RESEARCH METHODOLOGY

We combine findings from anthropological fieldwork with expert insights.

Our studies take place within hyper-local communities, where we conduct ethnographic research, observe regional ecology, document generational knowledge, and examine historical texts. We then work with highly-specialized experts to establish metrics to measure and validate our findings, and prove its value as a modern sustainable material.

ANTHROPOLOGICAL FIELDWORK

  • Build relationships

  • Gain access

  • Receive trusted introductions

FOUNDATION

DISCOVERY

  • Interviews and other multi-media recording

  • Sampling of materials

  • Learning and practicing techniques

  • Transcription

  • Identify historical texts, art, and artifacts for additional context

  • Cross-reference adjacent studies

INTERPRETATION

SUSTAINABILITY CATEGORIES

  • Climate, biodiversity, agriculture, foraging, forestry, energy, air, wildlife, waterways

  • Policy making, taxation, cash flow, government grants, innovation, portfolio management, labor

  • Education, infrastructure, community, humanitarian, communications, artistic expression

CASE STUDY

Silhouette of a rabbit with large ears sitting upright.

HERITAGE MATERIAL-INFORMED DESIGN

Abstract dark red symbol with cross-like shapes
Two black geometric T shapes on a white background, overlapped by blue spirals and rectangles illustrating the golden ratio (1.618). The shapes are divided into segments labeled 'a,' 'c,' 'd,' and 'e' with various measurements showing proportional relationships. Horizontal lines above indicate comparison between the numbers 1 and 1.618.

LOGO

The logo is an evolution from hanko carver, to graphic designer, to hanga artist.

In Japanese, research is kenkyu 研究. Made up of two characters which allude to mastering the art of polishing. The first character 研 (polish) is derived from the classical character 幵. And this is where we take our inspiration. Ultimately, the logo to the right, is no longer a character or word. It is meaningless yet meaningful. It is a nod to the earth’s strata, folk craft, ancestral storytelling, the microseasonal calendar, and the mountains and sea that make up this archipelago. It is also an ode to the techniques that take natural resources and make them into heritage materials.

COLORS

The colors are sourced from the DIC Color Guide of the Traditional Japanese Palette. Each offers greater context to the socio-political climate, terroir, and sensibilities across time.

Seven horizontal colored stripes in black, dark brown, olive green, taupe, terracotta, beige, and teal.

DIC N-960 Sumiiro

HEX #1C1C1E

DIC N-959 Kuriiro

HEX #2F2417

DIC N-815 Hiwairo

HEX #756616

DIC N-952 Nibiiro

HEX #726557

DIC N-962 Kunugi

HEX #A37160

DIC N-780 Usukouiro

HEX #DFD0B5

DIC N-881 Asagiiro

HEX #0C7C94

SUMIIRO The color of calligraphy ink in traditional Japanese paintings. While the Chinese ink has a blue undertone, the Japanese ink has a brown undertone.

KURIIRO Chestnut, hazel, and the like that contain a large amount of tannin, produces this black color with brown hues in the botanical dyeing process.

HIWAIRO An austere yet refined color that was used frequently from the Momoyama Period (1568-) through the Edo Period (-1868) as a product of the proliferation of tea ceremony.

NIBIIRO A historic color of Japan, it is a grey with green and brown undertones.

KUNUGI The color of textiles worn by commoners. Brown did not exist until after the Heian Period (794 - 1185). Instead, easily accessible nuts and tree bark were used to achieve this hue.

USUKOUIRO The lightest hue produced by steeped clove tree to dye textiles. A slight scent is paired with the color.

ASAGIIRO A traditional color of Japan, named after a slight blue hue mingling with a Japanese leek. It is an ode to the color that appears for a split second during the indigo dyeing process.