Redefine events from the perspective of environmental burdens. How can a “good” exhibition be shaped? Details of the GOOD DESIGN EXHIBITION 2022.
The GOOD DESIGN EXHIBITION 2022 is held from Friday, October 7 to Sunday, November 6. With “Change for Good.” as the theme this year, we have attempted to make the exhibition itself especially “good” in addition to exhibiting the award-winning products. This article introduces the details and background intent of the exhibition to serve as a model for creating a new type of exhibition.
The GOOD DESIGN AWARD has embraced designs that constantly change with the times and continues to define what “good” is at different times. The GOOD DESIGN AWARD itself should therefore be designed in a manner that is “good” for society and the planet. It is with this in mind that Seiichi Saito, the general director of the GOOD DESIGN EXHIBITION 2022, primarily created the exhibition.
At the exhibition, all award-winning products were announced, focusing on the display of the GOOD DESIGN BEST 100. Saito, who has been involved in diverse shows, felt the importance of designing such a temporary occasion in a “good” fashion, which made him choose the phrase “Change for Good.” as the exhibition’s concept.
In order to realize the chosen concept, Saito invited leading creators in each domain such as graphics, space, and materials. In a separate article, the story behind the birth of this exhibition was reported. Now, what sort of exhibition did such a project with the best of intentions produce? We introduce the details and background intent of the exhibition on the basis of the actual accomplishment.
Concept: A GOOD exhibition that produces as little waste as possible
The GOOD of today and the signs of the GOOD in the future. Through GOOD products and things that have been created in the present day after various processes of trial and error, we would like to encourage all people who use and create them to think about the GOOD of the future. The concept of “Change for Good.” was created based on such a wish.
Against this background, this phrase reflects four perspectives established by copywriter/creative director Toshiyuki Konishi, who served as the concept director.
◆ Perspective 1: Present the ideal way of the GOOD DESIGN AWARD itself
Clearly value designs for being “good” instead of excessive and aesthetic-driven. Make the exhibition a place to embody such a fundamental policy change.
◆ Perspective 2: Message concerning the display from the GOOD DESIGN AWARD
Become a source to send a message concerning how display designs should be, instead of merely displaying award-winning products. Send a strong message such as rejection of unacceptable future in doing so.
◆ Perspective 3: Present a new perspective from this exhibition in this opportunity
Create an experience that not only brings joy at the moment, but also takes you farther ahead and into the future.
◆ Perspective 4: Do not create anything new
Add something to existing materials to remove it later, such as graffiti and blackboard art. Otherwise, make a design that does not create anything new, such as by reusing bottles and posters.
Behind the word “change,” a firm determination that we would like to drastically change this exhibition itself is implied.
In the design world, attention has routinely been required to include supply chains and materials these days. For example, in the field of handling objects such as products and fashion, discussions have rightly been made regarding the burden on the global environment and social structure.
Under such circumstances, there has been no major change to run exhibitions, most of which still produce a large volume of waste. As a matter of course, the COVID-19 pandemic was likely to hinder the satisfactory holding of offline exhibitions in the past few years. However, this is why the GOOD DESIGN EXHIBITION must be responsible for indicating a “good” form for an exhibition in 2022.
Realize a GOOD exhibition that produces as little waste as possible. In what follows, we introduce specific output of the exhibition designed based on such a sense of responsibility in detail.
Graphics: Achieving the maximum impact with the minimum elements
Now, we take a look at graphics. Although environmental issues bring to mind enabling recycling or using sustainable materials, the word “change” does not aspire to such a superficial change this time. This thought is clearly reflected in the visual designs.
Graphic designer Yoshiaki Irobe, who took charge of the key visuals and graphics, said that he paid attention to achieving the maximum impact with the minimum elements.
If you shape identity by making a large surface, energy and materials will be consumed for painting and printing to that extent. For this reason, considering the minimum elements has become an essential requirement for visual design.
On the other hand, this exhibition remains an annual festivity of the long-established GOOD DESIGN AWARD. The quality of designs can by no means be compromised. While full consideration was given to sustainability, such as choosing materials with low environmental load when in doubt, considering the availability of paper, boards, and other materials, and producing no waste by using durable materials that can continue to be used for a long time, it was crucial to ensure the quality for a special occasion.
Therefore, visuals were created mainly with red lines on the basis of the key color of red so that people can recognize that it is a grand occasion of the GOOD DESIGN AWARD at first glance.
While it is a very simple approach, it stays in your mind as something related to the GOOD DESIGN AWARD. Based on these red lines, a unified identity was realized, from the display space (described below) to the signs, posters, and website.
Space: Create a special feel by maximizing the spatial characteristics with less effort
The visuals designed by Irobe are expanded and reflected in the display space by architect Yuko Nagayama, who led the space direction.
As is the case with the above-mentioned policy to achieve the maximum impact with the minimum elements, she focused on creating spatiality and a special feel with less effort instead of finishing with elaboration.
Red lines are projected into the space so that people can sense that it is the exhibition of the GOOD DESIGN AWARD at a glance. A simple design was applied, where ribbons run through the venue. This is intended to produce as little waste (such as panels) as possible after the exhibition period. In order to reflect this intent, the fixtures for displays are composed by utilizing rental pallets instead of newly making them.
The fixtures composed mainly by pallets also have the significance of maximizing the spatial characteristics. Keeping display tables low enables good visibility the moment you step into the venue, which is quite impressive. The perspective space seen upon entering the venue is said to have been created with the three-dimensional key visuals of this exhibition in mind.
In addition, red lines (tapes) wrapping through the entire space segmentalize it, which enables the setup of a theme in each zone and effects by simply putting words directly on the wall.
Materials: Review materials fundamentally to get out of a scrap-and-build approach
Undoubtedly, materials are also an important point. Measures have been taken for “change” from a viewpoint where recycling and reuse are not the only options.
According to product designer Jin Kuramoto, who served as the material director, the principle of the material direction of this exhibition is as follows.
First, we get away from the conventional scrap-and-build-type exhibition, where materials are collected only for the exhibition and thrown away afterwards, and propose a new type of event. Then, we proactively adopt sustainable materials that are healthy for both environment and mind.
In the actual material direction, we replaced the materials used for this exhibition with as many recyclable materials (such as wood and cardboard) as possible.
In doing so, while using as many recyclable materials as possible, Kuramoto particularly kept in mind the addition of a glamorous air to the exhibition and celebratory meeting as special occasions. In particular, he focused on ensuring the decent quality and story for what remains in the hands of award winners such as rosettes for the celebratory meeting.
Incidentally, for the line tape arranged throughout the venue, recycled materials were considered at first, but ended up not being adopted. The reason is that they were too costly. As it turns out, kraft tape, which is inexpensive and easy to find, is used.
No matter how sustainable the materials are, it makes no sense if they cost too much and have low feasibility. These choices show a strong will to make a practical impact on society.
Expansion: Pop-up store and celebratory meeting also under the theme of “Change for Good.”
This design policy has been expanded in every related space in addition to the exhibition venue.
First, pop-up store GOOD DESIGN STORE TOKYO by NOHARA POP UP STORE is open at Tokyo Midtown in Roppongi for a limited period from Friday, October 14 to Thursday, November 3. This space showcases about 50 old and new award-winning products focusing on those that lead to the “GOOD in the future.”
As is the case with the exhibition venue, the design with line tape is used to ensure continuity with the exhibition. Moreover, recyclable materials such as container boxes and pallets are used for fixtures to constitute the space.
The website is also designed according to the same policy as well as real spaces.
These days, especially in a campaign, there is a tendency to incorporate a lot of “effects” such as movement. While they may catch the eyes of visitors, they can be viewed as the consumption of resources including electricity.
For this reason, the website avoids excessive movement, and its design and implementation are as simple as possible within the range of the expression of the identity created by Irobe.
Here, we introduce the celebratory meeting as a grand occasion of the GOOD DESIGN AWARD.
On the main panels (photocall panel) used also as a backdrop for commemorative photography at the celebratory meeting venue, the design with lines, which reflects the identity presented by Irobe, was arranged as well. Reused panels are used as the surface material, and you can notice the used texture if you look at them closely.
In fact, these panels aroused much discussion in the project team. Some said that as the panels had a major role for commemorative photography in the grand occasion, such distinct texture was not appropriate. Although the team almost decided not to use the reused panels, Saito himself expressed doubt that this was “Change for Good.,” and the panels were adopted after a series of adjustments until the last minute.
It is significant that the best representations of this year’s orientation were captured by the many commemorative photographs taken in front of these panels.
GOOD DESIGN EXHIBITION 2022 is held with “Change for Good.” as its theme. General Director Seiichi Saito and other creators who were involved in the design unanimously said that they would propose a new concept of exhibitions, taking this exhibition as an opportunity.
In other words, this challenge will not end even after the one-month exhibition period. On the contrary, the real value will be demonstrated AFTER the exhibition. It would be meaningless if no initiatives inspired by this exhibition emerge to rethink how exhibitions are organized.
As a matter of course, this exhibition is only an interim solution. However, considering the level of technology and costs as of 2022, the output of this exhibition could serve as a model case. If more and more “good” exhibitions and events appear, using this article as a recipe, we would be more than happy as the managing organization of the GOOD DESIGN AWARD.