Design Fusion

PROLOGUE

As a designer, I’m always wondering: What do we design for?

Is design merely a commercial instrument? Are we simply striving to create the perfect client experience? Or is design only meant to satisfy the designer’s ego?

Is design supposed to embody a right, a will, a power or a value? Or to convey culture, aesthetics and lifestyle?

At its heart, design is about exploring and improving the relationships between individuals and objects, and humanity and the surrounding environment. Such relationships should be friendly, not antagonistic.

The book has 15 chapters, starting with Minimalism – which studies dislocations in Chinese culture, aesthetics and design, as well as the difference between design in China and the West – and ending with Kindness, which describes the highest level of design: design that follows the principle of sustainable development and transmits positive social enlightenment to the public.

Each chapter corresponds to a keyword relating to my practice, discovery and thoughts, gathered over the years I spent working in the field of design after returning to China from Germany.

—JAMY YANG

PROLOGUE

As a designer, I’m always wondering: What do we design for?

Is design merely a commercial instrument? Are we simply striving to create the perfect client experience? Or is design only meant to satisfy the designer’s ego?

Is design supposed to embody a right, a will, a power or a value? Or to convey culture, aesthetics and lifestyle?

At its heart, design is about exploring and improving the relationships between individuals and objects, and humanity and the surrounding environment. Such relationships should be friendly, not antagonistic.

The book has 15 chapters, starting with Minimalism – which studies dislocations in Chinese culture, aesthetics and design, as well as the difference between design in China and the West – and ending with Kindness, which describes the highest level of design: design that follows the principle of sustainable development and transmits positive social enlightenment to the public.

Each chapter corresponds to a keyword relating to my practice, discovery and thoughts, gathered over the years I spent working in the field of design after returning to China from Germany.

—JAMY YANG

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

MINIMALISM IN JAPAN

010

A French journalist once asked me, “What characterises

Can any product convey the notion of ‘minimalism’

Chinese design?” She then added: “For example,

as incisively as a pair of chopsticks, either in terms of

Japanese design is minimal.”

usage or philosophy?

At the time I replied, “Chopsticks. Chopsticks represent

Shifting the focus to Japan, one name has been

Chinese design, but not necessarily contemporary

mentioned over and over during my many conversations

Chinese design.” Indeed, chopsticks may be considered

with Chiaki Murata, Sadao Tsuchiya, Hasegawa and

an exemplary example of Chinese design. Unlike Western

other Japanese friends: Sen no Rikyu. Four hundred

knives and forks, a pair of chopsticks embodies typical

years ago, Rikyu’s profound influence on the ‘Way of

Eastern philosophy on both a practical and spiritual

Tea’ shaped the tradition of wabi-sabi. This notion draws

level: that is, coping consistently with change. The

inspiration from Chinese Chan Buddhism, advocating

same tool can be used for all kinds of dining. In contrast,

the ‘unfinished’ aesthetics, calmness, and reticence.

knives and forks come in various shapes and sizes and

Contemporary Japanese minimalist design is influenced

are used for different types of food – hence each item is

by this notion to a certain extent. Naoto Fukasawa’s 80%

assigned its own specificity. These two types of utensils

principle, Tadao Ando’s architectural concrete, Kenya

demonstrate the disparate ways of thinking in the East

Hara’s graphic design and the Japanese karesansui

and West.

gardens are all manifestations of the wabi-sabi spirit.

— Chinese chopsticks

— Japanese chopsticks

—

—

The goal is not to achieve completeness, but to only Interestingly,

due

to

different

culinary

customs,

chopsticks from Japan and Korea differ from those in

produce 80% of something, so that perfection can be attained through usage.

China. Japanese chopsticks are pointy, likely adapted for eating fish and sashimi, whereas Korean chopsticks

To explain further: a container can be thought of as

are metallic, and suitable for BBQ.

‘complete’ or ‘perfect’ only when it is full. If the container’s

Korean chopsticks

Knife & fork

011

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

MINIMALISM IN JAPAN

010

A French journalist once asked me, “What characterises

Can any product convey the notion of ‘minimalism’

Chinese design?” She then added: “For example,

as incisively as a pair of chopsticks, either in terms of

Japanese design is minimal.”

usage or philosophy?

At the time I replied, “Chopsticks. Chopsticks represent

Shifting the focus to Japan, one name has been

Chinese design, but not necessarily contemporary

mentioned over and over during my many conversations

Chinese design.” Indeed, chopsticks may be considered

with Chiaki Murata, Sadao Tsuchiya, Hasegawa and

an exemplary example of Chinese design. Unlike Western

other Japanese friends: Sen no Rikyu. Four hundred

knives and forks, a pair of chopsticks embodies typical

years ago, Rikyu’s profound influence on the ‘Way of

Eastern philosophy on both a practical and spiritual

Tea’ shaped the tradition of wabi-sabi. This notion draws

level: that is, coping consistently with change. The

inspiration from Chinese Chan Buddhism, advocating

same tool can be used for all kinds of dining. In contrast,

the ‘unfinished’ aesthetics, calmness, and reticence.

knives and forks come in various shapes and sizes and

Contemporary Japanese minimalist design is influenced

are used for different types of food – hence each item is

by this notion to a certain extent. Naoto Fukasawa’s 80%

assigned its own specificity. These two types of utensils

principle, Tadao Ando’s architectural concrete, Kenya

demonstrate the disparate ways of thinking in the East

Hara’s graphic design and the Japanese karesansui

and West.

gardens are all manifestations of the wabi-sabi spirit.

— Chinese chopsticks

— Japanese chopsticks

—

—

The goal is not to achieve completeness, but to only Interestingly,

due

to

different

culinary

customs,

chopsticks from Japan and Korea differ from those in

produce 80% of something, so that perfection can be attained through usage.

China. Japanese chopsticks are pointy, likely adapted for eating fish and sashimi, whereas Korean chopsticks

To explain further: a container can be thought of as

are metallic, and suitable for BBQ.

‘complete’ or ‘perfect’ only when it is full. If the container’s

Korean chopsticks

Knife & fork

011

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

design places it inherently at ‘100%’, so to speak, then

012

it would be at 120% once things are added to it. It would become raucous, too ‘noisy’. If the container’s design instead remains at 80%, then the remaining 20% is left for the user to achieve. The container attains 100% through usage.

Japan’s minimal, peaceful and reserved aesthetic draws from the island’s frequent natural disasters and limited natural resources. For this reason, Japanese designers are respectful of nature and grateful for what it has bestowed on them, for they believe all living things have a spirit. Conscientious management of natural resources is a universal value in Japan, so its designers are often resourceful, appreciating every piece of material in their design and utilising all of it to minimise waste.

—

A representation of wabi-sabi in the Nezu Museum tearoom

013

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

design places it inherently at ‘100%’, so to speak, then

012

it would be at 120% once things are added to it. It would become raucous, too ‘noisy’. If the container’s design instead remains at 80%, then the remaining 20% is left for the user to achieve. The container attains 100% through usage.

Japan’s minimal, peaceful and reserved aesthetic draws from the island’s frequent natural disasters and limited natural resources. For this reason, Japanese designers are respectful of nature and grateful for what it has bestowed on them, for they believe all living things have a spirit. Conscientious management of natural resources is a universal value in Japan, so its designers are often resourceful, appreciating every piece of material in their design and utilising all of it to minimise waste.

—

A representation of wabi-sabi in the Nezu Museum tearoom

013

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

MINIMALISM IN GERMANY

Over the decade since I returned to China from Germany,

014

015

one phrase continues to have an impact on me: Professor Dieter Zimmer’s caution, “Simple is not easy!” (Original text in German: Einfach ist nicht einfach.) Zimmer, a juror for the 2000 Red Dot Design Award in Germany, wrote this as part of his commentary in the Annals for the Red Dot Design Award from that year.

If we unpack this phrase, it recommends that we simplify our minds and stop identifying every meaningless item that we see. Instead, we should invest our limited time and energy in focusing on our loved ones and engaging with them to our fullest.

—

Ergonomics test in a design class at Hermann Muthesius, 2001

I first met Professor Dieter Zimmer in 2000, in my —

German professor, Dieter Zimmer

second year of graduate studies at the China Academy of Art. He was a guest professor for the Sino-German Urban and Furniture Design class. When we discussed my proposal, he repeatedly asked, “Why design it this way?” He believed that design couldn’t just rely on inspiration; it had to be deliberated with logic. Every step should be grounded in reason. He asked me to look for the essence of a problem, and to find the simplest

MINIMALISM

D E S I G N F US I O N

MINIMALISM

DESIGN FUSION

MINIMALISM IN GERMANY

Over the decade since I returned to China from Germany,

014

015

one phrase continues to have an impact on me: Professor Dieter Zimmer’s caution, “Simple is not easy!” (Original text in German: Einfach ist nicht einfach.) Zimmer, a juror for the 2000 Red Dot Design Award in Germany, wrote this as part of his commentary in the Annals for the Red Dot Design Award from that year.

If we unpack this phrase, it recommends that we simplify our minds and stop identifying every meaningless item that we see. Instead, we should invest our limited time and energy in focusing on our loved ones and engaging with them to our fullest.

—

Ergonomics test in a design class at Hermann Muthesius, 2001

I first met Professor Dieter Zimmer in 2000, in my —

German professor, Dieter Zimmer

second year of graduate studies at the China Academy of Art. He was a guest professor for the Sino-German Urban and Furniture Design class. When we discussed my proposal, he repeatedly asked, “Why design it this way?” He believed that design couldn’t just rely on inspiration; it had to be deliberated with logic. Every step should be grounded in reason. He asked me to look for the essence of a problem, and to find the simplest

T H E VO I D

D E S I G N F US I O N

T H E VO I D

DESIGN FUSION

MEMORIES OF CHILDHOOD ENLIGHTENMENT ON AESTHETICS

102

A designer’s habit or proficiency in the language of

Up until middle school, I lived in an ancient two-storey

design is often influenced by his past knowledge and

house by the Guanyin Bridge in Hangzhou. The house

experiences.

was walled in, with a central courtyard and a back yard,

103

beyond which a river ran. My grandfather was a doctor, I’ve always loved the rain, especially in my hometown

who wrote beautiful calligraphy. I have vivid memories of

Hangzhou. In the Jiangnan region, the end of spring and

my entire family sitting under the grapevines in the back

early summer is commonly known as ‘the rainy season’.

yard when the weather was pleasant, having dinner on

At this time of year, I would often take an umbrella and

the stone table.

—

The mist and fog of West Lake,Tao Tao

head to the West Lake to watch the rain. Raindrops string together, forming layers and layers of curtains. They

The gentle raindrops by the West Lake and the winding

expand across the world, from near to afar, from clear

grapevines in our back yard – these are my earliest

quickly filled with drawings. In elementary school, when

to opaque. The rain not only obscures one’s vision, but

memories of beauty. My concept of ‘the void’ – nihilism,

confronted with subjects that held little interest to me,

also one’s hearing, filling it with a simple, subtle drum.

lightness, obscurity and ambiguity – grew from these

I would draw all over the blank space in my textbooks.

All other noise is gradually muted. In this moment, one’s

wonderful childhood memories, which have likely shaped

olfactory sense can only detect the fragrance of wet

my aesthetic preferences and have had a subconscious

Drawing put me in a state of bliss – it was the singular

earth and plants. The medium of ‘rain’ occupies all our

impact on my designs.

most important drive behind my choice to become a designer.

senses, engulfing us in a pure and wonderful world.

Such memories of childhood beauty are critical for Su Shi’s poem Drinking on the West Lake in the Sun and

designers. I can fondly recall my early infatuation with

Rain articulates this scenery: ‘The dimming hills present

physical spaces and forms. This may be related to my

rare views in rainy haze…’ Of course, snow is equally

father – he was a mechanic who worked on fighter planes

beautiful, although its popular reference has made it

in the air force, and he often gave me model planes to

somewhat kitsch.

play with. My mother gave me a large notebook that I

—

The growing grapevine and stem is an analogy for the 'Y' bracket system

T H E VO I D

D E S I G N F US I O N

T H E VO I D

DESIGN FUSION

MEMORIES OF CHILDHOOD ENLIGHTENMENT ON AESTHETICS

102

A designer’s habit or proficiency in the language of

Up until middle school, I lived in an ancient two-storey

design is often influenced by his past knowledge and

house by the Guanyin Bridge in Hangzhou. The house

experiences.

was walled in, with a central courtyard and a back yard,

103

beyond which a river ran. My grandfather was a doctor, I’ve always loved the rain, especially in my hometown

who wrote beautiful calligraphy. I have vivid memories of

Hangzhou. In the Jiangnan region, the end of spring and

my entire family sitting under the grapevines in the back

early summer is commonly known as ‘the rainy season’.

yard when the weather was pleasant, having dinner on

At this time of year, I would often take an umbrella and

the stone table.

—

The mist and fog of West Lake,Tao Tao

head to the West Lake to watch the rain. Raindrops string together, forming layers and layers of curtains. They

The gentle raindrops by the West Lake and the winding

expand across the world, from near to afar, from clear

grapevines in our back yard – these are my earliest

quickly filled with drawings. In elementary school, when

to opaque. The rain not only obscures one’s vision, but

memories of beauty. My concept of ‘the void’ – nihilism,

confronted with subjects that held little interest to me,

also one’s hearing, filling it with a simple, subtle drum.

lightness, obscurity and ambiguity – grew from these

I would draw all over the blank space in my textbooks.

All other noise is gradually muted. In this moment, one’s

wonderful childhood memories, which have likely shaped

olfactory sense can only detect the fragrance of wet

my aesthetic preferences and have had a subconscious

Drawing put me in a state of bliss – it was the singular

earth and plants. The medium of ‘rain’ occupies all our

impact on my designs.

most important drive behind my choice to become a designer.

senses, engulfing us in a pure and wonderful world.

Such memories of childhood beauty are critical for Su Shi’s poem Drinking on the West Lake in the Sun and

designers. I can fondly recall my early infatuation with

Rain articulates this scenery: ‘The dimming hills present

physical spaces and forms. This may be related to my

rare views in rainy haze…’ Of course, snow is equally

father – he was a mechanic who worked on fighter planes

beautiful, although its popular reference has made it

in the air force, and he often gave me model planes to

somewhat kitsch.

play with. My mother gave me a large notebook that I

—

The growing grapevine and stem is an analogy for the 'Y' bracket system

T H E VO I D

DESIGN FUSION

YANG HOUSE 'VIRTUAL LANDSCAPE'

108

109

—

'Y' bracket units built into a coat hanger

—

'Y' bracket units built into a bookshelf

T H E VO I D

DESIGN FUSION

YANG HOUSE 'VIRTUAL LANDSCAPE'

108

109

—

'Y' bracket units built into a coat hanger

—

'Y' bracket units built into a bookshelf

T H E VO I D

D E S I G N F US I O N

114

T H E VO I D

DESIGN FUSION

The ancient city of Suzhou is famous for its ‘Humanistic

peacefulness, in spite of a constantly changing world.

Landscape

This contrasts with the blossoming vegetation, water

Gardens’.

These

gardens

were

a

collaboration between Confucian literati and several

fountains and sculptures found in Western gardens.

craftsmen, who aimed to develop a lyrical, subliminal Suzhou

gardens

and

karesansui

gardens

landscape experience, so that every step the visitor

Both

took would guide them deeper into a scene. Every rock

encapsulate nature within one’s own home. The two

and water feature, every plant and tree articulated the

are nevertheless distinct; Karesansui tends to be more

highest aesthetic aspirations of the era. A few centuries

abstractly rendered, replacing the water with sand.

later, are we still capable of generating new aesthetic values? This is what I have wondered, over the two years

‘Y’ brackets, with their potential to grow into new ‘virtual’

it took to complete my museum.

forms, are similar to the Confucian literati stones and lattice windows found in the Suzhou gardens. All are

I made a special visit to Kyoto, Japan, to study the

naturalistic forms with hollow structures. And so, I

karesansui outside of the abbot’s residences at five

began to replace these stones and windows with the ‘Y’

temples, including Ryoan-ji, Daitoku-ji and Kodai-ji.

Bracket System.

Treating boulders as mountains and pebbles as water,

—

Japanese Zen Buddhist Temple, the karesansui garden in Ryoan-ji

this minimalist approach to garden design resonates

White ‘Y’ brackets create overlapping stacks, reminiscent

with ‘wabi-sabi’, the notion Sen no Rikyu proposed

of the Suzhou literati stones. At the same time, the

four hundred years ago in The Way of Tea. Wabi-sabi

brackets’ see-through effect embodies the principle

advocates an incomplete and quiet aesthetic. Karesansui

of ‘an entire landscape in every step’ that the arched

is the antithesis to superficiality. It embodies eternal

Suzhou stones and lattice windows represent. Black ‘Y’

115

T H E VO I D

D E S I G N F US I O N

114

T H E VO I D

DESIGN FUSION

The ancient city of Suzhou is famous for its ‘Humanistic

peacefulness, in spite of a constantly changing world.

Landscape

This contrasts with the blossoming vegetation, water

Gardens’.

These

gardens

were

a

collaboration between Confucian literati and several

fountains and sculptures found in Western gardens.

craftsmen, who aimed to develop a lyrical, subliminal Suzhou

gardens

and

karesansui

gardens

landscape experience, so that every step the visitor

Both

took would guide them deeper into a scene. Every rock

encapsulate nature within one’s own home. The two

and water feature, every plant and tree articulated the

are nevertheless distinct; Karesansui tends to be more

highest aesthetic aspirations of the era. A few centuries

abstractly rendered, replacing the water with sand.

later, are we still capable of generating new aesthetic values? This is what I have wondered, over the two years

‘Y’ brackets, with their potential to grow into new ‘virtual’

it took to complete my museum.

forms, are similar to the Confucian literati stones and lattice windows found in the Suzhou gardens. All are

I made a special visit to Kyoto, Japan, to study the

naturalistic forms with hollow structures. And so, I

karesansui outside of the abbot’s residences at five

began to replace these stones and windows with the ‘Y’

temples, including Ryoan-ji, Daitoku-ji and Kodai-ji.

Bracket System.

Treating boulders as mountains and pebbles as water,

—

Japanese Zen Buddhist Temple, the karesansui garden in Ryoan-ji

this minimalist approach to garden design resonates

White ‘Y’ brackets create overlapping stacks, reminiscent

with ‘wabi-sabi’, the notion Sen no Rikyu proposed

of the Suzhou literati stones. At the same time, the

four hundred years ago in The Way of Tea. Wabi-sabi

brackets’ see-through effect embodies the principle

advocates an incomplete and quiet aesthetic. Karesansui

of ‘an entire landscape in every step’ that the arched

is the antithesis to superficiality. It embodies eternal

Suzhou stones and lattice windows represent. Black ‘Y’

115

T H E VO I D

D E S I G N F US I O N

116

T H E VO I D

DESIGN FUSION

117

—

Yang House 'Virtual Landscape' garden, 2017, which received the 2017 Red Dot Award and the Chinese Design Power 100 Award

T H E VO I D

D E S I G N F US I O N

116

T H E VO I D

DESIGN FUSION

117

—

Yang House 'Virtual Landscape' garden, 2017, which received the 2017 Red Dot Award and the Chinese Design Power 100 Award

A good design explores the complex relationships between people, objects and the environment, while ensuring that these connections remain harmonious. This is the guiding principle behind Jamy Yang’s work.

After completing his studies in Germany, Yang returned to China.

He rapidly attained international recognition, winning almost one hundred awards in his field. His practice, Yang Design, is defined by the melding of Eastern and Western styles, natural and artificial materials, and traditional and modern aesthetics.

Design Fusion presents the key discoveries made by Jamy Yang so far in his career. Yang demonstrates how the Minimalist movement has left a unique footprint on both Germany and Japan.

Later chapters are dedicated to the concept of ‘Brand DNA’, the importance of traditional craftsmanship, and the purpose of semantics in design. Emphasising the need for sustainable development projects that positively influence the public, Design Fusion is an enlightening glimpse into the mind of one of China’s most innovative young designers.