Reconsidering ornamentation

Overview

Decorating our lives

Yamaha Corporation is a Japanese company that makes and sells a wide variety of musical instruments and audio equipment. As we industrialize musical instruments, which were once precious works of art, treasures of humanity with a history that stretches back to ancient times, we are striving to pay homage to that culture and tradition while leveraging new ideas and techniques to give them a modern interpretation and enhance their value. One theme that constantly confronts us in this process is that of ornamentation. Although it would be difficult to say that musical instruments make our life more convenient, music brings fulfillment by adding color and richness to everyday life, and in that sense, one could say that both music and musical instruments decorate our existence.

What is ornamentation, and what does it mean to us? Is it decorative? Are there such things as functional and non-functional ornamentation? Is ornamentation a tradition or a trend? Is it frivolous? Is removing ornamentation to create a minimalist appearance itself another act of ornamentation? Is ornamentation only visual beauty? Who defines what beauty is and is it actually something we should define? What exactly is its allure?

Reflecting on ornamentation again reveals a variety of different perspectives, and there are aspects that cannot be explained by logic alone or understood completely by others. A person’s interpretation of ornamentation may offer a glimpse of their true nature—or that may just be a fleeting illusion that changes with their mood or circumstances. Perhaps, in ornamentation we find something that stirs the senses; an expression of sensitivity that leads to joy, beauty, confidence, and then maybe, to new discoveries.

Although there may be no single answer to these questions, I find myself thinking about ornamentation constantly. These works trace the journeys of individual designers who have contemplated ornamentation from a variety of different perspectives. With the utmost sincerity—and with delight and anticipation—I hope that music and musical instruments will continue to decorate our lives, nourish our souls, and adorn our existence with richness and diversity.

Concept

”PARSLEY”

You may be surprised to hear that in Japan, parsley is often used as a garnish. For the members of our group who had been pondering the particular value and significance of ornamentation and adornment, the sight of a sprig of parsley on a dish was a curiously captivating presence that seemed to imply something. Parsley is perceived and appreciated in different ways by different people and cultures. It is an essential ingredient in some cuisines, while in others its aroma, bitterness, and fresh green appearance are used to balance a dish. In still others, parsley is nothing more than a simple garnish. This diversity of roles seems to mirror that of ornamentation in our lives. The simple, silent presence of the parsley at our dinner party seemed to be an eloquent expression of its multifaceted value. We are sure that ornamentation, too, has a special value and significance. Perhaps, in that sense, it is like parsley.

DRESSING

Originally made in 1983, this piano was carefully repaired by skilled artisans to take on the aspect of a dresser, featuring a modern reinterpretation of the candleholders once attached to old pianos. Lights turn on when you open the lid, heightening the anticipation felt before performing.

The mirror-like polished piano black surface reflects the performer’s appearance, capturing gestures and actions that change with daily practice. In this design, we sought to create a presence that transforms time spent at the instrument into something truly special.

In the days when there were candleholders on instruments, rooms were only dimly lit, and candlelight was necessary when playing at night. As technology progressed, rooms became lighter, changing the value that we attach to light, and now gentle, beautiful light lifts our spirits every day. Perhaps dressing up is what lies at the very heart of ornamentation.

Having had pianos in my life since childhood, I felt that the upright piano was an instrument that makes it difficult to see the performer’s hands and expression at the same time, and therefore does not always showcase their appeal to the fullest. I observed the black mirrored finish of the piano and began to wonder if the mirrored surface could be treated like an actual mirror. To more beautifully capture the performer’s expressions, I added vanity lights, which naturally gave way to the concept of a piano resembling a dresser.

Through encounters with old pianos and professional piano restorers, I began creating renovated pianos that infuse used pianos with new value. I deliberately explored the balance between tradition and innovation through details like sparingly applied piano black paint, a mechanism that gently illuminates the instrument when the lid is opened, and a color scheme accented with a ruddy pink.

While producing these pieces, I was able to experience first-hand the high level of craftsmanship involved in piano making; the instruments were so polished and well-made that I knew it would be difficult to convey that my works were renovations. Even so, I feel a sense of promise, as if this undertaking will somehow continue to light the way to the future.

Designer: Shino Sakamoto/Yamaha Design Laboratory
Support: Yamaha Piano Service Co., Ltd.

SPARKLING

A piano adorned with more than 400 independently moving mirrors. When lit with a spotlight the instrument sparkles with countless points of light that fill any space, enveloping everyone present in the experience.
The lights flicker in response to the piano’s automatic performance, materializing and vanishing in an instant like shooting stars. Listeners follow the lights as they wait for the next note, their gaze and awareness drawn to the music, transforming the act of listening into something deeper and more immersive.
The sparkling mirrors are an enthralling sight that transform the room into a sky full of stars, each with edges that twinkle like tiny jewels in the night. If a mirror ball is a device to spread excitement, then this piano is one that turns your awareness inward. Experience the enchanting sensation of being immersed into happiness.

For a long time, I have been captivated by the way pianists’ fingers dance across the keys, and I have always wanted to create a piano with features that would make people want to dive deeper and play with even more abandon. I also could not forget the exhilarating moment when I saw innumerable rays of light from a mirror ball at a live concert, and I began to wonder if I could incorporate that power into a piano. A mirror ball only truly comes into its own when it reflects light and floods an entire space, making it an ideal device for drawing both the performer and the audience into a single immersive experience.
From there, I explored ways to bring the “mirror ball piano” to fruition, and through a series of experiments with the person responsible for research and development team, I arrived at the current mechanism. The defining characteristic is the fact that I settled on a structure that rotates the mirrors to reflect light, consistent with my desire to retain an analog feel rather than using projectors or displays.
Although challenges emerged during production, the possibilities for further exploration—for example the lid of a grand piano—are expanding.

Designer: Shino Sakamoto/Yamaha Design Laboratory
Engineer: Soichi Takigawa/Yamaha Research and Development Division

SEASONING

It is said that the custom of arranging flowers has its origins in ancient civilizations. Plants have been used as decorative motifs and standards of beauty since time immemorial, and cultures around the world now delight in the unique flora of each season.
Flowers and music add pleasing accents to everyday life, but their beauty is ephemeral and transitory, eventually coming to an end. The fleeting nature of that attraction is precisely what makes it precious—it may be that we sense the beauty in each moment of continual change.
Musical instruments are used to perform music—an art which is centered on time—and the temporal nature of such performances evokes the ever-changing beauty of plants.

As someone who has long been involved in designing household appliances, musical instruments have always been special to me. Unlike appliances, musical instruments hold their value over time and become more appealing the more they are played. I was drawn to this concept and began exploring how to express it tangibly.
After moving to Hamamatsu, where Yamaha is headquartered, I began to naturally notice fallen leaves and flowers along the paths I walked with my children. As if being pulled back to a child’s perspective, I was reminded of the beauty of the small parts of nature on the ground. In fact, this is where I got my inspiration for this project.
I insisted on using fresh flowers for this work so that viewers would truly feel the passage of time. To prepare for the exhibition, I gathered leaves and flowers one by one in Milan, engaging in dialogue with them as I arranged the pieces.
Also, I stopped short of outlining the instruments and used the fewest possible lines in an effort to blend the boundaries between the flowers and the instruments. While exploring the flow of the lines, I turned to hiragana (phonetic Japanese characters) for reference, as they are more fluid and rounded than many other styles of characters. The pleasing flow of hiragana inspired the expression of the instruments themselves.

Designer: Ryusuke Baba/Yamaha Design Laboratory

VEILING

In many cases, wind, string, and percussion instruments are constructed in a way that allows you to see their internal workings, with functional components contributing to the overall beauty of the instrument. What would change if we deliberately hid part of the body that is normally exposed? One of the works of the Zeami Motokiyo, a prominent 15th-century writer on aesthetics, includes the words, “What is hidden becomes a flower.”
Italian has the expression, “vedo non vedo,” which implies that the concept of half-hiding something to create an air of mystery is one we all share. The very fact of not being able to see something stimulates the imagination.
A mere cover becomes ornamentation, and when we realize that a complex, beautiful instrument has taken on a simpler aspect, the way we look at the instrument itself may change.

This project explores the idea of adding a simple, semi-transparent cover as a form of ornament—one that conceals the instrument’s original decoration while ultimately generating a new kind of “ornamentality.”

In industrial design, designers are usually asked to enclose in a smooth shell technical elements such as mechanisms and electronic systems. By applying the same approach to a traditional brass instrument, I sought—paradoxically—to reveal the inherent beauty of its “pure function,” and to question the relationship between function and ornament.

A central priority was to ensure that the instrument remains fully playable and adjustable. By preserving its performance entirely, the exterior becomes pure ornament, resonating with music itself—perhaps the ultimate form of decoration that enriches human life.

The concept draws inspiration from the classic streamlined fairings of motorcycles and trains, and the final prototype was actually developed in collaboration with Yamaha Motor R&D Europe. Performances by renowned musicians during the exhibition further demonstrated the validity of this approach.

Designer: Stefano Ivan Scarascia

HERRING

Herringbone is the name of a type of pattern featuring a repeating V-shaped motif that is often seen in floors and fabrics. Both functional and beautiful, this pattern was apparently named for its similarity to the shape of the bones of a herring. The knobs used on guitar amps and effects pedals are called chicken heads for a similar reason.
Striking names like this can enhance the appeal of the object itself, adding further value and meaning to its shape. Nicknames might even be said to be a form of decoration.
Here I mused on the origins of names. It might be interesting to look at these products—which were created by reversing the stylization process—in the same way we look at fossils in a museum.

Herringbone grilles and chicken head knobs—I based this work on the motifs indicated by the names, reviving them into designs that are brimming with life, yet skeletal. The concept I settled on several years ago was exploring decorative possibilities from the names of objects and drawing out the potential of guitar amplifiers in new ways.
Once the work was officially made part of the exhibition, I reexamined what I was trying to accomplish with the exterior. At first, I envisioned a simple design highlighting the original beige color, but to further enhance the appeal of the end product, I ultimately opted for a splashy silver finish. The work represents a venture into a realm that is off-limits for standard product development. I was also meticulous about expressing the raw character of the herringbone and chicken heads while maintaining their functionality as parts—grilles and knobs, respectively. Thus, I considered the aperture ratio of the herringbone and the ease with which the chicken heads could be viewed as knobs.

Designer: Koji Notomi/Yamaha Design Laboratory

PAIRING

A musical instrument takes in the breath and body heat of the player as it transforms into sound their emotions and thoughts—the subtle inner fluctuations that cannot be put into words. Garments and fashion accessories are the ornamentation with which we adorn that which is closest to us—our own bodies—and may be the most direct reflection of our values and sensibilities.
Pairing is the concept of using combinations of items to create synergies to enhance qualities, such as we do when matching wine and food to bring out flavor and aroma. This mutually beneficial association is an ideal tool for us; here we give form to a relationship in which sound and attire work in synergy to allow the instrument and body to resonate in harmony.

I have long believed that, whenever people talk about the beauty of a musical instrument, keys are one of the critical elements underpinning that beauty. If the keys of an instrument are elements of its beauty, then surely, they would remain beautiful even if they were removed from the instrument? To test this hypothesis, I created fashion accessories made from keys.
These items were all crafted by Yamaha artisans. To achieve the shapes I envisioned, I sought cooperation from the labs that prototype Yamaha wind instruments as well as those responsible for digital instruments. I was particularly mindful not to work the material too much. Careful to respect the aspects left to the artisans and the experience of the musicians, and those that capitalize on the materials, I shaped the accessories while reinterpreting their context.
During the crafting process, I was reminded of the beauty of keys. By giving these previously unassuming keys a leading role, I feel that I was able to prove that they are indeed elements of beauty. At the same time, I was profoundly impressed by the technical skills of Yamaha artisans. Every single process, for example bending a pipe to form a ring, requires an inordinate amount of skill. As I see it, Yamaha and the world at large will continue to demand more of the unique value of handcrafted work like this.

Designer: Masato Fukuyama/Yamaha Design Laboratory

Afterword

Reflecting on the project

Although the theme of this project was ornamentation, I started by looking for an answer to the question, “What is design?” It bothered me that the more we prioritize rationality in our day-to-day work, the less visible our individual aesthetics become. I wanted to confront that tendency again.
Here, “ornamentation” does not refer to richness of form and color. It represents everyone’s unique sensations, values, and ideas, and the most important thing is whether we can sense who created the work.
In directing the project, I encouraged each participant to go beyond form and genre to explore their inner sensations and value the artistic expression that emerged from them. Rather than seeking objective novelty or correctness in their work, I centered the process on a question: Does the work arise from the designer’s unique thoughts and emotions? Consequently, each work traveled a different course, but in my view, this diversity embodies the theme of the project.
For the process as well, rather than defining a complete vision from the start, the designers shared their individual interpretations of ornamentation and little by little furthered their understanding through dialogue. They focused on the discomfort and discoveries that arose along the way, proceeding based on conviction rather than a sense of correctness.
In the crafting process, they gave shape to their work while responsively incorporating the intuition and serendipity of the moment. Rather than trying to control every aspect, I enjoyed the process for what it was as it moved forward. This is what gave this project its distinctive character.
At the exhibition, everyone reacted to the works in their own way, and each piece grabbed them differently. That certainly went as expected.
I also chose the title “PARSLEY” without explicitly defining its meaning, intending for it to cause people to pause and reflect. The works are not complete simply because they were exhibited; each has the potential to lead to future developments. How can we as a society examine forms of expression that arise from individuals when they are typically erased by rationality? We will continue trying to answer that challenging question in the future.

Art Director: Kazuki Kashiwase/Yamaha Design Laboratory