made by hand. On the other hand, cars are mass-produced, so we cannot make every single component by hand. However, at Lexus, we try to incorporate as much handcraft as possible, embracing craftsmanship in our designs.

During my time working on design projects for Lexus, I had the opportunity to collaborate with Hakuichi Co., Ltd., based in Kanazawa, on the development of products using platinum leaf.
This project involved repeated testing for weather resistance and safety, and after approximately four years of effort, we finally brought it to completion. This craftsmanship-driven challenge has been highly acclaimed internationally, receiving significant attention and anticipation for what new items might come next.

Lexus will continue to value craftsmanship and create cars that embody the strength of Japanese manufacturing. With the growing demand for sustainable development, it is essential to merge traditional techniques with cutting-edge technologies. While digital technologies are indispensable in modern car development, at Lexus, we still emphasize the importance of hands-on craftsmanship, such as the clay modeling process. Ultimately, the adjustments made by skilled artisans are essential for achieving the beauty and quality of Lexus cars.

Lexus design places great importance on the balance of functionality, beauty, and craftsmanship. While adapting to changing times, we will always strive to create beautiful cars. I hope you will continue to follow Lexus and experience the evolution of our vehicles.

[Event Details]
Date: 19 August, 2024 
Venue: ENEOS Hall, The Research Center for Advanced Science and Technology
　　　 1st Floor, South Wing, Building 3, 4-6-1 Komaba, Meguro-ku, Tokyo
Speakers: Shuji Yumita,  Koichi Suga and Yoshinao Sugihara