IID-PAPER36インタビューの英語版を公開します。

日本語版が掲載されているIID-PAPER issue36は本日よりIIDで配布中。
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■How the foreigners working in IID see Japan.

□Among the residents in IID, there are some foreign creators who have chosen to work in Tokyo and especially in IID. We’ve interviewed three of them.

――Can you start with introducing yourselves?

Patrick Juchli (P): I’m a programmer at LESS RAIN. I’m mostly working on interaction design, for example how an interface should feel like in respect to an actual design concept.

Carsten Schneider (C): I am from Less Rain, too, and I am a designer. I am involved in the conceptual design phase, coming up with concepts and generating ideas, but also in the actual design process of creating websites.

Bradley Fraser (B): I am primarily a product designer. I currently work freelance for different companies in Japan.

――What made you come to Tokyo, and to IID?

C: We were working with Japanese agencies while still being in Europe, and about 3 years ago my colleague Lars and me decided to visit them in Japan. When we arrived, everything seemed to fall into place. We liked Tokyo, everybody suggested us to stay here, and it was the “German Year” coming up, so we thought this might be a good opportunity for us. Also, I think our design is more emotional, less technical; something we believed might fit to the Japanese market. We were looking for office space through R-Project, this is how we got in touch with the IID. We didn’t want to be stuck together in an office all alone, so the bigger community of the IID was perfect for us.

B: After graduating university I started working in Hong Kong. During that period I visited a friend in Tokyo and immediately knew I had to stay. So I moved here as quickly as possible and without knowing anyone was lucky enough to find a job with a large firm. After two years I decided to head to Europe however missed Tokyo. I decided to return and stay longer however this time only on a freelance basis. Carsten, from LESS RAIN introduced me to the IID and Shigeki Fujishiro. Fujishiro San and I became friends quickly and decided to share an office space.

――Working in Japan, do you feel that the language is a problem?

C: Not really, we always find a way to communicate. Many people do speak English, if not we can get help of someone like Shiho or Kosuke, our colleagues, who translate for us.

P: It also depends on the situation. During a project you often have to sort out a number of details, small but specific issues that can lead to misunderstandings only because of the language barrier.

B: When I first came to Tokyo communication was fun and direct. As a designer my communication is largely visual so images were the key to my initial communication. It is different now because I want to be more deeply involved; this kind of communication requires not only visuals. Lucky for me my Japanese is getting better and I am able to use a translator for more important situations.

――How about communication in your private lives?

C: When I go out, to parties, bars, gallery openings, I often meet people who are already friends of friends, so even in a foreign country like Japan you feel immediately connected.

P: It sure is easy to find a group of foreign creative people, but if you stick with the English speakers you end up not meeting a lot of Japanese people.

C: The language is much more important if you plan a life-time career in Tokyo, and I am not really planning that.

B: Tokyo is always changing and there is always a new part of the city to explore and new people coming and going. At times is can be frustrating trying to communicate, however it has become a day to day challenge which I try to enjoy.

――What do you think about the Japanese creators?

C: I am still not good with Japanese names, but people like Yugo Nakamura or Tokujin Yoshioka come to mind. In general, I would say Japanese designers have a great sense of balance, of using empty space - or silence, so to say. In Europe, you see more rigid, grid-based design, and a tendency to fill a space completely.

P: Although this might be a stereotypical observation, it’s quite apparent how a lot of Japanese designers are combining simple elements with great skill and care of detail. Also, there is often a strong poetic quality in these works. It seems to be very important how something feels rather than just focusing on a look.

C: In European design beauty often lies in functionality, whereas in Japan the details, the poetry of things, are much higher valued.

B: I have great respect for many Japanese creators. Naoto Fukasawa and SANAA are obvious favorites when comes to design and I am a big fan of MONO and Susumu Yokota when it comes to music. I am always appreciating how Japanese creators are able to say so much with so little and pay great attention to detail.

――Please give an advice to the young Japanese readers who want to become a creator working globally.

P: Continue, and don’t give up. That’s it. Focus on what is important for you.

C: As for myself, leaving my home country was the best decision in my life. Meeting different people, getting different opinions. Also, many Japanese designers seem to find inspiration now in their own culture and history, rather than trying to copy the west, and that can only be a good trend.

B: Travelling is important. If I didn’t travel, I wouldn’t be here now – ha! I think it is important for young Japanese creators to challenge authority with fresh ideas.

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[２０１ｂ]Patrick Juchli
LESS RAIN programmer. 201b resident

[２０１ｂ]Carsten Schneider
LESS RAIN chief manager/ designer. 201b resident

[３０４]Bradley Fraser
Product designer. 304 resident