Ƶ design 2021-05-26T06:59:13.665Z http://www.daikin.com/ Ƶ design Hexo Awareness for the Invisible Air – Part 2 – http://www.daikin.com/2021/05/entry-72.html 2021-05-27T00:00:00.000Z 2021-05-26T06:59:13.665Z Hisato Ogata from “Takram,” a design innovation firm, and Yumi Ohta, a brand designer who oversees brand design at Daikin’s Technology and Innovation Center, shared their thoughts on the exhibition that had been planned for Milan Design Week but later canceled due to the COVID-19 pandemic.





Underlying concept of awareness


Ohta:

Unfortunately, “Milan Design Week 2020” was canceled due to the COVID-19 pandemic. Having had extensive discussions together, all of us at Ƶwere really looking forward to completion of the exhibition. Could you briefly explain the content that you had planned for it?



Ogata:

What you first find at the exhibition entrance is a transparent balloon floating in the air. The balloon has a message: “The amount of air you can inhale when you take a deep breath.”

That is when you first recognize the existence of “air.”

The physical experience of air gets visitors personally involved. It is a hint of what is to follow and serves as an introduction for the exhibition.


At the site there are balloons of various sizes with messages including: “The amount of air you inhale for one minute when you run,” and “The amount of CO2 in a 500ml bottle of Coke Cola.”

When you are near them, you hear the sound of a runner’s breath coming from the balloon with the message describing the amount of air inhaled while running, and the sound of the rising carbon dioxide gas from the one with the message telling the amount of CO2 in a 500ml bottle of Coke Cola.

Sound inspires you to imagine what kind of air each balloon expresses.

As you walk around the site, it suddenly becomes dark and you see messages appearing in the balloons floating in the air. They become the answers to the questions about the amount of air. While experiencing the fantastic space, you appreciate the meaning of the various amounts of air as represented by the balloons, and you wander around the exhibition with even greater curiosity.




Ohta:

The balloon floating at the entrance and the balloons of different sizes give visitors clues as to the meaning of the exhibition and helps build suspense. It truly is a composition where you can feel real excitement, isn’t it?



Ogata:

The underlying concept of this exhibition is awareness. “Air” is pronounced in the same way as the second syllable of “awareness (aw+are+ness),” so this theme is also an intentional pun. We would like people who are oblivious to air to realize its existence, appreciate its value, feel gratitude for it. In considering how to attract such people and convey our message, we thought that the experience of the space should be memorable. There are many things about air that people need to learn, but before they can learn it’s important for them to feel “air.” Having exciting experience comes first, and then learning. We proceeded with the project by sticking to this order of priority.



Devising a manner of displaying

Ohta:

Could you talk about the balloons as the key items of the exhibition?

Ogata:

We started with the investigation of air to select what can be expressed in volume among the things related to air by searching the Internet and referring to science textbooks, etc. We spent much time for this. The information in which I was especially interested was that the same amount of air molecules from Julius Caesar’s last breath in the Roman era are also contained in this balloon. A huge number of molecules exist in air, all of which are dispersing all the time. Therefore, calculating based on scientific reasoning, it turns out that air molecules from his last breath are contained in this air we breathe now.


Another focal point is comparison.

The amount of air per breath when just standing is different from when running, and this can be shown using different-sized balloons. Likewise, the amount of oxygen consumed during sleep is the same as that needed to burn a candle to the bottom. We examined the amount of air consumed from various angles to find the best messages to put in the balloons.

Ohta:

Even just a breath of air becomes very impressive when it is focused on from different angles through comparison. Also, messages about the environment were put in some balloons, weren’t they?

Ogata:

Initially, there were people who said that Salone del Movile.Milano was a tradeshow, so putting excessive focus on serious issues would make visitors feel like they were listening to a sermon and lead to a loss of interest in the exhibition.

However, climate change is a serious global issue directly related to air. There is no point in delivering air-related messages that avoid environmental issues. Having decided that, it became a matter of putting such issues into proper perspective.


As for the topics of the messages, we selected the ones that participants can intuitively understand among various options ranging from something interesting to trivial things. They could see and touch air which is usually outside their awareness, and it exists right before them. We created a well-balanced exhibition plan without weighing heavily on a single topic so visitors would look at air from different angles and gain a new awareness.

Aiming to achieve pinpoint accuracy

Ohta:

The idea to let a certain amount of air out of a space in the spot using a transparent balloon was interesting too.

Ogata:

We decided using balloons to show air itself after examining various ideas, so we collected different types of balloons to test with. We felt a sense of déjà vu when lighting a translucent balloon. We tested various other methods such as painting only half of a balloon using a gradation technique, but it turned out that all the methods had already been used for installations or illuminations sometime in the past.

So, instead of trapping air in balloons, we decided on displaying thin and transparent balloons to look like air itself.

Ohta:

When looking at the balloons in the air, I really felt that they were floating there as if they were as imperceptible as air.

Ogata:

We had to tackle technical challenges in order to make the balloons float in the air.

We aimed to create a mysterious atmosphere that temporarily confuses visitors and makes them wonder how these balloons float in the air, or just have the balloons float as if being integrated into the air. Aiming to deliver the message that air exists everywhere, we needed to use such equipment as looks like a desk or other furniture for everyday use to make the balloons float in the air. We developed equipment consisting of slit-shaped boards by trial and error.

This equipment is something like a 3D version of hatching, a drawing technique used to create shading effects with spaced parallel lines. The wind created by the fan smoothly goes through the slit-shaped boards to make the balloons float in the air. We worked hard so that everybody would notice the basic concept of creating beauty while keeping functionality at a higher level. On top of that, we tested many times so that the balloons would be still in the air obliquely upward from the equipment. We didn’t want anybody to spot the trick that the balloons are kept still in the air by the wind created by the fan. We need to achieve pinpoint accuracy in order to show something that has never been done by someone else. It was so hard to set up the video recording equipment since we pursued a delicate and well-balanced installation with pinpoint accuracy this time.

Feeling gratitude for air “that is taken granted” from the COVID-19 pandemic

Ohta:

From the influence of the COVID-19 pandemic, many people have started to feel gratitude for being able to breathe without anxiety. Do you think attitudes toward air have changed since the outbreak of COVID-19?

Ogata:

I think it has dramatically changed. Social distancing means keeping a safe space between yourself and other people, so it cannot be practiced without being aware of air. This applies to wearing a mask too. People in the world have come to pay attention to air on a daily basis. It seems that their sense of value has turned one-hundred and eighty degrees.

We received the offer before the pandemic, and we wanted to create an awareness of air since people were oblivious of it at that time.

That’s why we put the slightly terrifying message: “Nobody can live longer than five minutes without breathing” under the balloon saying “The amount of air you breathe out when you take a deep breath” at the entrance.

We wanted to startle participants a bit with this message to make them think, “Yeah, that’s right.” However, we are now in such a terrifying situation unfortunately. Specifically speaking, Italy, the country where Salone del Movile.Milano is held, went through the first phase of the pandemic due to a rapid increase in the number of infected patients.

It is the case that the world is now in such a predicament, and people in every corner of the globe no longer regard breathing without anxiety as something that they can take for granted, and actually come to consider air as something invaluable. This may be because the message that we wanted to deliver unexpectedly reached people in the world due to the COVID-19 pandemic.

The slogan “I can’t breathe” is also used as an icon of racism in the “Black Lives Matter” movement which calls for eliminating systematic violence and racism against black people. I was just thinking of communicating the importance of air and being able to breathe without anxiety at that time; therefore, I felt something paranormal like being indirectly connected to that movement when I knew such a slogan was symbolically used.

Ohta:

Ƶstrives to make people’s lives affluent by providing good air every day. As part of such efforts, we would like to communicate to people how interesting and amazing air is. However, it seems that people take air as something scary or terrifying due to the COVID-19 pandemic. As a company handling air, we strongly hope to deliver the message that there is no need to be afraid of air. We would like to get the safety of air known to people.

Ogata:

I genuinely feel empathy for what you say. Unfortunately, the exhibition was cancelled, and it’s a really shame that what we prepared will never be publicly disclosed. I feel disappointed at the fact that the time and energy we invested to create such interesting exhibits were wasted, but I would like to keep the video for good to publicize the messages that are contained in them.






Hisato Ogata

Hisato Ogata
Takram Director, Design Engineer

Ƶ graduating from the Faculty of Engineering of the University of Tokyo, Ogata studied at the International Academy of Media Arts and Sciences (IAMAS), worked for LEADING EDGE DESIGN, and joined Takram as Director in 2012. He has expertise in various fields ranging from design and engineering to art and science. He serves as a design engineer who performs a wide range of activities that relate to both software and hardware.

Main projects include “Hakuto,” a lunar exploration rover (design concept development and styling), “The Mimicries,” an NHK Educational TV program (art direction), the “On The Fly,” an interface integrating print and digital media (system development), the “21_21 DESIGN SIGHT Exhibition “Athlete” (project management).

He has won numerous prizes including the German iF Design Award (2005), and Jury Selection Award, an award given to an outstanding work selected by the Jury at the Japan Media Arts Festival (2012). He has served as a Good Design Award judge since 2015.

]]>
Hisato Ogata from “Takram,” a design innovation firm, and Yumi Ohta, a brand designer who oversees brand design at Daikin’s Technology and Innovation Center, shared their thoughts on the exhibition that had been planned for Milan Design Week but later canceled due to the COVID-19 pandemic.
Awareness for the Invisible Air – Part 1 – http://www.daikin.com/2021/05/entry-71.html 2021-05-26T00:00:00.000Z 2021-05-24T04:27:49.531Z Hisato Ogata from “Takram,” a design innovation firm, and Yumi Ohta, a brand designer who oversees brand design at Daikin’s Technology and Innovation Center, shared their thoughts on the exhibition that had been planned for Milan Design Week (Salone del Mobile.Milano) but later canceled due to the COVID-19 pandemic.

Background behind cancellation of the exhibition

Milan Design Week is one of the world’s biggest design events occurring every April in Milan, Italy, and is held along with “Salone del Mobile.Milano,” an international furniture fair. It is known as a venue where many companies from around the world present their core ideas for brand and attracts considerable attention from the design industry.

Ƶhas also delivered various messages about air at the event through the installations for “breeze of light,” and “air and people” In 2020, the company was scheduled to exhibit “Every Air,” an installation that reflects upon air, in collaboration with Takram; however, the exhibition was cancelled due to the COVID-19 pandemic.

Using technology to express what you wish to convey

ƵBrand Designer Yumi Ohta (Ohta):

Because Milan Design Week globally attracts people with high sensitivity to the arts and design, it is important to emphasize the aesthetic aspect and context of an exhibit.

For this exhibition, Ƶinvited Takram, a company that values context and stylishly conveys technology, to express the “air” that Ƶconfronts every day from its own perspective.


Mr. Hisato Ogata, Takram Director (Ogata):

From the basic concept to the specific content, we were truly involved this time from the ground up, which made the project even more meaningful to us as well.

Daikin’s corporate image is one of a company that conducts various projects combining design and engineering.

It goes without saying that the most important aspect is to beautifully display technologies, but when we received the offer, our first thought was that we should find a way to use technology to help Ƶdeliver its message.


Reflecting upon the air that we take for granted

Ogata:

Until we were approached with this offer, I had never really thought that much about air.

Through our investigation, we realized that there were a variety of aspects to expressing “air” such as the air quality, humidity, temperature, and airflow.

All of us had overlooked the life-giving properties of the air that we breathe every day. Only when you really think about it do you realize that it is something for which we should all feel grateful.

Arigatai is a Japanese word that literally means “hard to exist” when written, but its meaning has evolved to express gratitude. When we reflect upon air, there is also that juxtaposition of gratitude and existence, so musing on the origins of arigatai guided me to a deeper understanding of air.

From our research, I strongly felt this association and hoped that we could convey that feeling.

Ohta:

When I told you that there was no other company in the world that seriously tackled air-related issues more than Daikin, you commented that people were currently interested in air due to COVID-19, but nobody had taken “air” seriously before the pandemic. Your comment created a new awareness inside me.

Participation in Milan Design Week as an exhibitor has been a part of an ongoing plan, and our goal for the first year had been to “encourage people to take an interest in air.”

Ogata:

Understanding Daikin’s long-term vision for the exhibition, we immediately began to focus on what we could do to evoke people’s interest in air. The exhibition theme was “Every Air.” This was an attempt to reassess the air that we take for granted.

We wanted to help people see air from various perspectives and regard its ubiquitous existence not as something to be disregarded but as something that is precious for which we should feel gratitude.

If the goal is to evoke people’s interest in air, then the starting point is to attract them to the Ƶexhibition site.

Our thinking was to get people to visit the exhibition, have them experience it firsthand, become even more interested in its message, and learn the various perspectives of air. We wanted to create something that would change their way of looking at the world after they left the site. The core concept of this project was to build greater awareness among people for the invisible air.


Expectations for air in the future

Ohta:

Amid the COVID-19 crisis, we currently reside in a dark, unforeseen world where we cannot meet our families living in remote areas nor visit them in hospitals. Because of COVID-19, we often find ourselves having to forego many things. What’s more, air has assumed a fearsome existence. As a company that envisions the possibilities of air, we would like to remove any anxiety or threat to the greatest extent possible in providing safe and secure air. That’s because the air that is essential for daily life exists everywhere and not just for this exhibition. In drawing attention to previously unnoticed air, we hope to convey that there are still many more discoveries and possibilities to reveal.


Ogata:

Online activities have dramatically become widespread due to the COVID-19 pandemic. While we are now talking online, I don’t believe that all things will necessarily be digitalized. I think people will always appreciate the value of going outside of enclosed, artificial spaces to breathe fresh air.

Going forward, the world may face new reoccurring waves of COVID-19, but life will gradually get back to normal someday, and we will be able to confidently meet and gather with other people. I hope Ƶwill fully utilize its state-of-the-art technologies to create air environments in which this can properly be done.

To accomplish this, I encourage Ƶto continue utilizing its air technology to create a world where everybody can relax and spend time together with peace of mind.

(Continued to Part 2)


Hisato Ogata

Hisato Ogata
Takram Director, Design Engineer

Ƶ graduating from the Faculty of Engineering of the University of Tokyo, Ogata studied at the International Academy of Media Arts and Sciences (IAMAS), worked for LEADING EDGE DESIGN, and joined Takram as Director in 2012. He has expertise in various fields ranging from design and engineering to art and science. He serves as a design engineer who performs a wide range of activities that relate to both software and hardware.

Main projects include “Hakuto,” a lunar exploration rover (design concept development and styling), “The Mimicries,” an NHK Educational TV program (art direction), the “On The Fly,” an interface integrating print and digital media (system development), the “21_21 DESIGN SIGHT Exhibition “Athlete” (project management).

He has won numerous prizes including the German iF Design Award (2005), and Jury Selection Award, an award given to an outstanding work selected by the Jury at the Japan Media Arts Festival (2012). He has served as a Good Design Award judge since 2015.

]]>
Hisato Ogata from “Takram,” a design innovation firm, and Yumi Ohta, a brand designer who oversees brand design at Daikin’s Technology and Innovation Center, shared their thoughts on the exhibition that had been planned for Milan Design Week (Salone del Mobile.Milano) but later canceled due to the COVID-19 pandemic.
Relationship between Food Experience and Air http://www.daikin.com/2020/12/entry-70.html 2020-12-25T00:00:00.000Z 2021-05-20T07:32:53.760Z “Food creation” as managed by artist Ayako Suwa, is an activity that creates various experiences and conveys a specific concept through installations and performance using food as a theme. As part of this activity, she has held a variety of programs both inside and outside Japan, including “conceptual catering” and “guerrilla restaurants” performed at unique venues. In this interview, we asked Suwa on her thoughts about the nature of air and its close relationship with “food.”


“While air can be interpreted in various ways, the food experience that I produce, broadly speaking, also creates an atmosphere. “Food creation” does not have an enduring physical presence, but it does continue to live in the minds of the people who have experienced it. Savoring the taste is included within that, but food disappears once eaten. Not only the sense of taste, other sensory experiences such as smell, touch, temperature, and air direction are also invisible. However, those invisible things that disappear are full of possibilities to become forever engraved into our memories. For me, ‘air’ represents the situation and story of these invisible experiences that I try to create through my artwork.”


An atelier in a forest at the base of Mt. Fuji


In the summer of 2019, Suwa established an atelier in a forest at the base of Mt. Fuji in Yamanashi Prefecture, and now she frequently travels between Yamanashi and Tokyo for her creative activities. By a strange coincidence, that lifestyle has helped her spend a peaceful time during the COVID-19 pandemic.


“I was looking for an atelier in Tokyo, but I could not find a good one. At some point, I came up with an idea that working in a forest would be great. Today, we can work from anywhere with Internet access. When I tried searching for a property in a forest, I found this place. I visited the property the next day and immediately decided to make it my atelier. Because I grew up around nature, I wanted to do my creative work in this type of environment one day.


All the area you can see from here is part of the atelier property, and unless I go outside the premises, I rarely see people. Instead, many creatures live here, and I sometimes see animals crossing a path and insects staring. Although I do not see them very often, I feel their presence and eyes on me. Hares jump, and deer leave many droppings. When I come back from Tokyo, I find holes dug by wild boars and notice unfamiliar smells. I guess that the forest is livelier when I am not here.



It is hard to explain what has changed since I came here, but I feel I am in the middle of a major change. That is partly because the significant change in the global situation coincided with the establishment of my atelier in the forest. Facing nature resulted in me having to face myself. Here I have encountered and communicated with types of people who I had never run into in Tokyo and found and learned many things that led me to new creations. Spending time in the forest has also significantly changed my thought process.”

“Freedom” of living at the mercy of nature

“While the spread of the new coronavirus forced people to suspend many projects, the forest is filled with inspiration, and every day is busy. Of course, urban cities like Tokyo provide us with inspiration and abundant information, but this area abounds with a completely different type of information that stimulates the senses. Emotions sway with the ever-changing light and wind as wild animals pose questions having no right answer. I feel that everyday life here further awakens my instincts.



While the pandemic imposes unconventional restrictions and constraints in Tokyo, in this place, nature controls us. In the mountains, the weather does not proceed as forecast, and there are many unexpected surprises arising from that unpredictability. When being faced with unexpected events, we have to rely on our instincts. By doing so, our intuition is enhanced, and it may tell us, for example, ‘Looks like rain,’ ‘This place is dangerous,’ and ‘This one looks more interesting.’ Unlike life in Tokyo in which trains arrive on time and people keep appointments, things do not go as planned here. In the forest, we are at the mercy of nature and must let it take its course. The point is how beautifully we embrace it. Although I had unknowingly lost that feeling, it is an invaluable gift of freedom.”

A cycle of exchange created between the forest and Tokyo

In living around nature, Suwa has realized the value of a “cycle” that connects the urban city with the forest.


“When I walk in the forest, I find many branches and leaves of thinned trees. When I came here from Tokyo, they looked very beautiful. At the same time, I thought they were too beautiful to be abandoned. While the trunks of thinned trees are used as wooden materials and firewood, the branches and leaves are discarded. Some of them are left on the ground to return to the soil, whereas others are collected as industrial waste when there is a large quantity. So, I decided to make talismans (charms to dispel evil and bring good fortune) from these beautiful branches and leaves.


Plants contain a chemical substance called ‘phytoncide.’ It is a volatile, antibacterial substance emitted from stimulated plants to protect themselves. When you enter a forest, you may notice a pleasant aroma of the forest. It is the smell of phytoncide. It is proven to have a relaxing effect on people as well as immune-enhancing and antibacterial properties. Remembering that, I decided to send talismans made of branches and leaves containing a rich amount of phytoncides to my friends staying at home in Tokyo. I did it in April and May when people faced a shortage of alcohol-based hand sanitizers and masks due to the escalation of the pandemic. I wanted to bring the spirit of the forest to the people in urban areas suffering from stress because of the shelter-in-place orders and travel restrictions.



In return, my friends in Tokyo sent me wine and sweets that are hard to obtain in the forest. I gave these gifts to the local people who had told me how to split logs and how to cook edible wild plants as well as those who had given me branches and leaves of thinned woods, vegetables, and venison. Since I receive products from Tokyo that are hard to find in the forest as gifts in return for the talismans, I give back what I receive to the local people. Just like a barter system, an excellent cycle of exchange has been created between the urban city Tokyo and the forest with no need of money.”

A forest created in a building in Ginza, Tokyo

The cycle of exchange between the urban city and the forest was also reflected in Suwa’s artwork titled “Taste of Reminiscence, Delicacies from Nature: Ayako Suwa Exhibition,” which was held at the Shiseido Gallery until the end of September. The exhibition started in January 2020, but it was temporarily closed at the end of February due to the spread of the new coronavirus. In August, the exhibition was updated and reopened.


“During the government’s request to stay at home, everyone thought about what caused the situation. In particular, many people must have considered the relationship between nature and humanity. Through this exhibition, I wanted to convey my own questions about the coexistence of nature and human beings.


When resuming the exhibition, I brought talismans from the forest to the Shiseido Gallery. Because visitors came all the way to the exhibition despite the stress of wearing a mask and the risk of infection, I wanted to fill the gallery with the forest’s phytoncides emitted from the talismans and create a place for dispelling evil and achieving a sense of a catharsis. By creating a forest in Ginza, I wanted to boost visitor’s natural barriers with the power of nature.



The ‘Taste of Reminiscence, Delicacies from Nature’ exhibition is an immersive art experience where viewers select and enjoy one type of smell that is closely associated with their memory as an ‘experience to savor yourself.’ Before the temporary closure, visitors could actually savor the taste by eating from the exhibit. Unfortunately, that option was no longer available after the reopening as a measure to prevent the spread of COVID-19. So, I modified the exhibit to one that could only be experienced with a mask. Viewers select an aromatic patch from several types of forest scents and attach it to their masks. By doing so, they can feel a sense of forests inside their masks every time they breathe. Even when they leave the gallery and are walking around Ginza or riding a crowded train on their way home, they experience the feeling of a forest for as long as they wear the mask. That forest is the one that dwells only in their own minds. In that sense, I created a feeling of air inside their masks. By bringing the air of forest, I created a forest in Ginza, in their masks, and in their memory.”


Changes in the relationship between food and humans

Suwa has engaged in food through her “Food creation” activities, and she predicts that the COVID-19 pandemic will change the relationship between food and humans.


“Through the pandemic, people realized many things in their respective positions. Among others, everyone needed to take a moment to think about ‘eating.’ Our values towards what, where, and with whom to eat have been changed. We will also become more conscious of producers and the place of production, as well as how our eating affects nature and society. My values towards true richness and happiness have been significantly changed over the last few months. A friend of mine sent me “The Blue Bird” written by Maurice Maeterlinck in return for a talisman, and the story gave me a beautiful answer.


While there are no supermarkets or convenience stores deep in the mountains, this place has luxuries that money cannot buy. One day, my dining table was filled with mountain stream ayu (sweetfish), venison, bamboo shoots, edible wild plants, fresh vegetables, and wild fruits. To my surprise, none of the food for dinner had been bought. All of the food was something received from my neighbors. Some of it was food that they had produced and shared with me, while some of it was given in return for my help, or in return for my return…
When experiencing such a beautiful cycle of exchange, I found true richness in my life. A mountain owner gives me logs left over from thinning work, people of the village tell me how to split these logs for firewood, and then I use the firewood to grill the venison that I have received from a hunter and eat it in the forest. Of course, the venison cooked by a chef in a restaurant at the perfect temperature would be delicious. However, living in nature makes me realize that there is something more than the physical experience of delicious taste.



I strongly believe that I am in the middle of a calm, major turning point. However, I am not sure yet what exactly it is. Many people may have the same feeling now. Nonetheless, having the two creative bases in this forest, and Tokyo is very good for me. Constantly having two perspectives of city and nature is necessary for me, particularly at this moment. In the exhibition at the Shiseido Gallery, I unexpectedly needed to present two types of artwork before and during the pandemic, but I am willing to embrace such a change and fully enjoy the freedom of being at the mercy of the situation. Now is the time for me to be committed to nature to build my future life. When the pandemic ends, I hope to see a new world and not just return to the world as it had been. The coronavirus causes great pain, but it also provides us with an opportunity to build a better world. I want to believe that the day will come when we don’t have to think of the virus as our enemy.”


]]>
“Food creation” as managed by artist Ayako Suwa, is an activity that creates various experiences and conveys a specific concept through installations and performance using food as a theme. As part of this activity, she has held a variety of programs both inside and outside Japan, including “conceptual catering” and “guerrilla restaurants” performed at unique venues. In this interview, we asked Suwa on her thoughts about the nature of air and its close relationship with “food.”
2020 Good Design Award Products http://www.daikin.com/2020/12/entry-69.html 2020-12-19T00:00:00.000Z 2021-05-20T07:33:30.162Z

Air Conditioner (Cassette Air Conditioner)


■OܳٱԱ
A cassette air conditioner that redefines air experience in Southeast Asia and is designed to provide optimum comfort through 360° all-around uniform cooling


■Jury Conclusions
This product has a variety of innovative design features, including a new technique using the Coandă effect to create airflow that keeps cold air from coming into direct contact with the body and a design that can be installed without any major changes to existing facilities. Unquestionably, the design is a user-driven concept for providing a comfortable cooling experience to a large number of people. While incorporating these elements, the designer has also succeeded in creating a simple, distinctive form. These are the reasons why it has received acclaim for achieving a high overall standard of design.


■Thoughts from the Designer
To meet user needs for various spaces such as cafés and offices, we focused on the essentials in the pursuit of simplicity. By understanding the local context in Southeast Asia, we were able to create a solution with the optimum balance of functionality and aesthetics. We are very pleased that our approach resonates with jury members.


Designer: Nicholas Ee Cao Cin ( ƵMalaysia Sdn. Bhd)

Air Conditioner (CX/C series)


■OܳٱԱ
A compact air conditioner that redefines the relationship between the ceiling, wall, and air conditioner based on airflow that provides new options for the installation environment


■Jury Conclusions
The product is praised for its beautiful presence and improved functionality that mitigates limitations on installation space. It excels in a design that was envisioned based on extensive interviews with people at the frontlines and dealers, has flexibility in installation location, and pursues beauty with a minimum of surface obtrusions. While designs of air conditioners seem to have little room for innovation, a beautiful design was created by seeking new possibilities and reconsidering functionality from a perspective of installation space.


■Thoughts from the Designer
Although wide open spaces with large doors and windows have been increasing in recent years, installing air conditioners has become increasing more difficult. We developed this air conditioner to provide comfortable air to these spaces. By designing with an understanding of the scenarios in modern lifestyles that it will be used, we have created an air conditioner with a unique air intake channel and shape that is not affected by the distance from the ceiling.


Designer: Takaaki Sanagi

Air Conditioner (FTKZ09VV2S)


■OܳٱԱ
A cooling-only air conditioner focusing on maintainability under severe conditions of Southeast Asia


■Jury Conclusions
The product is praised for its simple appearance and ease in cleaning that surpasses conventional air conditioners. It boldly uses a different color for the front panel from the outside of the flap to match the interior color of the air conditioner, showing a great sense of design. In addition to the appearance of the air conditioner when turned off, detailed attention was also provided to how it looks when in operation since it is used for long hours. Not only that, a commonly seen notch in the piping cover has been concealed inside the casing to eliminate obtrusions and maintain a beautiful appearance.


■Thoughts from the Designer
We thoroughly reconsidered the notion of air conditioners for Southeast Asia and earnestly confronted issues and needs in the region to develop the product. The product not only cools space but also assumes a role in creating a comfortable air environment. Our aim in design is to provide a comfortable air experience to users by providing a “clean” product in terms of both ease of cleaning and exterior design.


Designer: Hiroki Hayashi

Deodorizer (Loop Streamer)


■OܳٱԱ
A compact deodorizer that removes unpleasant odors in small spaces such as entrances and wardrobes


■Jury Conclusions
Although the style is simple, the product is filled with well-considered details. The unique shape of louvers is also impressive. The product is small, but its design provides great satisfaction to users. The deodorizer is designed to provide comfort even to spaces such as closets and shoes cloakrooms. Like the portable air conditioners for small spaces, which also started as a new initiative, it has begun to create a new worldview and become the talk of the design world. The long-established air conditioning company explores every possibility of air conditioning based on the technologies it has developed so far and has started to take on a new challenge. Such an approach of the company is also highly appraised.


■Thoughts from the Designer
I am very pleased that the ease of use and detailed design to blend into space were favorably received. This product was created through a new approach in which we publicized the product concept and had users share their insights and concerns to proceed with production. We aim to continue providing a comfortable air environment through this kind of activity.


Designer: Ryoichi Nakagawa

Portable Air Conditioner (Carrime)


■OܳٱԱ
A portable air conditioner that provides comfort to small spaces where it is difficult to install air conditioners, such as in a kitchen, dressing room, study, or skip floor


■Jury Conclusions
Portable air conditioners that can be carried anywhere need to have a design that harmoniously blends into any space. This air conditioner realizes an exquisite, straightforward style that will be loved for a long time. The switch and filters also fit into the main unit, and all obtrusions have been eliminated in pursuit of quality, showing the spirit of the designer and developers. The product weighs only 6 kg, and anyone can easily carry it around. In addition to the ultralight weight for an air conditioner, its unique compact size allows users to easily carry it and place it anywhere to create a comfortable space in every corner of the house. The leather handle that absorbs the weight of the air conditioner is not only easy to hold but also proposes a new design for a portable unit.


■ Statement by the Jury of iF

Skillfully combining forms and materials, the slim design and practical details of the air purifier ensure uncomplicated handling.


■Thoughts from the Designer
I am very pleased to receive recognition for the product for which project members made a strong commitment to take on a new challenge as an air conditioning manufacturer.
We aim to continue creating a comfortable environment suited to ever-changing user lifestyles.


Designer: Ryoichi Nakagawa

Heat Pump Convector (Altherma HPC)


■OܳٱԱ
A high-efficiency heat-pump convector for the European market


■Thoughts from the Designer
The design concept uses a large panel and matt white color to perfectly blend into space, instead of adding something to the building. In designing, careful attention was also paid to materials. All parts of the indoor unit are made of accurately welded sheet metal, making the product durable for long-term use that will not deteriorate and is easy to recycle.


Designer: Alexander Schlag (yellow design gmbh)

Air Conditioner Sensor (Butterfly Mobile)


■OܳٱԱ
Butterfly Mobile is a conceptual model for a sensing tool that collects ambient room data to centrally control air conditioning units.


■Thoughts from the Designer
Ƶperforms a variety of research to achieve both creation of a comfortable space and reduction of environmental impact, and a part of this research is sensing.
This concept was created to not only send the data collected through the sensor to the equipment but also to attract people and change their impressions.


Designer: Ryoichi Nakagawa

Food Container (Air Container)


■OܳٱԱ
Air Container is a conceptual model for a food container that fills with nitrogen collected from the air to inhibit respiration of fruits and vegetables and control maturation.


■Thoughts from the Designer
Ƶperforms research and development for not only air conditioners but also for chemical products and refrigeration units. This also includes the freshness preservation technology for fruits and vegetables that are transported through marine containers.
By expanding the application of that technology, we aim to contribute to resolving the social issue of food loss. With that thought in mind, we created the concept of Air Container.


Designer: Ryoichi Nakagawa

]]>
In 2020, Ƶreceived the Good Design Award for nine products.
Process of Visualizing the Invisible http://www.daikin.com/2020/12/entry-68.html 2020-12-18T00:00:00.000Z 2021-05-20T07:33:43.252Z LIKI inc. has recently created a sensation in the motion design scene by using expression techniques centered on motion graphics and CG. The company produces all genres of videos beginning from TV commercials to music events and live event videos. LIKI inc. also created the video in which ƵIndustries expresses its brand core. In this interview, Art Director Lau and Motion Graphic Designer Isami Shimura, both of whom played central roles in the project, shared their thoughts on designing invisible things.

Leaving room for the audience’s imagination through abstract expressions

It would be no exaggeration to say that LIKI inc. has created all genres of videos including TV commercials for automobiles and cosmetics and promotional videos for artists. What kind of approach did they take in creating the brand core video for Daikin?

Lau:
“First, we asked Ƶmembers to tell us about the four keywords that represent the brand core and their thoughts on each one of these keywords. Based on their answers, we considered how to express air and represent Daikin, but rather than relying heavily on concrete expressions, we decided to freely use abstract expressions.”

Shimura:
“Air is very mysterious in that it is invisible, and yet I can actually touch it. So, we thought it be better to avoid using a specific visual image to express a feeling of air. The brand core is the axis of Ƶdesign; however, a slightly blurry outline could flexibly develop and expand on the concept. That is why we tried to express an abstract world without a distinct explanation.”

Lau:
“This video visualizes the thoughts and philosophy behind the four keywords. Rather than offering specifics, we wanted to leave room for the audience’s imagination.”

Rheology, a clue to making the video

Although they had produced countless videos, the process of visualizing invisible air was not that easy.

Lau:
“First, I thought about what air was. In researching a technique to visualize invisible things, I encountered the fields of fluid dynamics and rheology. In these fields, airflow is calculated by a formula, thereby visualizing the movement of air. For example, when a typhoon approaches, you see a weather chart that indicates air direction by arrows. Realizing that it resembles patterns and a design, we decided to incorporate this idea into the video. We inserted the section of ‘Air’ as an introduction before the four keywords to express how air formed.”

Shimura:
“The introduction represents the moment when air formed and the history of earth’s formation. It is a perfect introduction for the video.”

Lau:
“An ocean forms, microscopic organisms appear, and their breathing leads to forming blue-green algae. Wind blows from the algae, the sunlight reaches the earth’s surface to develop plants, and eventually a person appears. This is why a person’s eye is shown for a second right before transitioning to the first keyword. The person also represents Daikin. Ƶ associating the beginning of air with the establishment of Daikin, the video proceeds to the subsequent four keywords.”

Shimura:
“Air is associated with all life on earth. Because the tempo is good, I hope that the audience gains some sense of that.”

Understand and express the thoughts wanting to be conveyed

The brand video transitions from a dynamic story in the prologue to the four keywords that describe the Ƶbrand core. While trying to understand and construe the thoughts behind each one of the keywords, they went forward with video production.

Lau:
“For example, in the first keyword ‘Profundity,’ the video shows the computer graphics describing a complicated structure and footage of dense forests in order to express the fusion of diverse knowledge and experience that creates a single large foundation. In the second keyword ‘Consideration,’ two abstract, soft materials with color gradation contact with each other to express the relationships of people caring for each other. Not just visualizing these keywords, we also tried to place air at the center of expressions throughout the video.”

Shimura:
“The third keyword ‘Exploration’ is a basic component, but the most important element for companies performing research and development. I think it is better to convey it straightforwardly, so this section has a small storyline.”

Lau:
“The sphere that appears in this section represents Daikin, and it goes on a journey of exploration. Centered around the sphere in the first shot, particles are stirred up from the ground, implying Daikin’s aim to go forward together with its employees surrounding the company.”

Shimura:
“In this section, too, we tried to evoke a feeling of air through the animation. Rather than just exploring something, the sphere pursues the unknown and acquires knowledge that it leverages to further absorb surrounding elements.”

Lau:
“Elements affect each other in the journey of exploration. In the next scene, the sphere goes deeper into the space. This succinctly represents exploration into an unknown world. The viewpoint is switched to the inside of the sphere to show the internal world of the sphere, or Daikin.”

Shimura:
“The sphere is seen from the outside in the previous scene, but the viewpoint is switched to show an increase in experience and knowledge inside the sphere. At last, the viewpoint returns to the outside to show that the sphere reaches a new land with its partners in which they will affect each other again in a new environment.”

Lau:
“For the fourth keyword ‘Passion,’ there may be no need of explanation. It represents the enthusiasm and energy of the people at Daikin. When their passion is displayed dynamically, new things are created. In the last scene, all four keywords are lined up to highlight what exactly represents Daikin.”

People communicate invisible things in life

Not just in expressing the abstract keywords, they also tried to evoke a feeling of air when conveying the keywords. We asked them to reflect on this project.

Lau:
“In most advertising work, products and messages have already been determined. However, this project is about a corporate brand video that focuses on thought and philosophical elements. It requires deep thinking but allows for high flexibility in expression, and more importantly, we enjoyed working with Ƶmembers to create the video.”

Shimura:
“Making a video is what we do every day, but this project would not have gone forward without clearly formulating the concept. I needed a process to think about what to do, so I imagined why these words were selected, calculated back from that, and expanded on those images.”

While they were faced with difficulties in designing invisible things, they told us that all of us do it in our daily lives.

Shimura:
“On a bigger scale, the act of visualizing invisible things has existed from a long time ago. For example, it holds true to diagrams, graphs, and characters. Even if your job is unrelated to visualization, you instinctively do it in your daily life. In addition to design, photography is not merely taking a picture of what exists somewhere. There is the person who clicks the shutter. What is the photographer trying to shoot? What is the situation at the moment? There must always be a specific atmosphere. We are good at visualization thanks to our experience, but giving shape to invisible things is what everyone does on a daily basis.”

Lau:
“Our company, especially the CG & 3D team, is better at abstract expression than realistic representation. Creating something that already exists in the world is not exciting for us. For example, when drawing a tree, you can draw it as realistically as a Hollywood movie. However, CG and 3D expressions become more valuable when drawing abstract things that have never existed in the world. That may be why we always try to express invisible things.”

The motivation is creating something that nobody has ever seen before

Because LIKI inc. always pursues new expressions with that type of approach, it can create a wide variety of artwork irrespective of genres.

Lau:
“Becoming a professional in a specific field is great. However, we want to engage in various products and genres with different tones and manners by mainly leveraging motion graphics. We are more motivated when being tasked with different subjects. When we previously produced a promotional video for an expressway, I examined thick documents and studied very hard. Learning new things is exciting. We studied and gained new knowledge to which we can apply our skills. Our aim is to create new things by combining skills and knowledge.”

Shimura:
“Skill is akin to a pencil. What will you draw with it? You are the one who moves your fingers. You may make many mistakes when trying new things, but you gain experience to prevent the same thing from occurring next time. For me, the less I know, the more interested I am.”

Lau:
“In that sense, I want to incorporate everything I see and hear in my daily life into my ideas just as I put things one after another into my mental drawer and take one that matches a certain job. Rather than intentionally thinking to incorporate something into life, I unconsciously do it on a daily basis.”

]]>
LIKI inc. has recently created a sensation in the motion design scene by using expression techniques centered on motion graphics and CG. The company produces all genres of videos beginning from TV commercials to music events and live event videos. LIKI inc. also created the video in which ƵIndustries expresses its brand core. In this interview, Art Director Lau and Motion Graphic Designer Isami Shimura, both of whom played central roles in the project, shared their thoughts on designing invisible things.
A Story Expressed in the “Brand Core” Video http://www.daikin.com/2020/11/entry-67.html 2020-11-21T00:00:00.000Z 2021-05-20T06:29:48.984Z Recently, users have begun to pay greater attention to a company’s stance, including its environmental approach and initiatives, when purchasing products. With the abundance of products available today, differentiation through branding is becoming increasingly more important. To create customer experience based on a consistent policy, we have defined the core of the Ƶbrand and created a video that visually expresses it. Let’s look into the process of making the video.

Visual expression of brand image








Higashiyama:
This video is made from video footage that expresses the four keywords of our brand core in a very abstract manner. The primary purpose of this video is to create a shared understanding among design members. We refrained from using concrete expressions in order to avoid imposing limitations on design. Instead, the focus was placed on enabling all members to intuitively understand the brand core.


Kabu:
We selected a large number of pictures that match Daikin’s unique image and showed them to other design members to share our brand image. We asked ourselves questions: How should we express the four keywords? What does the current Ƶimage have in common with the ideal image we aim to achieve in the future? As the discussion progressed, we gradually gained a clearer image.


Among the four keywords, “profundity” and “consideration” evoke the images of being down-to-earth and diligent that Ƶhas cultivated so far. These two image types have been combined with the “exploration” and “passion” concepts that express our aim to be a world-leading brand that achieves growth while valuing a connection with the past.

Creation of a video that reverberates with the audience


Higashiyama:
The video is made up of a series of short scenes. We tried to ensure that all scenes match the Ƶbrand image. For example, when someone said that a certain scene did not fully match Daikin’s characteristics, we considered the reason with other members. We discussed the cause in detail such as having the wrong shade of color or lacking delicacy. Attention was paid to every detail from the duration of a cut to the context, color shades, expression in computer graphics, feel of the parts, and angle of view.


Kiriko Higashiyama

Kabu:
The most challenging part was how to adjust the subtle differences in impressions. For instance, “passion” was initially expressed with flames and an explosion. However, rather than being a direct association, passion for Ƶexists more as that imperceptible quality in humans akin to the commitment that an athlete feels toward his or her sport. For this reason, we added some live-action scenes of people moving.


Higashiyama:
We also tried to maintain a good balance of the four keywords throughout the video. Even when watching scenes with the same duration, different impressions are created, and some scenes seem short while others seem long. In the brand core video, all the keywords should be well balanced. We checked it from a viewer’s perspective to eliminate redundancy and keep good pace.

Most important was whether the video would reverberate with the viewer. A slow, long-lasting presentation of scenes bores audiences. If the pace is too fast, nothing remains as being memorable. We should have the right focus while striking an overall balance and use the music that matches the scene to evoke a feeling of comfort and convey the brand to which Ƶaspires.

Foundation for penetrating the Ƶbrand

Higashiyama:
Brand value is invisible. Because such an invisible thing is hard to express in a concrete manner, we used abstract expressions in this video to visualize our ethereal thoughts on monozukuri (manufacturing).

Kabu:
Another important aspect is leaving room for the imagination after watching the video. Instead of presenting patterns, we wanted people to image what would happen next.



Marie Kabu

Higashiyama:
This video serves as a foundation for penetrating the Ƶbrand. In addition to the conventional Ƶimage, we also want to communicate our aim to evolve for the better.

Kabu:
Currently, people who watched the video may not understand what exactly Ƶwants to do. However, the video is filled with the worldview that Ƶenvisions for the future. As our “brand core” activities flourish and the Ƶbrand becomes well known in the next few years, we hope that many people will think, “It makes sense!”

Higashiyama:
Expressing invisible brand value in the video was more challenging than imagined. However, in the course of gradually reducing individual differences in awareness, members developed a shared understanding of the brand. I hope that visualizing the brand will help build a better brand even within the company.




kiriko higashiyama

Kiriko Higashiyama
Product Designer / Technology and Innovation Center / ƵIndustries, Ltd.

Joined Ƶin 2019. She engages in product design for air purifiers and residential-use equipment. She researches lifestyles and trends in pursuit of CMF design that harmonizes with interiors.

]]>
Recently, users have begun to pay greater attention to a company’s stance, including its environmental approach and initiatives, when purchasing products. With the abundance of products available today, differentiation through branding is becoming increasingly more important. To create customer experience based on a consistent policy, we have defined the core of the Ƶbrand and created a video that visually expresses it. Let’s look into the process of making the video.
Creation of a Consistent Customer Experience http://www.daikin.com/2020/11/entry-66.html 2020-11-20T00:00:00.000Z 2021-05-20T06:29:48.984Z In this era of material abundance, the commoditization seen in many industries hampers companies from differentiating their individual products. For this reason, brand power is becoming increasingly more important. When people select products or services, they are not only conscious of quality, but they are also informed on the ideas and activities of the company offering them.

Consistent customer experience


With creation of a consistent policy (“brand core”) for company ideas, branding builds customer experience based on it, and this is an area where European manufacturers particularly excel. While Ƶhas sold products worldwide, designs are usually optimized individually to meet regional needs. With a growing trend of customers valuing brand when making a purchase decision, we have started an initiative to provide customer experience based on a consistent policy.

Thoughts on our “brand core”


At the beginning of the initiative, we spent one year identifying keywords to create a guiding principle for designer work. We studied Ƶfrom many different aspects, such as past employee questionnaires, comments from overseas bases, the public brand image survey, designer’s thoughts, comments on future expectations of Daikin, and workshops using the five senses such as smell and touch. Consequently, we identified four keywords that describe the core of the Ƶbrand.


Four concepts that describe the core of the Ƶbrand

“Profundity” and “consideration” express what we have developed so far, whereas “exploration” and “passion” indicate the aim that further drives our inner ambitions. These concepts represent Daikin’s consistent policy that serves as the framework of our design activities.

In the second year, we tried to visualize the brand core. The aim of this activity is to translate the brand core that comprises the four keywords and several words that explain the keywords into design works. We identified the elements of product design, our main area of work, and then created a video, logo animation, and a statement that describes the brand core to deepen our understanding.

When identifying the elements of product design, we created prototypes assumed to be sold across several regions and held discussions. Ƶhas created locally optimized designs over years. Recognizing this as a unique characteristic of Daikin, we defined the elements of Daikin’s unique product design that meets regional needs, rather than creating one universal design.








Discussions about the video and animation also helped us increase the understanding of the worldview of the brand core. The statement has been communicated internally and externally in order for us to work with pride and responsibility.


While the aim of this “brand core” initiative was undoubtedly to provide customer experience, it was also important to ensure that the brand core does not impose limitations on design but helps designers increase their understanding of Ƶand stir the imagination so that they can work even more freely.

As a company that takes on challenges to achieve growth

My image of Ƶbefore the initiative was a company that works diligently as an air conditioning expert. However, having discussions made me realize that Ƶwas an innovative company that pursued growth without the fear of change and allowed employees to do what they wanted to do. I hope that customers notice—through our products and services—the spirit to challenge that Ƶexhibits as it constantly tries new things in a forward-looking manner.

]]>
In this era of material abundance, the commoditization seen in many industries hampers companies from differentiating their individual products. For this reason, brand power is becoming increasingly more important. When people select products or services, they are not only conscious of quality, but they are also informed on the ideas and activities of the company offering them.
Website Connects with Silicon Valley Startups http://www.daikin.com/2020/08/entry-65.html 2020-08-05T00:00:00.000Z 2021-05-20T07:34:17.023Z Ƶopened ƵOpen Innovation Lab Silicon Valley (DSV) in May 2017 as a satellite office of the Technology and Innovation Center (TIC), located in Japan. In the course of the project, an interactive website was needed to not only provide information but also to convey Daikin’s vision and build a communication hub that brings many people together.


From left to right: Haruka Kinoshita (a member dispatched from the TIC to DSV for public relations activities, including the website project.)

Kevin Ninomiya (a DSV member involved in public relations planning and coordination with the innovation pipeline)

Junichi Ikeda (a TIC member participating in the project as a designer)

― What made you open the website?


Kinoshita:
Although Ƶinitially had a small team performing activities in Silicon Valley from 2014, a decision was made to significantly broaden its function with the establishment of the Open Innovation Lab Silicon Valley (DSV) in the autumn of 2018. To attract excellent human resources and improve our presence in Silicon Valley, we developed a new medium for conveying information that would enable two-way communication. Since it would be in English, we created the DSV website with the understanding that it would also serve as the Open Innovation Gateway for collaborative innovation throughout the global ƵGroup.



Ikeda:
When I joined the project in 2016, Ƶwas little known in Silicon Valley. I remember the general manager giving a bitter laugh and saying, “When I show my business card, people mispronounce Ƶas ‘Deikin.’” Silicon Valley in California, which is known as the world’s leading technology hub, enjoys a mild climate with little rainfall and allows people to wear short-sleeve shirts throughout the year. In such a place, there is little awareness or understanding about air conditioning. That is why we produced a presentation video for DSV in 2017 and developed the website in 2019.


Kevin:
As suggested by its name which includes the words “Open Innovation,” DSV represents Daikin’s commitment to collaborative innovation with external parties. From a business perspective, KPIs are obviously important. To achieve KPI targets and continuously grow, we need to increase the number of collaborative innovation projects and find collaboration themes of even better quality. Creating a website is a must for doing business in the U.S., particularly in Silicon Valley, which is home to many startups and IoT companies. Not only offline communication, we also needed an online platform to connect with many people and attract talent.

― What did you value when creating the website content?


Kinoshita:
What was particularly important was showing actual collaboration examples and the specific needs of Ƶto attract attention from startups. We thoroughly discussed what type of content was necessary, not only to raise the awareness of Daikin, but also to make startups want to collaborate with Ƶand contact it. Before creating specific content, we also spent much time discussing Daikin’s vision and mission in order to clearly state them.



Ikeda:
While the number of pageviews is a general indicator of website performance, the aim of DSV activities is to create new value in collaboration with excellent human resources, technology, and partners in Silicon Valley. Merely posting interesting content to increase pageviews is meaningless. What’s important for us is to express what dreams (visions) we envision, what missions we pursue, and what value we aim to create, along with how these activities can address social issues. We thought doing this would allow us to connect with the people who shared our thoughts.


Kevin:
To that end, the focus was placed on copywriting. Our message had to “strike a chord” with startups and potential colleagues. However, we faced the challenge of a language barrier. Most of the website visitors are Americans. In the United States, regional characteristics vary greatly according to state and within a state. Although we frequently had discussions to bridge the gaps in perception, having a shared understanding proved more challenging than expected. Despite this, our discussions eventually resulted in creation of an outstanding website that we all can feel proud of.

― Did you have any special thoughts about UX such as design and interface?


Ikeda:
No matter how important vision and value may be, sites providing information only about themselves are boring. So, we tried to create a UX design that stirs the imagination of visitors toward what it would be like for them to collaborate with Daikin. In Silicon Valley, there are many pitch events where startups make presentations in a few minutes, and investors make investment decisions on the spot. In this exciting, fast-paced world of technology, nobody would look at a text-intensive website to understand Daikin. When developing the website structure, we aimed to convey our vision, mission, and value within a minute as if we were making a pitch to visitors while increasing the understanding of the people who were interested in DSV.


Kinoshita:
We also tried to display a relaxed, casual atmosphere of DSV through design.


Kevin:
A great deal of attention was also paid to color schemes in design. Website visitors are said to spend less than 30 seconds evaluating design. If that is true, the first impression is of utmost importance. For instance, we tried to create an impression of an open, sophisticated company that startups would want to work with and a trendsetting company that future colleagues would want to work for.


― Did you have any difficulties in promoting the international project between Japan and the U.S.? If so, how did you overcome these difficulties?


Ikeda:
In this project, we worked with a creative agency based in Los Angeles. Although we had both verbal and visual communication, conveying our ideas was difficult at first, and their proposals were different from what we had expected. However, to convey our thoughts to people in countries other than Japan, focusing on the perceptions of the people living there is more important than insisting upon synchronizing with conventional Japanese values and theories. So, we tried to enjoy the process and utilize viewpoints different from our own.



Kevin:
This tendency may be associated with Ƶbeing a company of engineers. I am also a graduate of engineering, but engineers, for better or worse, tend to place more emphasis on logic. In other words, we are not very good at focusing on emotions. This may be the reason why we initially struggled to accept the opinions from the agency. However, we tried to increase their understanding of our needs and intentions and listened to their opinions for better understanding, which ultimately led to producing great results.

― Could you tell me about what you found or learned from this project?


Ikeda:
Not only providing information and videos through one-way communication, our website also aims to provide interactive communication with partners by linking with social media. Even though different expressions and approaches are used, thinking about what kind of user experience we can offer and how customers will respond to us is akin to product design and interface design. For me, it reaffirms the idea that the designer’s role is designing experiences. Although it has just started, I feel excited to see this website and its videos serve as a communication hub that connects us with future partners in Silicon Valley where global companies, advanced technologies, and excellent people gather from around the world.


]]>
Ƶopened ƵOpen Innovation Lab Silicon Valley (DSV) in May 2017 as a satellite office of the Technology and Innovation Center (TIC), located in Japan . In the course of the project, an interactive website was needed to not only provide information but also to convey Daikin’s vision and build a communication hub that brings many people together.
Selecting Air Conditioners for Interiors http://www.daikin.com/2020/06/entry-64.html 2020-06-23T00:00:01.000Z 2021-05-20T07:21:45.297Z

“risora,” an air conditioner for coordinated interiors

Just as you might enjoy selecting furniture to color coordinate the interior design of your home, we want you to enjoy selecting an air conditioner as a welcomed addition to your interior surroundings. That is idea behind “risora custom style.”

“risora” is an air conditioner developed under the concept of harmony with interiors. In 2019, we began expanding the color lineup with “risora custom style,” and now customers can select from approximately 600 colors centered on 25 recommended colors to find the best match for their interiors.

When promoting this proposal, customers told us how much they enjoyed selecting air conditioners: “I chose a wallpaper that suits the air conditioner. It is now a part of the interior design,” and “‘risora’ made interior coordination even more fun.”

It is a pleasure to hear that “risora” allows many customers to enjoy the process of considering compatibility with other interior elements. To provide such an experience to more people, we have restructured and updated the color lineup of “risora custom style.”

Color categories for different lifestyles

When restructuring the color lineup, we created categories for specific customer personas from a perspective of how people will spend time in a room with “risora.” A map was created in which the horizontal axis represents the number of people who spend time together in the room and the vertical axis represents their interior tastes. From that, we roughly classified usages of space into five categories. These categories permit customers to select an air conditioner based not only on color but also on their lifestyles and how they spend time in the room.

The color lineup of 2019 classified colors by tone, such as vivid and bluish. While it highlighted the beauty and variety of colors, its numerous color options tended to overwhelm those people who had no specific color preference and were unfamiliar with color coordination. People rarely buy a full set of furniture all at once based on a clear, complete interior design plan, but rather they select pieces of furniture one by one to gradually create an overall image. This may be the reason why color selection had always been considered challenging.

Colors that blend into the space for a choice with confidence

With that perspective in mind, we started selecting colors based on interior trends and the trends of products delivered to customers. Among our 25 recommended colors, 15 colors were replaced with new ones. Air conditioners are expensive and used for many years. Amid current economic concerns due to the impact of the novel coronavirus, we anticipate a need for air conditioners in which people can use them for a long time without growing tired of them. On that basis, we selected colors that warmly complement a room and allow customers to choose with confidence.

For example, the EARTH category contains colors like natural indigo dye, denim, and terra cotta. Dusty colors go well with antique furniture and similarly-colored curtains and wallpaper that are increasingly becoming popular, and these colors are expanding the range of choices for coordinated design.

The NATURAL category contains colors adjusted to match common construction materials. We will provide color chips to building contractors so that customers can match the air conditioner with wallpaper and create a sense of harmony in a room. In this update, we increased the number of colors in NATURAL to eight to add easy-to-match neutral gray tones. Customers can enjoy a wide variety of choices, such as a color perfectly matching wallpaper, subtle colors of ivory and rose gray to achieve a soft contrast, and warm shades of brown to create a sense of nature.

In addition to these easy-to-match colors, we continue to adopt rose pink and yellow. Looking back at the products we have delivered so far, these colors are unexpectedly ranked high. Because an interior coordinator told us that more than a few people have a particular preference for pink, we offer three types of pink, including pale pink and deep rose, to suit individual needs.

Color names associated with space

In this update, we also placed importance on color names. In addition to making color tones easier to imagine, we tried to select names associated with the spaces where the product would be installed. For example, the SUNNY category has a concept of a bright dining room to enjoy a meal with friends. So, we selected names of food and flowers commonly seen in such a room, including “carrot,” “mustard,” and “rose.”

Carrot orange (new color)

On the other hand, the EARTH category is for a stylish, calm space with handwoven textiles, dyed fabrics, pottery, and sedate furniture. For this category, we selected names that would inspire people living there, such as “denim” and “terracotta.”

Identifying with the feelings of customers making a choice

The biggest challenge in this update was the categorization of colors. Because this type of proposal was new to us, it took time to build an internal consensus, and some members doubted if our axes really work. In addition to the conventional categorization by tone, various methods were examined, including categorization by room function, such as living rooms and bedrooms, and by mood, such as vigorous and relaxed.

How can we better identify with the feelings of customers selecting “resora”? This question reminded me of the difficulties I faced in selecting construction materials and wallpaper when I built my house. Like me, many people do not have a clear design style of their own. If customers see these lifestyle categories, they will be able to share their preferences with their families and more easily select construction materials and interior items as well as “risora.” We hope this will help improve satisfaction for purchase of new items and overall design coordination.

Growing importance of a comfortable home

The increase in telecommuting makes people spend more time at home and leads to growing attention to the importance of family time. In this background, creating a home in which people feel comfortable and love their homes even more will become increasingly more important.

Because air conditioners are generally still considered “equipment” rather than “furniture,” people may not initially select them with consideration to interior design. However, when you select air conditioners, furniture, and lighting with a design aim, you develop an emotional attachment to those items. Considering combinations with other pieces of furniture and discussing your ideal space with your family will make you rethink your lifestyle and enjoy it even more. Having a design aim for selection of an air conditioner will not only make you appreciate your air conditioner more but will also give you greater appreciation for all your furniture. Our hope is that “risora custom style” will play a role in that appreciation.


]]>
Just as you might enjoy selecting furniture to color coordinate the interior design of your home, we want you to enjoy selecting an air conditioner as a welcomed addition to your interior surroundings. That is idea behind “risora custom style.”
Pursuit of New Value Creation http://www.daikin.com/2020/06/entry-63.html 2020-06-23T00:00:00.000Z 2021-05-20T06:29:48.982Z

Ƶ LAUNCH X is an innovation platform that directly connects to customers to identify potential needs and create new value of air. This platform led to development of the portable air conditioner “Carrime,” which Ƶcreated in cooperation with customers as a new product to enrich people’s lives.

What is Ƶ LAUNCH X?

To propose new value of air, we at Ƶgenerate a variety of ideas every day that extend beyond room air conditioners. However, because most of these ideas are new to the world, there is uncertainty as to whether these ideas will actually improve people’s lives as intended.


For this reason, we thought it important to ask customers what they truly needed before turning ideas into products. In the past, we received customer feedback after product release but realized this was unsuitable for proposing new value of air, so we developed Ƶ LAUNCH X. Ƶ LAUNCH X works as an innovation platform where Ƶannounces a new product concept and directly communicates with customers to incorporate the voice of the customer into product development.



On the website, Ƶ LAUNCH X presents features of products under development. A voting system allows customers to assess products just by clicking a button so that we can see the level of customer anticipation for a product. The function of “anticipation comments” also enables us to directly obtain customer reactions, such as “I prefer a design like this” and “I want this kind of function.” We also offer forums to incorporate customer feedback into product development, such as inviting fans of Ƶto give advice to members of the Ƶdevelopment and planning teams.


* First time use of a crowdfunding site (Makuake) by Ƶin development of “Carrime”

Capturing customer needs

Before being selected for commercialization, the portable air conditioner “Carrime” was one of the products created utilizing DAIKN LAUNCH X.


The development of “Carrime” originated from a desire by customers to spend a relaxing, comfortable time in their favorite spaces such as dens, sunrooms, and skip floors. Although Ƶhas a product lineup, including air conditioners for small spaces, to meet such needs, these products require installation work that creates a high barrier to purchase. Aiming to create air conditioners for small spaces that anyone could use easily, we started developing Daikin’s first portable air conditioner.


Based on the development concept of a “portable air conditioner,” we examined specifications and quickly created a prototype. Because it was equipped with all the functions we considered necessary for operation, the first prototype weighed 10 kg and was much larger than it is now. When we presented this prototype at an exhibition, customers liked the concept and functionality of the product but said it was too heavy to carry.


Project members met again and envisioned what value customers would want from “Carrime.” In this fashion, we decided to pursue the true value of the product: “lightweight and portable.”


Specifications and design were modified, and batteries, the heaviest parts of the product, were removed to significantly reduce the weight. In the initial conceptual phase, batteries were believed essential to portable equipment since they would enable customers to conveniently use the equipment anywhere with no concern for a power supply. However, in our communications with customers, we realized that a lightweight and portable unit was the essential value that they sought the most.


Instead of mounting all the possible functions, we focused on providing what customers truly wanted. Having Ƶ LAUNCH X enabled us to make bold decisions for changes to the “Carrime” specifications.


The improved version of “Carrime” weighs only 6 kg but functions perfectly as a small air conditioner. It has almost the same weight as a kitchen pot filled with food so that anyone can easily carry around.

In product styling, we reflected on the various locations of use and created a design unlike any previous Ƶproduct. Ƶ identifying the various environments where its portability might be fully utilized, we created a simple design akin to a tool having only the minimum essential functions.
The pursuit of simplicity while enhancing the sensation of quality made us pay attention to every detail behind the simple appearance including the bonding surfaces of partition lines between parts. This approach resulted in creating an uncharacteristic Ƶdesign and helps increase product appeal.


Sensation of quality enhanced with bonding surfaces set at 45° angles and a leather material handle

Creating opportunities by trying new things

For Daikin, this was our first attempt in the operation of Ƶ LAUNCH X. Designing new, unconventional products provides a great opportunity to me as well.


While the conventional development process of air conditioners enables us to quickly provide customers with products and services based on the technologies we have developed so far, there has been no opening to incorporate new elements. In contrast, “Carrime” is a new type of product that provided us with numerous first-time experiences in both the development and design processes. Conversely, the strong enthusiasm of development team members to try new things served as a driving force to create the product.


Communicating directly with customers also provided us with an opportunity to try new development processes and design methods that we are not usually able to adopt. I believe this initiative will positively affect development of typical projects in the future.


Creating new momentum with customers


“Carrime” was originally intended to be a portable version of room air conditioners for use in small rooms such as dens, sunrooms, and skip floors. However, we discovered that many customers wanted to use it not only indoors but also outdoors and on terraces. Customer imagination for portable air conditioners led us to create from various perspectives. We were able to release “Carrime” because we were able to incorporate an array of comments into product development while enjoying the process of design.


]]>
Ƶ LAUNCH X is an innovation platform that directly connects to customers to identify potential needs and create new value of air. This platform led to development of the portable air conditioner “Carrime,” which Ƶcreated in cooperation with customers as a new product to enrich people’s lives.
Comfortable Spaces Created with Plaster Walls http://www.daikin.com/2020/04/entry-62.html 2020-04-10T00:00:00.000Z 2021-05-20T06:29:48.981Z Naoki Kusumi is a highly skilled plasterer who has been involved in a variety of projects both inside and outside Japan. His clients span across the globe. We asked him what kind of ambiance is created with Japanese plaster walls.

Generating ideas

“When deciding plaster wall design, I listen to clients. For example, when I work for individual clients, I ask their favorite clothes, food, and landscapes, and generate ideas from their preferences. So, my work rarely vexes me. When I work for developers and designers, I delve into concepts to identify their needs and explore the design that I believe is great. I listen to clients’ preferences and try to refrain from forcing my own opinion upon them.


When I work on overseas projects, I get inspiration from the local people and nature. Rather than just imitating nature, I try to materialize ideas that I feel are best. I may need to get input before expressing what is inside me, but I don’t intentionally do that. Design is created not by thinking but by gaining inspiration from experiences. I believe that cultivating sensitivity through experiences, such as encounters with people and nature during travel, enables us to naturally create interesting things.

What makes people feel comfortable

One reason that plaster walls have long been used in Japan is their effectiveness in humidity control. Because plaster walls inhale excess moisture from humid air and exhale moisture to dry air, they perfectly suit the four distinct seasons seen in Japan. Another reason for their suitability is how they soften light and sound to evoke a pleasant feeling. I think soft light and sound create a serene space that makes people feel comfortable.


While buildings in urban cities may be very expensive and look magnificent, the pursuit of efficiency has created a scarcity of human involvement. Lacking the inclusion of human toil and emotions, these buildings become the mere sum of the materials from which they are built. Emotionless, they do not move people, nor do they provide comfortable spaces. I believe that only by instilling the human spirit into a work can you truly achieve something amazing.


Unfortunately, genuine earthen walls found in the Japanese countryside are unsuitable for urban buildings. This is why I design plaster walls. Unlike ordinary plasterers, I do more than just smoothly plaster walls. To express waves, for example, I draw wavy lines with a trowel that are easy to understand so that people can immediately recognize and experience nature in the tides and gusts of wind.


People feel comfortable in nature because natural things do not harm the earth. Such an instinct is also essential for our lives.


Changing plaster walls depending on the atmosphere


Plastering was transferred from Europe through the Silk Road and has uniquely evolved in Japan. When I work in a foreign country, many people come to watch me plastering a wall. They say I look as if I am dancing. The movement is the result of my attempt to effectively and beautifully finish the wall.


Although there are many plasterers overseas, I think only Japanese plasterers can single-handedly create a flat finish on earthen walls using only a trowel. Such a delicate craftsmanship reflects the Japanese temperament toward precision and the extent to which Japanese artisans delight in overcoming difficulties. Japanese people have a unique perspective that Kami-sama (Shinto gods) reside in various things. This may be a reason why we are so committed to the things that we create.


As an uncompromising principle, I always try to use local materials. Ƶ all, locally-sourced products look beautiful and attractive to local residents. That’s why I use local soil as plaster material. People have a deep affinity for things originating from and associated with a particular place. You could even say that such a building remains beautiful even after it has been abandoned and fallen into ruin.


Furthermore, the plaster composition and workflow vary depending on the ambiance and climate of the place. I need to adopt different plaster compositions and work processes in different places. People may think Japan is the easiest country for me to work because of my familiarity with it. Actually, that is not true. Since Japan has four seasons, the climate conditions of a single place vary greatly according to the season. However, a familiarity with changes in ambiance and climate is one reason why Japanese plasterers can work anywhere in the world.”

]]>
Naoki Kusumi is a highly skilled plasterer who has been involved in a variety of projects both inside and outside Japan. His clients span across the globe. We asked him what kind of ambiance is created with Japanese plaster walls.
Designing Air http://www.daikin.com/2020/03/entry-61.html 2020-03-20T00:00:00.000Z 2021-05-20T06:29:48.981Z Kotaro Watanabe plays an active role as a context designer at Takram, a design innovation firm with studios in Tokyo and London. Context design refers to initiatives that produce small “stories” of individuals through manufacturing. We asked Watanabe, who has engaged in a wide variety of projects, his thoughts on air.

Defining air

Cordial wooden floors and walls textured in stainless steel create a simple, comfortable space for Takram’s Takram Omotesando studio in Omotesando, Tokyo. A smiling Watanabe carries a tablet PC and notebook and enters the room where large windows usher in bright sunlight. As we begin talking, he shows interest in the title of this website.


“I was thrilled to see Inspire for the name of the series on the Ƶdesign website and thought that it truly expresses the nature of the content. Inspire comes from the Latin word inspirare, meaning to breathe or blow in, and consists of the two words in and spirare, which means to breathe. The word later evolved to mean to give knowledge and stimulation. Since the term evokes both air and inspiration, it is very suitable for the title of these pages.


In thinking about air, let’s examine the word air first. The English word air has three origins: Ancient Greek αη (gas), Latin ager (field), and Italian aria (song, air). All of these words indicate that air is something that fills space. In the Western way of thinking, the focus is placed on something that already exists in space.


On the other hand, the Japanese term kuuki (air) consists of two kanji characters that mean, respectively, atmosphere and a thing that brings something to life. The first character also means emptiness. In other words, it is something with the possibility of being filled by something else. The word represents an empty space to be filled. In the Japanese way of thinking, the emphasis is placed on the absence of something that may fill space.


This empty space can be filled by imagination of people. As a designer, I like the Japanese word kuuki, which leaves room for the imagination.”


Tea ceremony and air

The fact that air is empty creates the possibility of it being filled, and I feel that this truly epitomizes Japanese sentiment. Watanabe enjoys participating in the Japanese tea ceremony which embodies the traditional culture of Japan and talked of the relationship between tea ceremony and air.


“A building used for a tea ceremony is called ‘sukiya,’ and it is also described as an ‘empty house’ because the teahouse has only the minimum number of tools—hanging scrolls, kettles, vases, tea bowls—that are necessary for enjoying tea ceremony. The house is purposefully left unfinished to leave empty space for the imagination of the tea recipient to complete. The concept is reminiscent of the word kuuki (air) which also leaves room for the imagination.


Okakura Tenshin, who actively worked as an art critic in the Meiji Era (1868-1912), stated in his book The Book of Tea that Teaism ‘is essentially a worship of the Imperfect.’ Imperfection does not mean deficiency but instead represents a multitude of possibilities. The word kuuki implies Japanese unique aesthetics that avoid telling a whole story and allow our imagination to roam.”


The world of context design


The idea of being filled by something else reminds us of context design that expects users to add a final touch. What do you think about context design?


“The term context originally means to weave together. Context design describes design activities for manifesting the weak context added by users with respect to the strong context embedded by the author. Aside from the meaning intended by the author, users can find various meanings of their own. In this regard, context also includes the stories of anonymous individuals.


Reviews on Amazon and other websites can also be said to be stories of individuals, but these differ from the creativity that context design strives for. Reviews are used to find an average or create a uniform evaluation indicator. The greater number of samples to average, the better. However, a large sample size leads to increased anonymity of the individuals, and measuring things based on a single value standard is not fun in the first place.


Provided that the story told by that person stimulates the imagination, the sample of only one person would be enough for the world of context design that I seek. Such a story would offer us a more interesting perspective on the world than an average rating since this story holds the power of an individual. As consumers become artists and users become authors, I hope that the individual stories which have remained unspoken until now in the hearts of each person can be revealed to the world.


Creativity is not the sole domain of a few people like designers. If a basic income is initiated and AI becomes more established in the future, people will have shorter working hours and more free time. If that happens, the world would become a fun place where everyone could be creative and expressive. Because air also has the ‘possibility to be filled,’ people may find stories and meaning from it.”


Designing air


Watanabe finds stories and meaning from air. We asked him about the meaning of air and what it is like to design air.


“When thinking about air, I first think about the ‘possibility to be filled’ and spend ample time researching and delving into concepts and words other than air. Before designing air, my team and I try to depart from the conventional thinking for air that we may have. This is similar to crouching down low before jumping high. The quality of questions determines the quality of solutions. Thinking deeply is imperative to refining questions. We need to establish a firm foothold before jumping toward a solution.


One of my favorite quotes is from a Japanese philosopher prominent in the Edo period (1603-1868) named Miura Bien who said, ‘What is really amazing is not a flower on a dead tree, but a flower on a living tree.’ He explained by saying, ‘While people may be surprised at the miracle of a flower growing on a dead tree, a flower blooming on a live tree is no less miraculous and should never be taken for granted.’ The same can be said for the air that naturally exists around us.


Usually, we don’t have many chances to think about air. However, what is ubiquitous is worth contemplation. I think true intelligence lies in finding something extraordinary from ordinary things. Such findings would entirely transform our worldview.”


Air and communication


Watanabe says thinking about air is enjoyable. In conclusion, he shared his thoughts on the possibilities of air.


“I like collecting perfume, but I rarely use it. I like the subtle fragrance that I smell when someone wearing perfume passes by. It need not be my favorite fragrance. The term perfume is derived from Latin ‐fܳܳ, meaning through smoke. Rather than smelling a scent, I feel the presence of the person through perfume.


Speaking of smoke, information communication is said to have started from smoke signals. Smoke signals were used for long-distance communication to transmit signals to allies and pray for rain in rituals. The relationship between smoke and communication even connects information communication to the mythological world. It would be exciting to materialize the new possibilities of air by using such ideas as a clue.”

]]>
Kotaro Watanabe plays an active role as a context designer at Takram, a design innovation firm with studios in Tokyo and London. We asked Watanabe, who has engaged in a wide variety of projects, his thoughts on air.
Outdoor Units as Part of the Landscape http://www.daikin.com/2020/03/entry-60.html 2020-03-02T00:01:00.000Z 2021-05-20T06:29:48.980Z Designers sometimes need to depart from conventional thinking and discard what other people often take for granted. Developing the “Altherma” outdoor unit, which was released onto the market by ƵEurope, required us to do exactly that.

This time, we developed an outdoor unit for “Altherma,” a heating and water heater system. Employing technology cultivated in our air conditioners for using electricity to heat air, this system provides hot water for showers, underfloor heating, and air conditioning. Although it would be unusually large in the Japanese market, the system features, despite its compact size, outstanding performance in its capacity range.


Differences in Outdoor Units between Europe and Japan

Development began with a sales subsidiary in Europe saying, “We want you to improve the design of outdoor units.” Because residential air conditioners and heat-pump heating are less common in Europe than in Japan, people in Europe rarely see outdoor units outside and discovering such an unfamiliar object placed in their gardens and entrances would be unsettling.


In contrast, outdoor units are omnipresent in Japan. In Japanese comic books, utility poles and outdoor units are illustrated as part of landscapes because they are perceived as objects blending into the background. However, in Europe where outdoor units are not as common, customer needs for outdoor units are different from those in Japan. Just as with interior design, Europeans want outdoor units to look aesthetically pleasing and provide them a sense of pride. This led us to regard outdoor units as a part of the landscape and give them the same level of design quality as indoor units.


But what level of design quality is required for an outdoor unit? Mulling that question myself, I wrestled with the idea of changing awareness for outdoor units and further raising awareness for higher design quality. “I want to transform all Ƶoutdoor units!” and shared my strong enthusiasm with the members of the development team.

Incorporating the Installation Environment into Design

This product differs significantly from conventional ones in that we examined the environment where the outdoor unit would be installed, instead of thinking it as a standalone product. Observing the living environment in Europe, we found large gardens along with windows, doors, and entrances.
The sides of these objects always cast shadows in contrast to the light, and I thought we could purposefully use these elements.







  • Shadow sides. Square objects such as windows and doors appear darker. The same holds true to all residential buildings and led us to a new design concept. (It is applicable to both Europe and Japan.)

  • Shadow side of the building

  • Shadow side of the outdoor unit


One side is the “silhouette” of the house. Square objects, such as windows and doors, often appear darker on the shadow side. We thought we could leverage the shadow effect of the house, which represents the installation environment. Another side is the “shade” of the outdoor unit itself. We used the grille to cast a deep silhouette on the outdoor unit and selected a color to enhance it. Effectively using these two types of shadows is the key concept of this design.

Practical Grille with Stylish Design

A large front grille is the most important element to creating the shadows of the design concept. All the other outdoor units that I had seen before were not entirely covered by a grille. In this sense, the design significantly differentiates the outdoor unit from others.



However, we struggled in product development. Because the grille is made of resin, a mold design is necessary for forming. As the part size increases, the degree of difficulty for quality assurance increases more than usual due to such factors as additional locations where the resin is poured, more complicated mold design, and need for greater pressure. Having never manufactured such a large grille, some members initially wondered, “Can we really do that?” In addition to the slim grilles and other elements of design, considerations must be given to various functions, including sound, performance, snow resistance, and safety, to meet the test standard. We created many prototypes and repeatedly modified and examined them with engineers.


Never having done this before, I could see the value in working through this type of process and shared the aim of the development team to create a beautiful outdoor unit design by providing a breath of fresh air from Europe. I believe this is the reason we could overcome such a great challenge.

]]>
Designers sometimes need to depart from conventional thinking and discard what other people often take for granted. Developing the “Altherma” outdoor unit, which was released onto the market by ƵEurope, required us to do exactly that
Pursuit of “Spatial Compositions” http://www.daikin.com/2020/03/entry-59.html 2020-03-02T00:00:00.000Z 2021-05-20T06:29:48.979Z Sound is transmitted to people by vibrations in the air, and the various sounds overflowing in our daily life cannot be created without air. How can we achieve a new expression by using air and sound, both of which exist in the space but are invisible? We talked with evala, a sound artist who pursues “spatial compositions” as a new style of music.


The vibrations and waves of air as artwork

Few people may have heard of my job title—sound artist. I am a musician, in a broad sense, and I have produced sound art pieces while working as a so-called music producer and composer. Because I have particularly focused on expressing sensory and emotional things that are “slipped” from music scores, I have received more offers from museums than from theaters. The title “sound artist” was created in that context. Although there has been sound art before, it referred to the art of visual objects with interesting sounds. The art is intended to be “listened to with your eyes.” As opposed to such a sensory perception, my artwork is intended to be “seen with your ears” because I believe that the vibrations and waves of air alone can create artwork without any need for using any visual elements.



For example, this is a mobile anechoic chamber, one of my art pieces. There are three metronomes in the dark container-shaped chamber covered by sound-proofing materials inside. The sound from these metronomes is captured by an omnidirectional microphone and processed in real time through a three-dimensional sound program. Sound travels through space while being stretched and crushed to create something people have never heard before. In the chamber, audiences exclusively rely on their sense of hearing. The unusual sound in the non-visual situation inspires the audience’s imagination and brings them unique experiences that deviate from the real world. Interestingly, many audiences talk about visual impressions even though they did not see anything. Some people say, “I saw a castle,” or “A fire was burning fiercely.” Another person once asked me, “I saw a bright yellow light in the last part. What type of lighting effects did you use?” Sound in a non-visual setting evokes inner memories and experiences in people and increases imagination in their brains. In this way, they are able to “see” things.

Sound and space

When musical performers arrive at a concert hall, they first clap their hands once, creating a sound like “Pan!” By doing so, they intend to hear a reverbing sound of “n” after a stable reference sound of “pa.” When thinking of sound, people tend to think of the sound source “pa.” However, a sound source is not the same as a sound. Sound is produced only from a sound source and space. How the sound source transmits sound and how the air and space are designed are important. Although people also focus on the sound source “pa” when they design cities, a clue may be hidden in “n.”



The reverberation “n” also allows us to create new expressions. Sound is the most effective means to indicate the presence of people and objects. For example, imagine a movie scene in which a gunshot sound rings out and a bullet is shot from a screen with a whoosh. A sound enables us to vividly express the trajectory of the bullet as if it passes by the audience. However, the sound distracts audiences from the screen as they intuitively look back to follow the bullet. This is not good for conventional movies that focus on visual expression and intend to keep audience attention fixed on the screen. So, I decided to create an unconventional film that is offered in complete darkness.
My new “Invisible Cinema” series use spaces such as theaters and halls to provide audiences with an audio-only cinema experience in complete darkness. For example, they hear a splashing sound on the right side while hearing the sound of wind blowing on the left side. The unusual experience to “see” with ears creates an unexpected fantasy that is closely associated with memories. Rather than giving sensory stimulation from outside through the film, I want to draw out what is inside the audience. This is a “spatial composition.” In Japanese, there are two kanji characters that describe darkness: “暗” and “闇.” The character “暗” consists of “sun” and “sound,” and “” represents a confined sound. In a unique sense of Japanese, darkness is full of sound.

Places that attract people

Space and air are essential to express sound. For example, audio speakers cannot work at all without air. Just as a pebble dropped into water ripples the water surface, the sound source transmits sound through the air. The important thing in handling sound is how it coexists with the air. The anechoic chamber that absorbs reflections of sound allows us to artificially control a perceived size of space and freely create a world. Similar things can happen in nature and cities that are filled with various types of sounds.


For instance, many quiet places have attracted and captivated people. Many places known as spiritual spots are also quiet. To tell you the truth, the quietness in these places is made by unusual reflections of sound. For example, small pieces of coral that have gathered over years and the moss covering the ground naturally absorb sound and create an isolated space where sound is reflected in an unusual manner. When people feel something special about the place, they are largely affected by sound. Our ancestors, who lived in nature, subconsciously realized and venerated the quietness in such an unusual acoustic space.



Urban cities are full of sounds, such as traffic noise and background music, but their fixed noise structure can annoy people. In modern times, sound is added to attract people, but that makes it noisy, which I think is counterproductive. If you want to attract people, it is important to help them relieve their daily exposure to noise. The future sound design will need to “remove” sound. This does not mean to merely create silence. It is to create a sound that provides a sense of quietness. If you can create a quiet space in the middle of a city by using “sound-proofing air,” the place would attract many people. It would be very interesting if an air conditioner could blow “sound-proofing air” as a means to create such a space.

]]>
Sound is transmitted to people by vibrations in the air, and the various sounds overflowing in our daily life cannot be created without air.
Changes in Designers’ Roles—Discussion between a Promising Architectural Visualizer and Young Designers (Part 2) http://www.daikin.com/2019/12/entry-58.html 2019-12-01T00:00:00.000Z 2021-05-20T06:29:48.978Z The three young designers—Daichi Yamaguchi from Takenaka Corporation and Ƶproduct designers Mana Yamashita and Takaaki Sanagi—exchanged views in a special talk about changes in the role of designers. In Part 2, they elaborated on their method for collecting information and thought process.


Information as “points”

Sanagi:
When I started working, I felt something missing in my work. In hindsight, it may have been the result of collecting only the information necessary to achieve a set target. So, I am very interested in how you collect information.


Yamaguchi:
When collecting information, I see information existing as separate points. These points are connected by experience, knowledge, and culture.


For example, imagine that you want to go to a star as your final goal. To reach that star by connecting points of information, you can’t simply draw a line and take the shortest distance. You must try various trajectories, going back and forth, drawing more lines each time as you connect the points. The thickening of these trajectory lines forms an area of expertise that becomes a part of your knowledge.


I compared a goal to a star because goals are as elusive as stars. There is no clear goal in the beginning. There’s the sense of seeking something you don’t even understand yourself. When connecting the points, expansion is the most important factor. I think the act of collecting information itself is enjoyable and extremely creative.


As a specific method, I place the most value in reading. You can adjust your reading pace depending on your mood and physical condition. Another way to collect information is talking with people. Because people think and select words before speaking, conversation helps get the best part of the information.


Yamashita:
I play a sort of word association game under one theme. Before you know it, you have strayed far away from the starting point, but it can unexpectedly lead you to an interesting idea.


Yamaguchi:
A piece of information is sometimes connected directly to a final product, but that’s no fun. Timing also matters when materializing ideas. For those people who feel their ideas are still superficial, the time may be too early.

Yamashita:
I agree. I want to let ideas flow freely, though they sometimes grow too big to materialize.



Sanagi:
I’ve been reading many books these days, and I have gradually come to realize that connecting points leads to a holistic view. So, I can totally relate to your story about the star.


It’s interesting that when I read a book I often find the next theme to read. When I encounter unfamiliar things or things I cannot fully understand during reading, I want to learn more about them. Even when the topics initially seem unrelated to design, collecting information of interest is a good thing.


Yamaguchi:
Output determines how well you can utilize information. Information becomes useless if people just receive and consume it. To what extent you can find relevance to the information determines what you get out it. Collecting information with the intention to connect it to something else helps enhance the quality of information.


Philosophy of breathing

Yamaguchi:
Little skill is required to translate the information and ideas you have in a product. If you already have that skill, the next thing you need is a philosophy. When I was a student, I met a genius who could design as intuitively as breathing.


Looking at that person, I considered what I can do as intuitively as breathing. Then, I realized I was naturally good at visual expression. That’s why I decided to take the visualization approach.


Sanagi:
I originally wanted to be an engineer, but the influence of a teacher made me decide on a career as a designer. When I started working as a designer, I tried so hard that I felt as though I was suffocating. I may have been pushing myself too hard.


Yamaguchi:
As you said, people who try too hard tend to breathe shallowly. Design jobs look glamourous, but actually they are very tough. To work with tenacity, you must breathe properly. Failure to do so will affect what you create. When I am not satisfied with what I have created, I find myself in a hurry and not breathing well.


The fields of in-house designers

Sanagi:
Speaking of work, I sometimes think of the differences between in-house and external designers. I think that they are expected to play separate roles. What do you think is the ideal relationship between companies and designers in the future?


Yamaguchi:
Many companies used to outsource work to reduce internal labor costs, but that caused a lack of know-how and skilled workers within the company. For this reason, many articles today highlight the importance of in-house designers committed to design.


Yamashita:
Our design team belonged to the development department before. Ƶ being transferred to the TIC in 2015, we could work more flexibly and directly communicate with the R&D and sales teams. Now we work with various departments, allowing us to expand product design work into a wider range of fields, such as exhibitions and publicity.


Yamaguchi:
Expanding the work field of in-house designers helps increase the value of the designers and ultimately results in more work being done in-house. Although this is what many companies aim for, only a few actually do it. Specifically, do you mean your colleagues ask you (designers) to work together?


Yamashita:
Some colleagues do so, while others receive proposals from us. We work in various ways; sometimes we communicate Daikin’s message to external creators while other times we interpret the expression of external creators for internal members and have a workshop for concept development. We all love design and are interested in advertisements and exhibitions as well as products. Our aim is to create things that accurately convey our thoughts.


Yamaguchi:
My role is not as a designer but as a creator of architectural perspectives and am expanding “visualization” work into graphic design. This is not my main work but doing this helps reduce unnecessary steps in the process.


Sanagi:
From a management perspective, our company has a policy that gives us free rein by not overloading us with well-defined work duties. It helps create an environment where we are free to pursue areas of interest to us.


Roles as an “excitement builder”

Yamaguchi:
In my view, many designers and creators value individuality and have their own personal style even when they belong to a company. How about you?


Yamashita:
I do value individuality, but I also keep in mind that I am a Ƶproduct designer. While expressing my inspiration, I respect design regulations for Ƶproducts.



Yamaguchi:
People inside and outside the company often expect me to break from conventional thinking of architectural perspectives. However, rather than changing and making something new by denying what already exists, I just realize my wish to “modify” things, which eventually benefits the organization.


When Steve Jobs announced the release of iPod, people said it was product innovation. However, it is the result of a compilation of research and ideas. Only people who look at the last phase of compilation call it innovation.


However, the speed and scale of compilation should be greater than those of other people. Even without a completely new idea, it’s great if you can redefine the understanding and beliefs of others.


Yamashita:
As a manufacturer’s designer, I place importance on creating valuable products that satisfy customers within the limitations placed on us. Designers, design engineers, and sales people make the utmost effort in their respective positions to create quality products.


Sanagi:
I think the term “excitement builder” Mr. Yamaguchi stated in Part 1 is very important. When we struggle to create quality products on a budget and need investment, the designers’ way of expression matters.


I think the designers’ roles include sharing intended purposes with others in an easy-to-understand manner. Increased understanding of a design would help design engineers and sales people to move forward in the same direction.


Yamashita:
I hope my proposals motivate others to work with us for a product launch, even if it may require extra effort.


]]>
The generation of digital natives—people born around 1990—is on the rise in today’s society. Daichi Yamaguchi is one of the people who belong to this generation.