Design for public consumption...

Market One - 1970 - Shiro Kuramata

“The function of design should not be just about whether it is practical or not. Enchantment should also be considered as function,” - Shiro Kuramata

What happens when a private design commission becomes a public problem?

Market One was a short-lived project that meet this question head on, and lost. Designed by Japanese architect and designer Shiro Kuramata for the British brand Edward’s in 1970. Market One was to be one of two stores designed by Kuramata in Ginza to carry the brands menswear line (Shop I, 1970 carried the brand womenswear line). Kuramata was known most for his imaginative play with materials with a high degree of technicality within his designs and interiors. His works often mimicked the practice of an artist. Successfully creating more questions than answers about his design process, Kuramata’s is often said to leave a magicians touch to his work. He was able to manipulate materials to perform in ways that many haven’t imagined. Designs like “Glass Chair” - 1976, where 6 sheets of glass are bonded together with a clear adhesive. Giving the illusion that the chair is supported by just the air around it.

The Markert One project also took the approach of materials playing a special role in the form of the space. Commissioned by Edwards as a stand alone menswear boutique in the trendy neighborhood of Ginza, Kuramata attempted to design a space like no other. Both the shop's exterior and interiors were formed using cast GRP (Glass Reinforced Plastic). Typically used on airplanes and boats, this lightweight and extremely durable material can be easily molded and manipulated into complex shapes. Kuramatas' choice in using GRP allowed him to create a continuous design that flowed in-word-out, seamlessly blending the interior of the shop with the exterior facade of the building. The flexible material also allowed Kuramamta to be clever with the shop's interiors. Built-in shelves were molded into the shop's walls and a center display case protruded from the floor.

Market One, Interior, Axonometric view

Market One, Plan view

Along with the unique facade and interiors of the the shop Kuramata also had the opportunity to design a product that fit well into the overall design aesthetic. A “Chair-Wall” was also designed in collaboration with sculptor Takeshi Ando and molded into the space. This chair wall took the form of a woman sitting. This negative mold (also known as a female mold) sat, recessed into the shop's wall. The Chair-Wall brought a dimension of surrealism to the design. Kuramata described it as “the cast-off skin” of a human being, in which one could sit and regain their humanity.

Chair-Wall - 1970

The unfortunate demise was there reason for my opening question. What happens when a private design commission, like this project, became the center of a public disapproval? Shortly after Market One’s completion and opening, local shops in the neighborhood took disapproving stance to the shops design. Many saw it as an irresponsible use of materials. Citing the use of the plastic compound as a wasteful and environmentally irresponsible move on Kuramata and Edward’s part. The took to the local news to protest the shops presence. This resulted in the facade of the building being removed, and even more confusing, burned completely. Kuramata fought this removal in court but was unsuccessful mainly due to the nuance of the issue. Market One’s destruction left Kuramata with questions about the artists/designers responsibility or relationship with society and culture. Where does location, material usage, cultural sensitivities, and public engagement play in the success or failure of public facing art/architecture?