It is the nature of design to seek inspiration. We look outside ourselves to things that delight us, that inspire us, and as a result we often pluck things out of their original context and adapt them to suit our desires. Like ravens who steal shiny things and collect them in their nests, we in design often travel, research or shop to acquire interesting materials, objects and details from foreign sources to spice our designs. But does the raven understand the luxury of a silver spoon or the value of a diamond ring? Likewise do we perceive wood, metal or stone the same way other cultures do?

In Praise of Shadows is an essay on Japanese aesthetics, but unlike most design books which give us technical descriptions of things, this text allows us to understand the spirit which pervades all aspects of a culture. It is this pervasive flavor which makes these physical details meaningful and valuable.

Tanizaki explains that the Japanese, and to some extent the Chinese, aesthetic is tempered by an appreciation for shadows. Our Western culture is obsessed with light. We prefer mirror finished shiny metals, unmarred surfaces, immaculately polished wood finishes and profuse bright light. By contrast, the Japanese aesthetic prefers cloudy, weathered, worn, aged and patinaed surfaces and shadowy rooms. It is this preference which affects their selection and application of materials.

For example, the Japan is widely recognized as an important center for beautifully handcrafted papers. The Japanese prize paper for writing, as an art material and as an architectural product. Shoji screens, for example, are a leitmotif of Japanese design. What Tanizaki reveals to us is that this appreciation for paper is purposeful. It is not because paper is an affordable or abundant material, it is because paper is soft, it delicately mutes light and it ages to a specific patina. We in the west use shoji screens, but our selection and application is vulgar compared to the sophistication Tanizaki describes.