A Shared Stillness

On July 8th in 1853, American naval officer Matthew C Perry led a fleet of four ships into Tokyo Bay with the intent of bullying Japan into reopening its trading ports (which had been largely closed to trade and visitors for some 200 years). The mission was a success and the effect was swift. Japonisme was the term the French coined to describe the fascination and desire that erupted for all things Japanese and the art and design movement that followed. It was not a one-way street, however – Western ideals, fashion, art and design entered Japanese culture too – and, long, long before the term Japandi entered our vernacular and Instagram feeds, recognition of a shared aesthetic and mutual admiration emerged, and a cultural exchange ensued.

The multidisciplinary practice of Copenhagen-based Norm Architects has been heavily influenced and shaped by these decades of cultural exchange as well as its own creative collaborations with Japanese designers. It is this influence and an exploration of Japanese aesthetics through a Scandinavian lens that forms the subject of a new book from Norm Architects and Gestalten – Stillness. Jonas Bjerre-Poulsen, co-founder of Norm Architects tells us how and when the love affair began for him and why the fascination endures.

Where and how did your love affair with Japanese design begin?

During my studies at the Royal Danish Academy of Fine Arts in Copenhagen, I worked as an assistant to a Danish designer who was very interested in Japan and Japanese kitchen utensils in particular. He travelled frequently to Japan and he always brought back gifts – traditional Japanese knives, bamboo baskets, ceramics, dyed fabrics and much more. It was through the delicate shapes, intricate details and master craftmanship of objects, that I first fell in love. Subsequently I started studying Japanese architecture in architecture school and wrote a paper in search of a spatial vocabulary for Japanese architecture. For many years after finishing my studies, I applied principles learned from Japan into our projects, without having ever set foot in the country.

How would you describe the shared aesthetic between Scandinavian and Japanese design?

The profound beauty of stillness we see in Japanese aesthetics is at once familiar and foreign. On one hand it feels like home and resonates with the melancholic simplicity of our Scandinavian culture – the still atmosphere of a Japanese garden or tearoom is not far from the stillness you can experience looking at the empty spaces painted by Danish artist Vilhelm Hammershøi. On the other hand, the rich cultural tapestry of Japanese architecture, crafts and gardens embodies a profound harmony between the self and the surroundings that is not found in Scandinavian design. The essence of stillness in Japanese aesthetics seems to transcend the spatial to create space to breathe, and space to immerse oneself in a state of mind that awakens the innate longing for a connection with our primordial home: nature. It is within this interval that the essence of stillness resides.

Through the poetic interplay of light and shadow, form and emptiness, Japanese architecture and design evoke a profound sense of tranquility, inviting us to dwell in the present moment with mindfulness and grace.

Exploring Japanese aesthetics from a Scandinavian perspective has been a journey of curiosity as well as introspection. In our attempt to unveil defining elements and ideas in Japanese architecture and design, we have also sought to understand the kinship between our Scandinavian heritage and that of Japan – and how one culture has influenced the other – as well as to ponder the timeless allure of Japanese aesthetics.

Architecture and design have always been shaped by culture, history, and the environment in which they are created. Architects and designers often look to other cultures for inspiration, incorporating elements into their own work to create buildings and furniture that, in an evolutionary process, become new, cross-cultural hybrids. Cultural exchange opens our minds, fosters respect and has the power to elevate the nations that engage in such exchange. Danish architecture and design has in the 20th century been greatly inspired by Japanese aesthetics in their use of natural materials, open space plans, wood joinery, simplicity and essentialism.

Where, would you say, the lines blur between Scandinavian and Japanese aesthetics and where do they diverge?

For centuries, Japan has captivated hearts worldwide with its artful mastery of simplicity, asymmetry and naturalism. From serene gardens, temples and shrines, to the intricate details of high-quality craftsmanship, Japanese aesthetics have left a pleasing and emotionally resonant mark on global design culture. Through numerous meaningful and memorable visits to Japan, with camera in hand, at Norm Architects we have carefully studied and documented the spaces and places we have experienced to better understand them, and we have attempted to learn how the Japanese have created such enchanting atmospheres of stillness. From the shores of Scandinavia where we reside, our fascination with Japanese aesthetics has prompted a deeper exploration – a journey to uncover the parallels between two seemingly disparate realms, one built on the foundation of a strict Protestant peasant society, and the other on Shintoist and Buddhist philosophies.

We have observed that Scandinavian and Japanese aesthetics share minimalist approaches characterised by clean lines, unadorned forms and uncluttered spaces. Both styles prioritise simplicity and functionality, with an emphasis on creating spaces that are beautiful, sensory and practical.

In both countries, there is a strong emphasis on using natural materials. I also think that both places, due to their climate and changing seasons, have a strong connection with the outdoors, often blurring the boundaries between interior and exterior – maybe more so in Japan. However, I think that the most evident similarity might be found in a love for simple unadorned craftsmanship, using quality materials with an attention to detail.

Traditional Scandinavian design often features light woods such as oak, birch, beech and pine, as well as natural materials such as leather and wool, that is not as commonly used in Japan. In contrast, Japanese design frequently incorporates darker patinated or burned woods such as cedar and cypress, as well as paper, bamboo, and stone, that we do not find in Denmark. I guess it reflects the geographical location and the natural resources we have been able to refine. Scandinavian design in general also tends to favour a light, neutral colour palette, with whites, greys, and light wood tones predominating. In Japanese design, on the other hand, there is a wider range of muted earthy colors, such as greens, browns, and indigos, that we have been inspired by.

What has been the greatest influence of Japanese design on you as a designer?

Everything I have described in the book and much more. It is impossible to single something out.

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Stillness: An Exploration of Japanese Aesthetics in Architecture and Design co-edited by Norm Architects and Gestalten is published by Gestalten. Visit gestalten.com | normcph.com