於1998年长野冬季奥运的开、闭幕式手册与2005年爱知万国博览会的宣扬 案中，展示 起源自日本传统文明 的设计理念。

2000年，担任「RE-DESIGN（21世纪日常用品再设计）」策展人。

以「只保留机能，不保留形体，探索设计的本质」为诉求，获得极大的好评与回响。不但受邀世界巡展，部分设计亦被收入为日本高中美术教材，成为重要的教育资产。

2004年，担任「HAPTIC（使触觉愉悦）」策展人。

旨在让「感官」重新被发现，设计师应先不要急著画草图，而是先想一想 使用者的「感受」。他表示：「古代 科技愈便利後，感官就愈退化。如今 的我们可能已 不太会写字，不会计算，不会削苹果，连封信也写不出来……我希望设计能帮助人寻回感官的记忆。」

2001年至今，担任无印良品设计总监。

带领MUJI发展出“这样就好”、“MUJI=虚无的容器（Emptiness）”，和 “人不必然 要寻求 名牌，而是本身 所要的生活方式，回归单纯、自然”的品牌抽象 。

 他以1 双疏忽 外部世界飞速发展变化的眼睛面对"日常生活"，以谦虚但同时尖锐的目光寻觅 其设计被需求 的所在，并将本身 的意图精确地安置在能够被赋予生命的地方。当我们的日常生活正在愈来愈 堕入 本身 窠臼之时，他敏锐地感知到了设计的征候和迹象，并且盲目 自主地挑战其中的未知领域。他的设计作品显现出来的不落陈规的清新，在于他找到了设计被需求的空间并在其中进行设计。在这样的态度下，他拓展了设计的视野和范畴，在他所经历的地方 ，簇新 的地平线不停地被发现和拓展。

原研哉常常 能够透彻地消化身边环境带来的讯息，再将这些有形 的讯息转化为大众所能明白的、看得见的影象 ，这1 种能力不是普通 的设计师所具有 的。

 原研哉说：我是1 个设计师，可是设计师不代表是1 个很会设计的人，而是1 个保持设计概念来过生活的人、活下去的人。就似是1 个园子里收拾整理的园丁1 样，我每天都在设计园子里做设计的果实，所以不论是设计1 件好的产品、或是整理设计的概念、思考设计的本质、抑或以写作去传播设计理论，都是1 个设计师必必要 做的工作。

我们在强调团队的使命及共性的时候，团队个体的使命及思考应当 得到充分的尊重和鼓励。

做设计不应当 只看短期反应，而着眼于久远 的教育性理想：若每1 个设计师都有这1 种寻求 ，市场的品味、对设计的感受性就会不断地提升，社会了解设计意义的所在，设计师才会有更大的发挥。这是1 个彼此 影响的良性循环。

世界化的设计，在原研哉心目中，是不存在的、是不合逻辑的：“日本的设计就永久 是日本的设计。就以MUJI为例，永久 都不会由1 个日本品牌变成世界品牌。总共6000多个项目的MUJI，都是由当地具有 共通言语 的设计师，以当地人的生活模式及习气 为基础而完成的设计。作为1 个有悠久设计历史的国家，我们并不热衷于成为全球化的1 分子，过分单纯化的普及是我们必须努力避免的。

他在他的著作《设计中的设计》中曾说“将已知事物陌生化，更是1 种创造”，就像1 个杯子是用来盛水的，追逐它的本源目的，才不会被现行的构造和趋势所禁锢，只需 你设计的物品可以盛水就可称为杯子，这样你的思维才会更加活跃。他所推崇的就是RE-DESIGN。“RE-DESIGN”这个词的意义，简单地说就是“重新设计”，就是重新面对本身 身边的日常生活事物，从这些为我们所熟知的日常生活中寻求古代 设计的真理 ，给日常生活用品赋予新的生命是我真正感兴味 的课题。对我来说，从“无”开始固然是1 种创造，而把熟知的日常生活变得陌生则更加是1 种创造，而且更具挑战性。“RE-DESIGN”这个词，也包含了把社会中人们共有的、熟知的事物进行再认识的意义。也就是说，在“日用品”这个题目的设定中，不去盲目寻求 那些奇异的事物，而是从人们所“共有”的物品中来提取价值，用最自然、最合适的方法来重新审视“设计”这个概念。

 原研哉工作室业务范围包括有海报、包装、推广项目与活动计划等全体 设计工作。伊势丹、味之素、竹尾花纸、米其林车胎、华高莱内衣与历家威士忌酒等，都是他的客户。他认为本身 是位传达设计师，他包装设计不只关心促销功能，而重点在如何以适当的信息，使消费者了解产品的特质。

 原研哉于2002年加入了无印良品的工作后，除了商品的开发计划之外 ，还必须同时进行将商品传达给社会大众的沟通计划。

对于MUJI，很多人都抱着1 种既爱好 又疑惑的态度。原研哉说：“MUJI这个名字已 存在了必然 的时间，大众对MUJI的印象已 确立上去 了，也就很难摆脱‘品牌’这个包袱。但我仍然会说，MUJI不是1 个品牌。由于 MUJI没有刻意营建 本身 的人气。普通 品牌的做法是，用力把品牌的名气推高，然后让被吸引到的人情愿 用比较高的价钱去购买他们的商品。”

浅褐色是MUJI的标准色。本来 当制造纸张之时，若将漂白纸浆的程序减去，成品就是自然的浅褐色；将这1 个环保的概念彻底实行，就成为了MUJI独有的美学智慧。“MUJI1 向的经营理念是，将产品的生产（素材和 过程）合理化。我们寻求 的是‘聪明的价格’，而不是最低的价格。所以说，我们不会只用最便宜的材料，也不会省掉必要的工序。当然，将货品销往外地，成本与价格也会相应添加 。”做设计不能只看短期商业反应，而应着眼于久远 的教育性理想；如果每1 个设计师都有这样1 种寻求 ，市场的品位、对设计的感受性就会不断地提升。社会了解了设计的意义所在，设计师才会有更大的发挥。这是1 个彼此 影响的良性循环，原研哉置信 好设计会为社会环境带来良好的影响。

很多人都认为原研哉不是个前沿的平面设计师，而是1 个实践及研讨 不同设计理论的社会学家。而原研哉的好友兼工作伙伴深泽直人就有这样的说法：“原研哉做的，是在修正现存的设计概念，将设计推向1 个更高的层次。原研哉的过人的地方 ，是在于他精准的洞察力。他常常 能透彻地消化身边环境带来的信息，再将这些有形 的信息转化成为大众所能明白的、看得见的图像，这不是普通 设计师所具有 的能力。”对于各界的美言，原研哉说：“我是1 个设计师，可是设计师不代表是1 个很会设计的人，而应当 是1 个抱设计理想来生活、来活下去的人。就好像1 个在园子里收拾整理的园丁，我每天都在进行概念设计、思考设计的本质、抑或以写作去传播设计理论，这些都是1 个设计师必须做好的工作。”

无印良品的最大特点之1 是极简。它的产品拿掉了商标，省去了不必要的设计，去除了1 切不必要的加工和色彩 ，简单到只剩下素材和功能本身。除了店面招牌和纸袋上的标识以外 ，在所有没有 印良品商品上，顾客很难找到其品牌标记。在无印良品专卖店里，除了红色的“MUJI”方框，顾客几乎看不到任何艳丽 的色彩 ，大多数产品的主色调都是白色、米色、蓝色或黑色。

有人认为，与其说无印良品是1 个品牌，不如说它是1 种生活的哲学。它不强调所谓的流行，而是以平实的价格将还原了商品价值的真实意义，并在似有若无的设计中，将产品升华至文明 层面。如今，无印良品的产品品种 已达到6000种摆布 ，国际著名的财经杂志《福布斯》，也曾经将它评为全球最好 中型企业。

 Kenya Hara was born in Japan on June 11, 1958. He is a Mesozoic master of graphic design, a representative of the Japanese Design Center, a professor of the Musaino University of Fine Arts, and an art director of MUJI.

The design field extends to the commemorative brochures of the opening and closing ceremonies of Nagano Winter Olympics and the propaganda design of the 2005 Aichi World Expo. The business scope of the studio includes the overall design work of posters, packaging, promotion projects and activity plans. Ishidan, Taste Factor, Bamboo Tail Flower Paper, Michelin tyres, Wakaolai Underwear and Whisky, etc.

He faced "everyday life" with a pair of eyes that ignored the rapid development and change of the outside world, looked for the place where his design was needed with modest but sharp eyes, and precisely placed his intention in the place where he could be given life. As our daily life is getting more and more stuck in its own rut, he is keenly aware of the signs and signs of design, and consciously and autonomously challenges the unknown areas. His design works show the freshness that does not fall behind the conventions. It is because he finds the space where the design is needed and designs in it. In such an attitude, he expanded the vision and scope of design, where he experienced a new horizon constantly found and expanded.

The original research is often able to digest the information brought about by the surrounding environment thoroughly, and then convert these intangible information into visible images that can be understood by the public. This ability is not possessed by ordinary designers.

Yuan Yanzao said: I am a designer, but a designer does not mean a very good designer, but a person who keeps the concept of design to live and live. Like a gardener in a garden, I design the fruits of the garden every day, so whether it is to design a good product, or to organize the concept of design, to think about the essence of design, or to write to disseminate design theory, it is a job that a designer must do.

When we emphasize the mission and commonality of the team, the mission and thinking of the individual team should be fully respected and encouraged.

Design should not only focus on short-term response, but also on long-term educational ideal: if every designer has this pursuit, the taste of the market and the sense of design will continue to improve, and the society will understand the meaning of design, designers will play a greater role. This is a virtuous circle of interaction.

Worldwide design, in the mind of Harada, does not exist and is illogical: "Japanese design is always Japanese design. Take MUJI as an example, it will never change from a Japanese brand to a world brand. MUJI, a total of more than 6,000 projects, is designed by local designers with common language, based on the local lifestyle and habits. As a country with a long history of design, we are not keen to become a member of globalization. Oversimplified popularization is something we must strive to avoid.

In his book Design in Design, he once said that "defamiliarizing known things is more a kind of creation." Just like a cup is used to hold water, to pursue its original purpose, it will not be imprisoned by the current structure and trend. As long as the object you design can hold water, it can be called a cup, so your thinking will be. It will be more active. What he admires is RE-Design. The meaning of the word "RE-Design" is simply "redesign", which means to face the daily life around us, to seek the essence of modern design from these familiar daily life, and to give new life to daily necessities is a topic of real interest to me. For me, starting from "nothing" is certainly a kind of creation, but making familiar everyday life unfamiliar is more a kind of creation, and more challenging. The word "RE-Design" also contains the meaning of re-recognizing the common and familiar things in society. That is to say, in the setting of the topic of "daily necessities", we should not blindly pursue those strange things, but extract value from the "shared" goods, and re-examine the concept of "design" in the most natural and appropriate way.

In the brochures of the opening and closing ceremonies of the 1998 Nagano Winter Olympics and the propaganda case of the 2005 Aichi Universal Exposition, the design concept originating from Japanese traditional culture is displayed.

In 2000, he was the curator of RE-Design (Redesign of Commodities in the 21st Century).

With the pursuit of "only retaining function, not retaining body, exploring the essence of design", it has received great praise and echo. Not only have they been invited to world exhibitions, but also some of their designs have been included in Japanese high school art textbooks and become important educational assets.

In 2004, he was the curator of HAPTIC.

Designers should not rush to sketch, but think about the user's "feelings" in order to rediscover the "senses". "The more convenient modern technology is, the more degraded the sense organs are," he said. Now we may not be able to write, calculate, peel apples, or even write a letter. I hope design can help people retrieve sensory memories. "

Since 2001, he has been the design director of Muji products.

Lead MUJI to develop the brand image of "just like this", "MUJI = Emptiness", and "people do not have to pursue famous brands, but their own way of life, return to simple, natural".

The original research studio business scope includes poster, packaging, promotion projects and activities planning. Ishidan, Taste Element, Bamboo Tail Flower Paper, Michelin tyres, Wallace underwear and all previous whiskey are his customers. He thinks he is a communication designer. His packaging design is not only concerned with promotional functions, but also focuses on how to make consumers understand the characteristics of products with appropriate information.

After the original research team joined the work of non-print products in 2002, besides the commodity development plan, it must also carry out the communication plan of communicating the commodity to the public at the same time.

For MUJI, many people hold an attitude of both love and doubt. "The name MUJI has existed for a certain time, and the public's impression of MUJI has been established, so it is difficult to get rid of the burden of"brand". But I still say that MUJI is not a brand. Because MUJI did not deliberately create its own popularity. The general practice of a brand is to push up the brand's reputation, and then let the attracted people be willing to buy their goods at a higher price.

Light Brown is the standard color of MUJI. When making paper, if the bleached pulp process is subtracted, the finished product will be natural light brown; if the concept of environmental protection is thoroughly implemented, it will become the unique aesthetic wisdom of MUJI. "MUJI's business philosophy has always been to rationalize the production of products (materials and processes). We are looking for'smart prices', not the lowest prices. So, we don't just use the cheapest materials, nor do we omit the necessary processes. Of course, the cost and price of goods sold abroad will increase accordingly. Design should not only focus on short-term business response, but also on long-term educational ideals. If every designer has such a pursuit, the taste of the market and the sense of design will continue to improve. Only when society understands the significance of design can designers play a greater role. This is a virtuous circle of mutual influence. Yuanjian believes that good design will have a good impact on the social environment.

Many people think that Yuan Yanzao is not a cutting-edge graphic designer, but a sociologist who practices and studies different design theories. The former Yan Yao's good friend and working partner, Naoto Shenzawa, has such a statement: "What the former Yan Yao did is to revise the existing design concept and push the design to a higher level. The excellence of Yuanzao lies in his precise insight. He often can digest the information brought by his surroundings thoroughly, and then convert these intangible information into visible images that can be understood by the public. This is not the ability of ordinary designers. For all walks of life, Yuan Yan-zao said: "I am a designer, but the designer does not mean a very good designer, but should be a design ideal to live, to live. It's like a gardener tidying up in the garden. Every day I do conceptual design, think about the essence of design, or write to disseminate design theory. These are all tasks that a designer must do well.

One of the greatest features of Muji is its simplicity. Its products remove the trademark, eliminate unnecessary design, remove all unnecessary processing and color, simple to the material and function itself. In addition to store signs and paper bags, it is difficult for customers to find brand labels on all non-printed goods. In the exclusive store of non-printed goods, except for the red "MUJI" box, customers can hardly see any bright colors. The main tones of most products are white, beige, blue or black.

Some people think that Muji is not so much a brand as a philosophy of life. It does not emphasize the so-called popularity, but will restore the true meaning of commodity value at a flat price, and sublimate the product to the cultural level in the seemingly non-existent design. Nowadays, there are about 6000 kinds of non-printing products. Forbes, a famous international financial magazine, once ranked it as the best medium-sized enterprise in the world.