What are Yuko Mohri’s living installations all about?

Tokyo architect Fumihiko Sano utilized Muji's steel shelving system to construct a room-like installation for the "Measuring: This much, That much, How much?" exhibition at Tokyo's 21_21 Design Sight gallery, held from February to May 2015. This installation, titled "Unit of Muji," reimagined the popular self-assembly shelving unit, which first went into production in 1996, beyond its conventional function as storage to propose a more integrated living space. Sano's concept aimed to expand the shelving unit's utility, transforming it into an environment where storage and living are seamlessly unified. He drew inspiration from the shaku, a traditional Japanese architectural measuring unit, noting that the Muji shelving unit's dimensions of 800 millimeters by 370 millimeters align with this historical standard. The installation was composed of various lengths of these shelves, forming a structural grid that extended across both horizontal and vertical surfaces. Smaller shelving units were stacked to create pillars, providing support at the corners of the space and forming its external walls. Within this modular structure, irregularly arranged shelves showcased a selection of Muji's homeware products and clothing items, suggesting a functional domestic setting. To further emphasize the concept of a liveable space, a staircase and a dining table were integrated into the internal area of the installation. Sano explained that by employing steel shelving units to create a style reminiscent of traditional Japanese architecture, where pillars, rather than solid walls, provide support, he presented a novel perspective on the Japanese living environment. The construction of the installation prioritized simplicity and minimal intervention with the original shelving units. Only a few joints needed to be removed to allow for the configuration of multiple units without requiring any welding. The design deliberately left the simple connections and the slender metal-rod surfaces visible, highlighting the lightweight and modular nature of the structure. This approach underscored the adaptability and potential of mass-produced furniture to form complex, habitable structures, offering a fresh take on domestic space and the reinterpretation of everyday objects within an exhibition context. The project was photographed by Daisuke Shima/Nacása & Partners. #FumihikoSano #Muji #SteelShelving #ModularDesign #InstallationArt #JapaneseArchitecture #InteriorDesign #ExhibitionDesign #TokyoDesign

Muji, the Japanese lifestyle brand known for its minimalist 'no-brand' approach to everyday goods, has unveiled a unique, large-scale installation titled 'Muji Materials Garden' in New York. This installation marks the 10th anniversary of Muji's retail launch in New York and represents a rare collaboration with outside designers. Toru Tsunoda, Muji US president, commissioned local American design duo Ladies & Gentlemen Studio, comprised of Dylan Davis and Jean Lee, for this inaugural New York Design Week activation. The primary objective was to create an immersive experience that delves into Muji's distinct design ethos and its commitment to honest materials, offering a fresh interpretation inspired by traditional Japanese rock gardens. The 'Muji Materials Garden' installation moves away from the typical flamboyant displays often seen at design festivals, instead offering a series of meditative vignettes. These vignettes are designed to explore the origins of Muji's core product offerings, focusing on materials such as wood, stainless steel, plastic, cotton, ceramics, paper, and glass. Each section thoughtfully pairs finished Muji designs with their fundamental, elemental sources. For instance, delicate glass bowls are presented on beds of sand, illustrating the raw material from which they are formed. Soft cotton apparel is displayed alongside wispy fronds of cotton plants, highlighting the natural origin of the fabric. Ceramic dishes are arranged on plinths made of clay slabs, directly linking the final product to its earthy beginnings. Further demonstrating this material journey, clear storage units are positioned above a pool of opaque plastic pellets, providing a visual connection to the raw polymer. A stainless steel desk is showcased amidst rocks and minerals, from which the metal is mined and processed, emphasizing the industrial transformation of natural resources. A central gravel path connects these diverse vignettes, serving as both a physical and metaphorical conduit. This pathway offers visitors a tactile and visual lesson in contemporary material science, effectively blurring the lines between natural origins and manufactured goods. The pairings, despite the industrial processes involved, are presented in a surprisingly soothing manner, fostering a deeper appreciation for the materials. Dylan Davis, one half of Ladies & Gentlemen Studio, articulated the designers' intent, stating their desire for visitors to perceive materials through the lens of a designer, capturing the inherent fascination associated with them. The exhibition highlights Muji's philosophy of emphasizing the inherent qualities of materials and the simplicity of form. By showcasing the raw components alongside the finished products, the installation educates and engages the public on the origins and transformations of everyday items. It underscores Muji's dedication to quality, functionality, and a respectful understanding of the resources used in its designs. The installation is a contemplative journey, encouraging visitors to pause and consider the fundamental elements that contribute to the creation of Muji's minimalist products. The 'Muji Materials Garden' is more than just an exhibition of products; it is an educational and experiential display that invites introspection on the journey of materials from nature to designed objects. This approach aligns perfectly with Muji’s brand identity, which champions simplicity, sustainability, and the intrinsic value of materials. The collaboration with Ladies & Gentlemen Studio demonstrates Muji's openness to innovative interpretations of its brand values, particularly in a significant market like New York. The installation was on view until May 29th at the Muji Soho pop-up located at 434 Broadway, New York, NY 10013, providing a unique cultural experience during New York Design Week. #Muji #JapaneseRockGarden #Minimalism #NewYorkDesignWeek #InstallationArt #MaterialScience #LadiesAndGentlemenStudio #DesignExhibition

Yumenomori House, completed in 2025, represents YODEZEEN’s first project in Japan, located in Sapporo, Hokkaido. This 500 sqm single-family home was designed by Artem Zverev and Artur Sharf, with project management handled by Anna Tarabanova and Olga Kravchenko. The architectural vision for Yumenomori, meaning “Forest of Dreams,” harmoniously blends traditional Japanese aesthetics with contemporary European design principles. Situated in a seismically active region, the residence integrates adaptive engineering techniques to ensure structural resilience while maintaining a profound connection to its natural surroundings. The exterior of Yumenomori House features vertical wooden slats, expansive terraces, and meticulously curated garden elements, drawing inspiration from classical Japanese landscaping. These design choices aim to create a visual and experiential continuum between the built environment and the lush natural landscape of Hokkaido. A significant focal point of the design is a polished forest rock, strategically placed within a symbolic garden. This rock is made visible through large glass walls, serving as both a spiritual anchor and a prominent visual element that connects the interior with the external environment. Inside, the home embraces a minimalist design ethos. The material palette primarily consists of travertine, stone, and wood, which together establish a serene and cohesive atmosphere. To introduce a dynamic contrast and infuse energy into the space, a striking red stone has been incorporated through custom-designed furnishings. The interiors are further enhanced by high-end European elements, including Poliform kitchen designs, Henge lighting fixtures, and B&B Italia furniture. Italian wood finishes were carefully selected and hand-applied, contributing to the overall warmth and balance of the aesthetic. Beyond its architectural and interior design, Yumenomori House features a curated art collection by Andrii Voznicki and Naraz Bilyk. These artistic additions contribute to the personal character of the home, reflecting a collaborative vision shared with the client. The residence is conceived as a timeless sanctuary, where architecture, nature, and cultural influences converge to create a distinctive living experience. The project details indicate that Yodezeen was the architect, and Dariusz Sosinka was responsible for the photography, capturing the essence of this unique Hokkaido property. #YumenomoriHouse #SapporoArchitecture #HokkaidoDesign #JapaneseArchitecture #ContemporaryHome #Yodezeen #ResidentialDesign #SeismicEngineering

In Japan, commercial house production often leads to houses being treated as commodities, with limited owner input in design. To counter this, ikmo architects, led by Yuko Higo, developed an alternative called Cotoiro. This project emerged from a design competition sponsored by a window sash manufacturer and a commercial house seller, which challenged participants to envision novel ways of integrating windows into living spaces. The core inspiration for Cotoiro stemmed from observing how cats utilize windowsills, leading ikmo architects to conceptualize the windowsill not merely as a boundary but as an expandable, configurable micro-room. These expanded window-rooms, or _mado-beya_, are designed to accommodate various activities like reading, studying, napping, or engaging in conversations, while providing access to fresh air and natural light. Homebuyers are given the flexibility to choose from 25 different _mado-beya_ designs, which can then be attached to a basic cubical house structure. The architects aimed to create homes where interior spaces are less rigidly separated from the exterior, encouraging a more dynamic interaction with the outside world through these unique window-rooms. Even as a product for a general clientele, the Cotoiro concept is intended to promote a more vibrant and engaged window-living experience. The architects anticipate that the Cotoiro house will have a broader societal impact beyond individual homeowners. Yuko Higo believes that the small, interactive spaces of the _mado-beya_ will foster communication among neighbors and that the visible human activities within these window-rooms will enhance the attractiveness of the town. Furthermore, the diverse configurations of Cotoiro houses, when collectively assembled, are expected to contribute to a more aesthetically pleasing urban landscape. The initial prototype of the Cotoiro house, a simplified version of the competition entry, is situated in Oita city and is slated for sale later in the year, serving as a model for this innovative approach to residential design. #JapaneseArchitecture #WindowDesign #FlexibleLiving #CustomizableHomes #UrbanPlanning #ArchitecturalInnovation #ResidentialDesign

MycoWorks has developed Reishi™, a biomaterial crafted from mycelium, which is the root-like structure of fungi. This innovative material serves as a luxurious and sustainable alternative to animal leather. The company recently showcased a collection made from Reishi™ at the Labò Cultural Project in Milan, presenting functional pieces that demonstrate the material's malleability, durability, and longevity. The collection features designs by Studio TOOJ and Fanny Perrier, highlighting Reishi™'s organic texture, which subtly reveals its growth patterns. Studio TOOJ’s DUK x Reishi™ collection includes a side table, pedestal, and corner table. These pieces exhibit the material draped gracefully over solid wood bases, creating idealized folds that flow softly to the floor. The dramatic lighting used in the display accentuates the smooth surfaces and natural-looking drapes, emphasizing Reishi™’s ability to mimic the aesthetic of traditional leather while offering a distinctive organic quality. The designs aim to integrate the natural beauty and characteristics of mycelium into contemporary furniture forms. Fanny Perrier contributed the Mycelium Paravent, a six-panel folding screen inspired by neo-classical and 1930s ornamental screens, such as those by designer Jean-Michel Frank. This paravent utilizes Reishi™ to adorn each recessed panel, providing a textured appearance that replaces traditional leather or parchment coverings. The choice of Reishi™ for such a historically rich design underscores its versatility and aesthetic potential in luxury furnishings, demonstrating its suitability for high-end applications. Reishi™ distinguishes itself from other leather alternatives by being a naturally occurring, fast-growing, and sustainable material that offers the versatility and softness of animal leather without the ethical concerns associated with animal products. This development marks a significant step forward for industries historically resistant to change, like the leather industry. The material’s properties and production process offer a promising and inspirational precedent for future material innovation. The foundation of MycoWorks lies in the biotechniques developed by Philip Ross, who sought to steer material science towards a more holistic direction. Ross began his journey by studying mycology in upstate New York forests and later applied his understanding of reishi mushrooms, initially for medicinal purposes during the HIV crisis in San Francisco. He observed the extraordinary growth patterns of reishi, which varied based on humidity, temperature, and environment. This led him to coin the term 'mycotecture'—the creation of structures and forms from mushrooms. Ross collaborated with artist and writer Sophia Wang to realize MycoWorks, transforming it into a leading research and development entity within a decade. Wang emphasizes the importance of continuous reinvestment in one's core motivations and being authentic about one's role in the project, reflecting on the journey and evolution of MycoWorks in driving industry-wide change. The integration of Reishi™ into furniture and decorative items by designers like Studio TOOJ and Fanny Perrier showcases its potential to revolutionize the home furnishings and interior design sectors. Its unique combination of aesthetic appeal, tactile quality, and sustainable origin positions it as a significant material for future design applications, providing a viable and luxurious alternative to conventional materials while addressing environmental and ethical considerations. #MycoWorks #Reishi #Mycelium #Biomaterial #LeatherAlternative #SustainableDesign #LuxuryMaterials #InteriorDesign #FungusInnovation

Artist Takashi Kuribayashi's newest installation, 'Oya Genkiro No. 6', is located in the Tochigi countryside, just north of Tokyo. This 59-foot-tall structure, crafted from raw hinoki (cypress) trees, appears as a massive, hollowed-out tree stump. Upon entering, visitors discover hundreds of meticulously lined mirrors within its core, leading to a multi-floored sauna encased in bright, dappled wood and glass. The installation emphasizes tranquility, with the delicate layered bark contrasting with the shimmering mirrored surfaces. The sauna space is designed for relaxation, where guests can unwind to the sounds of dripping condensation and a crackling fireplace, located beneath an outdoor cauldron. The water used in the sauna is boiled in a large kiln with medicinal herbs, and the resulting steam is piped into the space, creating a dense atmosphere where visibility is limited and the scents of herbs and medicinal plants awaken the senses. The name 'Oya Genkiro' is significant, combining 'genshiro' (nuclear reactor) and 'genki' (healthy), serving as a direct reference to the Fukushima Daiichi Nuclear Power Station disaster of March 2011. This incident, caused by a devastating tsunami, led to the leakage of radioactive materials into the environment. Within this context, the installation functions as a profound reflection on the dual nature of steam. It can be a force of destruction, as seen in the Fukushima event, or a medium for restoration, healing, and calming, as experienced in the sauna. Kuribayashi's artistic practice frequently explores making the invisible tangible. In 'Oya Genkiro', he metaphorically manifests steam, allowing visitors to physically engage with a phenomenon that, in the case of Fukushima, represented "completely invisible radioactive contamination." The artist believes that understanding the existence of an unseen world can fundamentally alter one's perspective on life. 'Oya Genkiro No. 6' is a site-specific installation that cleverly disguises a functional sauna within a mirror-lined tree stump, providing a unique blend of art, nature, and introspection. The installation is open to the public in Japan’s Tochigi Prefecture, with reservations available through its dedicated website. Kuribayashi's work consistently challenges viewers to consider what lies beyond immediate perception, using physical experiences to convey deeper meanings. The contrast between the natural, rustic exterior of the tree stump and the sleek, mirrored interior, coupled with the functional and symbolic use of steam, creates a rich, multi-sensory experience that encourages reflection on both environmental events and personal well-being. This project exemplifies contemporary art's capacity to engage with complex social and environmental themes through immersive and interactive forms. #ArtInstallation #ContemporaryArt #JapaneseArt #TakashiKuribayashi #OyaGenkiroNo6 #Fukushima #EnvironmentalThemes #SaunaArt

Amanda Khouri and Mary Catherine Murray, the dynamic duo behind the interior design firm Murray Khouri, have been making significant strides in the design world, undertaking projects from New York to Nashville. Their distinctive approach to interior design is characterized by a spirited and unique style that incorporates abundant layers of texture and textiles, aiming to tell a compelling design story in every space they create. Their work recently garnered national attention when they were the only Nashville-based firm to exhibit at Atlanta’s prestigious Southeastern Designer Showhouse & Gardens, highlighting their growing influence and recognition in the industry. The inspiration for their design careers stems from varied personal experiences. Amanda, always a creative individual, discovered her passion for design during the renovation of an early 1900s apartment in Washington, D.C. This experience solidified her desire to transition from a political career, where she had worked on Capitol Hill and as an in-house lobbyist for Twitter and Google. She reconnected with Mary Catherine, whom she had met years prior during a Senate Staff Delegation trip to China, and together they decided to pursue their shared dream of establishing a design firm. Mary Catherine's love for design was sparked at a young age by her grandparents' eclectic collection of global treasures, which illustrated the power of a home to narrate a life story. This early exposure instilled in her a desire to help others craft personalized spaces filled with unique items, a vision she now realizes through Murray Khouri. When asked about their favorite projects, both designers emphasized the importance of client trust and collaboration. They find immense satisfaction in projects where clients are open to their suggestions, particularly those that might initially seem unconventional or risky. These instances, they note, consistently lead to the clients' most beloved spaces within their homes, underscoring the success of their collaborative approach. Their recent participation in the Southeastern Designer Showhouse & Gardens was a significant milestone, occurring rapidly after an unexpected invitation. With only ten weeks to prepare, they chose to transform a lower porch into a space that challenged conventional outdoor design, incorporating readily available antiques and vintage pieces. Their goal was to demonstrate that antiques can be utilized in unexpected settings to create warm and inviting atmospheres, pushing the boundaries of traditional interior design. Their Showhouse space drew inspiration from their travels, particularly envisioning the breezy, open-air ambiance of an old Moroccan hotel. They aimed to create a design that encouraged connection and conversation, making bold decisions while maintaining a sense of livability and serenity. This vision translated into a space that transported guests and invited them to linger. For those seeking to elevate their homes, Amanda advises focusing on the "little things"—the details that often make the biggest impact. Mary Catherine encourages buying only what one truly loves, advocating for patience to find cherished items that bring lasting satisfaction, rather than settling for less. This philosophy aligns with their aesthetic, which Mary Catherine describes as starting with a traditional foundation, then thoughtfully layering interesting and exotic accents to create a collected, energetic, inviting, and timeless feel. In their personal homes, both designers cherish items that reflect their unique tastes and experiences. Amanda's favorite piece is a large portrait by Nashville artist Anton Weiss, admired for its colors and the mischievous expression of its subject, acquired from an estate sale—a testament to her love for finding deals. Mary Catherine is particularly fond of the whimsical chintz wallpaper by Soane in her powder room, a choice inspired by a special piece of art from Marrakesh and reminiscent of Lee Radziwill's consistent use of beloved prints. Looking ahead, Amanda is excited by trends such as authenticity, citrus colors, and increased attention to ceiling design. Mary Catherine expresses enthusiasm for the decline of the open floor plan, preferring the value of cozy, intimate spaces that offer more opportunities for unique and diverse designs. #InteriorDesign #MurrayKhouri #TraditionalDesign #HomeDecor #DesignPhilosophy #Showhouse #ClientCollaboration #DesignTrends

The Mori House, located in Portland, Oregon, is a contemporary dwelling with a Zen atmosphere, meticulously redesigned by SHED Architecture & Design. This project involved revamping an existing 1963 structure, originally conceived by architect Saul Zaik, into a modern home that seamlessly integrates with its natural surroundings. The client's commission for this project specified a desire for a residence that incorporates elements of traditional Japanese homes while offering a contemporary living experience. The design ethos of the Mori House strongly emphasizes connection to nature. The home features extensive full-height glazing in nearly every room, allowing abundant natural light to penetrate the interior and providing residents with expansive views of the towering trees outside. A central skylight further enhances this connection, crowning the steep roof and drawing light into the core of the house. These architectural choices serve a dual purpose: maximizing natural illumination and offering continuous visual engagement with the serene landscape. Inside, the Mori House showcases a minimalist aesthetic characterized by a thoughtful interplay of materials and an open-plan layout. White walls provide a clean, neutral backdrop, which is elegantly contrasted by the various shades of timber used throughout the dwelling. This extensive use of wood extends beyond structural elements, appearing in furniture, kitchen counters, cabinetry, doors, and floors, contributing to a cohesive and warm ambiance that echoes traditional Japanese design principles. The open-floor plan is a critical component of the Mori House's design, fostering a sense of continuity and spaciousness. This layout ensures that different functional areas of the home – including bedrooms, bathrooms, the living room, a detached studio, the garage, a teahouse pavilion, and a wine cellar – flow into one another, creating an interconnected living experience. Furthermore, each of these spaces has been meticulously designed to maintain a constant visual link to the surrounding forest, reinforcing the home's Zen motif and its integration with nature. The overall renovation transforms the original structure into a sanctuary that is both contemporary and deeply rooted in its natural and architectural inspirations. #MoriHouse #SHEDArchitecture #ZenDesign #JapaneseArchitectureInfluence #PortlandOregon #ArchitecturalRenovation #MinimalistHome #NatureIntegration #ContemporaryDwelling

In a world saturated with constant information and demands on attention, Kenya Hara, MUJI's art director, champions a philosophy of "emptiness" as a path to creativity. This concept, distinct from simplicity or minimalism, is explored through MUJI's design principles and product offerings. Hara argues that true emptiness, or 'ku' in Japanese, is not an absence but a rich state of readiness to receive inspiration and possibilities. This contrasts with the Western understanding of emptiness as a void or lack, positioning 'ku' as a fertile ground for new ideas and uses. Hara elaborated on this philosophy during a visit to New York City, coinciding with MUJI's 10th anniversary in the US. He explained that 'ku' is a more fundamental state of being than simply decluttering or shedding elements, as advocated by figures like Marie Kondo. Instead, it represents an open receptacle, a willingness to pose a question and embrace a diverse range of answers. This approach is central to MUJI's brand identity, which prioritizes multi-purpose, generic goods over products with narrowly defined functions. For example, MUJI labels a piece of furniture an "oak table" rather than a "coffee table," inviting users to determine its ultimate purpose and fostering creative freedom in its application. The philosophy of emptiness also serves as a critique against over-engineered objects. Hara illustrated this by comparing a German Henckels ergonomic chef's knife with a Japanese Yanagiba knife. The German knife, designed with specific user grip in mind, anticipates and directs the user's hand. In contrast, the Japanese knife, with its flat handle, offers a less programmed tool, allowing master chefs to adapt it to their individual skills and preferences. This design choice reflects a belief that a simple, unadorned tool is not raw or poorly crafted, but rather an invitation for the user to impart their skill and interpretation. Beyond physical objects, Hara emphasizes a mental dimension to this emptiness. It involves cultivating the humility to engage with and absorb foreign ideas. He posits that "questioning is emptiness," highlighting that the act of formulating a question is itself a creative endeavor. The essence of a good question, according to Hara, lies in its capacity to elicit various replies and gather diverse thoughts. He believes that the richness derived from this kind of thinking is a crucial resource for shaping the future, emphasizing that creativity extends beyond the tangible creation of objects to encompass the conceptualization of inquiry and the embrace of diverse perspectives. #MUJI #KenyaHara #DesignPhilosophy #Emptiness #Ku #Creativity #JapaneseAesthetics #ProductDesign #Lifestyle

The Fukuoka-based design firm Case-Real, led by Koichi Futatsumata, has successfully transformed a traditional Japanese storehouse, known as a 'kura,' into a contemporary and highly versatile multi-functional work-live space. This project was conceived to address the growing demand for spaces that seamlessly integrate professional and personal lives, particularly for creative individuals. The owners, a creative director in food design and a gallerist specializing in Japanese craft, required a space that could accommodate their diverse professional needs, from hosting art exhibitions to conducting tea ceremonies, while also serving as a comfortable living environment. The converted property is located in Gosho-Higashi, a tranquil area nestled between Kyoto Gyoen and the Kamo River. The design incorporates a white structure that houses the primary office area, complementing the traditional kura, which was repurposed as a gallery to display pottery and everyday tools. Futatsumata's vision was to create a harmonious environment where the clients' varied professions could coexist and even influence each other, a concept deeply rooted in the inherent adaptability of traditional Japanese residences. The aesthetic of the space is characterized by a refined color palette of plums, browns, and creams, establishing a warm and inviting atmosphere. A key functional element is the inclusion of movable screens, which allow for dynamic adjustments to room sizes, offering flexibility for different activities and gatherings. This design choice underscores the adaptability that was central to the project's brief. To achieve the unique blend of urban Japanese style and traditional Zen aesthetics, Case-Real collaborated with local artisans. For the tearoom, bespoke furniture was crafted by Koichi Touji and Yuji Yamamoto, resulting in a custom six-seater counter designed to fit the room's specific dimensions. Architectural lighting specialist Shoji Hiroyasu was engaged to implement tastefully concealed down-lighting, further enhancing the serene and sophisticated ambiance. Futatsumata highlights that the project's success in balancing multiple functions stems from embracing the inherent spatial continuity found in traditional Japanese architecture. This approach allowed for a design where each functional area within the house harmoniously coexists, providing the owners with an elegant, adaptable, and inspiring environment that supports both their professional endeavors and personal lives. #JapaneseArchitecture #LiveWorkSpace #StorehouseConversion #InteriorDesign #ModernWorkspace #KoichiFutatsumata #CaseReal #KyotoDesign #TraditionalMeetsContemporary

Hitomi Hosono's latest solo exhibition, 'Brook Street: An Artist's Eye,' showcases 30 new ceramic pieces within the historic London showroom of Sibyl Colefax & John Fowler. This unexpected pairing brings contemporary botanical ceramics into a space known for its classic English grandeur, a Mayfair townhouse dating back to 1723. The exhibition, held in association with Adrian Sassoon, strategically places Hosono's works among antique furnishings, often near windows overlooking a lush garden, creating a dialogue between crafted and natural beauty. Hosono's work, while deeply rooted in her Japanese upbringing with its delicate leaf and cherry blossom motifs, also draws inspiration from British influences. A significant example is her 'roses and pansies bowls,' which were inspired by a Colefax and Fowler fabric pattern from 1845. This particular series marked a technical and aesthetic departure for Hosono, as these bowls close inward, offering a sturdier, more tactile surface meant to be touched, contrasting with her earlier, more outward-emanating designs. She expresses a desire for people to experience the softness of the porcelain, akin to touching flower petals. The exhibition also features a tropical-themed series, initially created for last year's Jerwood Makers Open, with energetic patterns of hibiscus, coral, mangrove, and banana leaves. The vibrant colors in these pieces are achieved by mixing pigment directly with porcelain powder, a technique Hosono employs to preserve the intricate lines of her designs, as glaze would obscure them. Her use of the term 'delicate' for her work is an understatement, given the extraordinary level of detail and precision involved. Hosono's artistic process is meticulously labor-intensive. It requires months to perfect plaster molds of tiny leaves and flowers. She then uses modified, sharpened dental tools to add intricate detail to each component before individually applying them to a clay surface. Some pieces are so fragile that they cannot be shipped internationally due to the risk of damage. Notably, in her 'dew drop bowls,' each water droplet is individually carved, a detail she acknowledges might not be immediately noticed but is essential for the beauty of the final work. For the first time, Hosono's drawings are also on display, a decision influenced by Philip Hooper, design director of Sibyl Colefax & John Fowler. Hosono initially resisted this, considering drawings part of her creative process rather than finished products. She uses drawing to understand the structure and beauty of plants, viewing it as a form of anatomical study. She emphasizes that her ceramic representations are not exact replicas but are based on her memories and interpretations of botanical forms, leading to fantastical yet authentic results. She embraces the individuality of her artistic vision, as seen in her distinctive banana leaf pieces. The influence of the Perrier-Jouët Arts Salon Prize, which Hosono won in 2013, is evident in grape-patterned vessels that pay homage to the champagne house's Art Nouveau heritage, and in the overall adventurous and free-spirited nature of the collection. As a member of the Arts Salon, Hosono now contributes to selecting new winners, acknowledging the Salon's role in broadening her artistic horizons and providing a source of inspiration through its gatherings of creative influencers. #CeramicArt #HitomiHosono #LondonExhibition #InteriorDesign #BotanicalArt #ContemporaryCeramics #ArtAndInteriors #SibylColefaxAndJohnFowler #AdrianSassoon

Td-Atelier and Endo Shorijo Design, two Japanese design studios, have recently completed the renovation of a 120-year-old machiya townhouse in Kyoto, named House in Marutamachi. The project focuses on integrating minimalist interiors while preserving the original architectural elements of the historic residence. Machiya houses, traditional wooden townhouses characteristic of Kyoto, are rapidly disappearing, with approximately 800 such structures being destroyed annually. The studios aimed to counter this trend by blending traditional architecture with modern design and functionality. The renovation spans two floors of the long and narrow house, nestled between two other residential properties. The design approach involved retaining the building's existing wooden columns and beams as foundational elements. To accommodate modern living spaces, white volumes were strategically introduced to house the kitchen and study. This method allowed for the creation of new rooms without compromising the integrity of the original structure by avoiding harsh structural alterations. The varying sizes of these white volumes were deliberately chosen to evoke the diverse skyline of a city, creating dynamic interplay between old and new. The spatial arrangement is characterized by gaps and omissions between the newly introduced volumes and the existing architectural components such as columns, beams, walls, and floors. This design choice fosters a sense of continuity throughout the space, allowing the historical and contemporary elements to coexist harmoniously. The material palette is intentionally minimal, featuring a combination of light and dark woods, alongside smooth concrete surfaces. This subdued selection enhances the serene and understated aesthetic of the interiors. A notable example of material reuse from the original house is seen in the traditional tea room, where salvaged materials contribute to its authentic character. On the second floor, a timber breakfast bar is illuminated by a thin, sculptural light fixture, providing a contemporary focal point. This area is complemented by subtle-coloured stools, further emphasizing the minimalist theme. The exterior of the house also received careful consideration, with the garden maintaining original architectural features. These include sandy-hued lanterns and a chōzubachi, a traditional stone water bowl historically used for ritual hand washing before a tea ceremony. These elements connect the renovated machiya to its historical and cultural context. House in Marutamachi was recognized for its design, being shortlisted for the house interior of the year at the 2022 Dezeen Awards. The project exemplifies a successful approach to renovating historical structures in a way that respects their heritage while adapting them for contemporary use, addressing the broader issue of preserving Kyoto's traditional townhouses. #KyotoRenovation #MachiyaHouses #MinimalistInteriorDesign #TraditionalJapaneseArchitecture #TdAtelier #EndoShorijoDesign #ResidentialRenovation #JapaneseDesign #ArchitecturalPreservation

In Fishers, Indiana, Daniel and Lucy Neely embarked on a significant home transformation, ultimately deciding to demolish their 1970s residence and build a new, contemporary home. Their inspiration came from Höweler + Yoon Architecture’s Bridge House in McLean, Virginia, which they discovered in Dwell magazine. Impressed by the design, they met with Eric Höweler, co-founder of Höweler + Yoon, and, after touring the Bridge House, engaged his firm to design their new home. The Neelys' six-acre parcel in Fishers' Forest Knoll neighborhood presented natural features, including mature trees and an existing pond, which they wished to integrate into their new home's design. Functionally, the family of five needed individual spaces for their three daughters and a design that would allow for comfortable aging in place. The Höweler + Yoon team proposed a cruciate, or plus-shaped, form for the house, intended to organize the surrounding landscape. Each of the four wings of the plus-shaped home is aligned with a cardinal direction, with the western exposure offering dramatic two-story views of the property's pond. The design ensures that each wing has its own orientation and views, effectively framing the landscape. The kitchen is centrally located where the two intersecting volumes of the 'plus' overlap. The first floor accommodates a living room, dining room, primary bedroom suite, and an entry foyer with a powder room and gym. The upper floor contains three en suite bedrooms for the daughters. While the home’s form was quickly decided, selecting the exterior cladding required more consideration. The Neelys sought a material that was low-maintenance, durable, and visually striking. After exploring options like limestone, corten steel, fiber cement panels, and stucco, the architects introduced yakisugi, a charred wood siding. Although unfamiliar with it, the Neelys were drawn to its natural protective qualities and dramatic aesthetic. They chose Nakamoto Forestry for its sustainably sourced, heat-treated wood, known for its resistance to fire, fungi, and water, its rich texture, and reliable lead times. Nakamoto Forestry's authentic Japanese yakisugi, made from sugi, appealed to the team due to its deep heat treatment, distinguishing it from cosmetically charred or chemically treated alternatives. The project utilized a combination of Nakamoto Forestry’s Suyaki® Tung Oil Black, and Gendai® in both Alkyd Light Gray and Alkyd Black, to create subtle variations in texture and color. The Suyaki, an unbrushed yakisugi, features a tung oil finish with black pigment, enhancing its color saturation and contributing to a bold, 'blacker-than-black' appearance. The architects noted that the material's availability in North America from Nakamoto Forestry simplified the construction process. The Neelys have since appreciated how their home interacts with its environment. The jet-black exterior creates a striking contrast that accentuates seasonal changes, from the vibrant green of spring and summer to the autumnal hues and the brilliant white snow of winter. The home's design, particularly the massive living room window, provides a constant connection to the evolving natural landscape, fulfilling the Neelys' desire for a contemporary home deeply integrated with its site. #ModernArchitecture #YakisugiSiding #CharredWood #ContemporaryDesign #HöwelerYoon #NakamotoForestry #SustainableMaterials #IndianaHome #CruciateDesign

A townhome in Lewes has been transformed into a mindfulness retreat, drawing inspiration from Japanese architecture and aesthetics. The project, designed by Scott Edmonston, principal of Millville-based SEA Studio Architects, in collaboration with Camenisch Company Inc., sought to create a serene escape for a bachelor who desired a quiet space for writing, away from his primary residence in Manhattan, while also accommodating occasional family visits. The design implicitly embraces several Japanese principles, including *wabi-sabi*, which celebrates the beauty of transience and imperfection; *shibui*, emphasizing simplicity, subtlety, and economy of line; and *miyabi*, denoting refinement and polish. These concepts were expertly integrated by the project’s contractor, Milton’s Camenisch Company. The homeowner's desire for a mindful retreat, coupled with the structural limitations—an HOA mandate against external or window configuration changes—led to a design that maximized internal flexibility and aesthetic coherence. The two-story home, an award winner at the 2022 AIA Delaware, functions to promote mental clarity and a healthy lifestyle, encouraging occupants to slow down and immerse themselves in their surroundings. This is achieved through thoughtful architectural choices that foster a sense of calm and remove daily stressors. Key design elements include custom built-in furniture, such as a sofa in the living room and cabinetry in the kitchen and primary bedroom, fabricated by Alleghany Woodworks. The kitchen features vertical-grain white oak cabinetry with concealed hardware and Pental Quartz countertops and backsplash, designed to seamlessly integrate into the living space and even disappear when not in use. Throughout the home, the flooring is white oak with a custom finish. Light plays a pivotal role in the design, with natural illumination flooding the spaces. The existing clerestory windows are augmented by a system of Japanese *shoji* screens, built by Brian Holcombe Woodworker. These screens not only enhance the aesthetic but also provide flexibility in partitioning space, allowing small areas to feel larger and offering privacy when needed, particularly in the 130-square-foot “bunk room” which can adapt to host varying numbers of guests. The primary bathroom is a standout feature, designed as an open-style wet room with built-in seating, multiple shower fixtures, and a deep soaking tub from Signature Hardware. This space evokes the tranquility of Japanese *onsens*. The materials used, such as Riad Tile in Zellige natural white for walls and Tilebar’s Bronx Collection for flooring, contribute to the serene ambiance. The interior is further curated with select furniture and art, including a Japanese banner that translates to “clear skies for 1,000 miles,” symbolizing both the views of the nearby bay and the clarity of mind the home aims to inspire. #JapaneseDesign #TownhomeLiving #MindfulnessRetreat #CoastalHome #InteriorArchitecture #CustomBuiltIns #ShojiScreens #WabiSabi #Shibui

The Mori House, originally a 1963 mid-century modern residence designed by Pacific Northwest architect Saul Zaik, underwent a significant remodel by SHED Architecture & Design for a young, minimalist family. Located in Portland, United States, the project covers an area of 3715 sq ft and is documented by photographers Rafael Soldi and SHED Architecture & Design. Key manufacturers involved in the renovation include Gaggenau, Louis Poulsen, Lutron, and many others, contributing to the refined interior and exterior. The project highlights a blend of preserving the original architectural spirit with contemporary minimalist design preferences. SHED Architecture & Design approached the renovation by focusing on natural light, functional spaces, and a clean aesthetic. The design emphasizes natural materials, particularly wood, which is extensively used throughout the house to create a warm and cohesive environment. The architects aimed to enhance the dwelling's connection to its surroundings while updating its functionalities to meet modern living standards. The living areas are characterized by exposed wooden beams and large windows, allowing ample natural light to penetrate the interiors and offering views of the outdoors. The kitchen and dining areas feature custom-built wooden cabinetry and countertops, complemented by high-end appliances from manufacturers like Gaggenau and Bosch. The design promotes an open-plan concept, fostering a seamless flow between different communal spaces. Bedrooms and bathrooms also maintain the minimalist aesthetic, utilizing wood and glass elements to create serene and functional private retreats. Lighting fixtures from Louis Poulsen and WAC Lighting are integrated to provide both ambient and task lighting, enhancing the architectural features and overall atmosphere. Outdoor spaces, including decks and balconies, are designed to extend the living area and provide opportunities for outdoor enjoyment. The use of wood on the exterior facade ensures a harmonious integration with the surrounding natural landscape. The renovation carefully balanced the preservation of Saul Zaik's original vision with the introduction of modern elements, reflecting the minimalist preferences of the new inhabitants. Structural engineering was provided by Grummel Engineering, and Purch and Holding served as the contractor for the project. The Mori House exemplifies how a mid-century modern home can be thoughtfully updated to suit contemporary lifestyles without sacrificing its historical character. The renovation prioritizes simplicity, functionality, and a strong connection to nature, achieved through a meticulous selection of materials and a coherent design language. The architectural approach underscores a commitment to creating timeless spaces that are both aesthetically pleasing and highly livable for its residents. #ResidentialArchitecture #HouseRenovation #MidCenturyModern #MinimalistDesign #WoodArchitecture #PortlandArchitecture #SHEDArchitectureAndDesign #SaulZaik #SustainableRenovation

Muji, the Japanese lifestyle brand known as Mujirushi Ryohin or “no-brand quality goods,” opened an 11,000-square-foot flagship store on Fifth Avenue in December 2015. This expansion highlights the brand's growth from its 1980 inception as a generic line for Seiyu Supermarket Group, initially offering forty products. Today, Muji is a two-billion-dollar independent company, providing over seven thousand items, from furniture to snacks. The company maintains low prices by focusing on efficient processing and packaging, such as using unbleached paper products and industrial materials like the discarded ends of pasta for its U-Shaped Spaghetti. Muji’s 2015 year-end report characterized this period as a “jump” phase, marked by global expansion and domestic efficiency. With over seven hundred stores worldwide, including thirteen in the U.S., Muji plans to increase its global presence to 888 stores, with significant growth projected in China where seventy-two new stores are anticipated. Muji’s design philosophy leverages the aesthetic outcomes of its cost-cutting measures, contrasting its plain-looking goods with what it describes as “over-embellished products” in the market. The brand's aesthetic embraces simplicity and utility, aligning with contemporary trends like the KonMari tidying craze. This represents a shift towards a 'post-cool, normcore' Japan, a curated vision of Japanese culture embodying serenity, neatness, and propriety. The company’s products, while seemingly basic, are the result of sophisticated and premeditated design. Muji aims to create essential products in their most necessary forms, producing staples like stationery, kitchenware, and storage options in generic colors, patterns, and materials. Industrial designer Naoto Fukasawa's collaboration with Muji on kitchen appliances exemplifies this approach, with compact, all-white items featuring “a square shape tinged with mellow roundness,” a concept Fukasawa terms “super normal design.” Muji also offers customization options, allowing customers to personalize notebooks with stamps or embroider cloth goods. Its clothing line features standard wardrobe items in natural earth tones, emphasizing “genuine color.” The brand communicates its principles through statements and its seasonal catalogue, “The Why of Muji,” suggesting a spiritual dimension to its philosophy of life without excessive branding. Advertising campaigns depict a peaceful existence devoid of logos and bright colors, promoting an image of tranquility and freedom from distraction. While Muji largely avoids attributing products to individual designers, its original framework was developed by graphic designer Ikko Tanaka, an architect, and creative consultant Kazuko Koike. Kenya Hara, who took over Tanaka’s role in 2001, is credited with revitalizing the brand by refocusing on design. The brand's philosophy, often described as minimalist or even Zen, is articulated as being rational and free of agenda, focusing on “perfectly functional products.” Naoto Fukasawa explains this as striving for “just right,” implying a comfortable and pleasing exactness. Muji's pursuit of simple, well-designed everyday items is documented in “Found Muji,” a catalog and concept store that features objects from around the world that have inspired Muji products. An example is the ninety-degree heel sock, adopted after discovering a Czech grandmother's handmade version. The company's financial success is evident in its 2015 revenue increase of eighteen percent to $2.14 billion and a fourteen percent profit increase to $196 million. Muji aims for “perpetual growth” and to establish a “global brand” by 2020, based on the principle that simplicity can be more appealing than luxury. This growth strategy, termed “massive minimalism through perpetual growth,” is a commercialization of a fantasy of Zen purity, as described by science-fiction writer William Gibson, offering a vision of an idealized, minimalist lifestyle. #Muji #JapaneseDesign #Minimalism #HomeGoods #RetailExpansion #LifestyleBrand #ProductDesign #GlobalGrowth #CommercialZen