See the Mesmerizing Interlocking Geometric Patterns Produced With This Ancient Japanese Woodworking Technique

The traditional Japanese woodworking technique of using *kanna* (handplanes and spokeshaves) offers an alternative to sandpaper for achieving incredibly smooth, glass-like finishes on wooden furniture. Unlike Western planes made with cast-iron or bronze bodies, *kanna* are constructed with wooden bodies that support an iron cutter. This method is employed by craftspeople like Toshio Tokunaga and his apprentices, who deliberately avoid sandpaper in their furniture production. They contend that sandpaper abrades the natural grain of wood, creating an artificial smoothness that diminishes the wood's inherent characteristics. In contrast, the *kanna* precisely shaves off successive layers of wood, thereby preserving its natural appearance. A key distinction lies in the action of the tools: *kanna* blades cut, while sandpaper tears. This fundamental difference results in a superior finish from *kanna*, perceptible both microscopically and to the touch. Tokunaga, a master craftsman, not only utilizes *kanna* but also designs and fabricates his own tools, ranging from those for initial roughing work to specialized planes for fine, final shavings. His extensive collection of *kanna* encompasses a wide array of shapes, enabling him to expertly handle various contours—flat, concave, and convex—required in his furniture designs. The *kanna* technique produces a distinct finish that many consider to be more authentic and natural than finishes achieved with sandpaper. While the final appearance can be incredibly smooth, the discussion within the woodworking community often revolves around whether a true 'glass-like' gleam is achieved solely through planing or if it requires additional elements like natural oils from handling or even a minimal finish. Some experts suggest that while *kanna* provides an exceptionally smooth surface, a highly reflective, glossy finish might also be influenced by factors such as burnishing or the presence of oils, similar to how western woodworking scrapers, when properly sharpened, can achieve comparable results by shaving thin layers. The efficacy of the *kanna* finish relies heavily on the meticulous maintenance of the blades, which are regularly sharpened on waterstones by apprentices. The irons themselves are not mass-produced but are custom-made locally, highlighting the specialized nature of these tools. This commitment to traditional methods and bespoke tooling underscores a philosophy that prioritizes the natural beauty and integrity of the wood, offering an enduring finish that respects the material's innate qualities. #woodworking #JapaneseCraftsmanship #Kanna #woodFinish #furnitureDesign #handTools #traditionalTechniques #artisan

The selection and implementation of furniture joints are crucial to both the structural integrity and aesthetic appeal of a design. Contemporary furniture design seeks to integrate both beauty and functionality, moving beyond a trade-off between the two. Understanding various joint types opens up possibilities for creating diverse and robust furniture pieces. This article highlights several innovative examples of furniture design, each showcasing unique approaches to joinery. One such example is the Recess Table by Nina Cho. This piece redefines traditional table construction by integrating the legs into the tabletop's form, eliminating separate leg elements. The design features a tubular cavity and a circular recess within the tabletop, providing spaces for personalization, decoration, or storage. The table's structure ensures easy assembly without additional work. Nina Cho's design philosophy emphasizes minimalism and functionality, which is evident in the Recess Table's cohesive and practical form. Another innovative creation is the Wabi-Sabi Bed by Ethan Stebbins. Inspired by Japanese craftsmanship, Stebbins utilizes Japanese interlocking joinery methods with locally sourced materials from coastal Maine. This approach results in simple, stable, and durable beds that exude an exclusive luxury feel. The design highlights the natural beauty and raw textures of the materials, offering a fresh perspective on furniture design by drawing inspiration from the surrounding landscape. Stefan Diez, a German industrial designer, introduced the conceptual Boa table system. This system is based on aluminum tubes and was developed in association with BOA for HAY. Diez is known for his material experimentation and his belief that design should produce high-quality, long-lasting goods for future generations. The Boa system exemplifies this philosophy through its innovative use of materials and modular design. The Anvil console table by Erika Cross Studio offers a long-lasting furniture solution with straightforward joinery. Its whimsical appearance comes from rounded edges that soften otherwise sharp angles. The studio incorporates materials such as cork, Baltic birch, and ebonized or natural ash in its design. The solid forms of the Anvil evoke abstract planes, contributing to its distinctive aesthetic. Finally, the Embrace sideboard by Teixeira Design Studio showcases both storage utility and aesthetic appeal. This piece features unique joints and soft curves, designed to blend harmoniously with various interiors while providing clever hidden storage and cable management solutions. The studio's founder emphasizes that "Design is simply an attitude," reflecting the thoughtful integration of form and function in the Embrace sideboard. These examples demonstrate diverse strategies in furniture joinery, ranging from enhancing durability to maximizing visual appeal. Each design integrates these aspects, proving that it is possible to achieve both strength and aesthetic beauty in furniture construction. #FurnitureDesign #JoineryTechniques #InnovativeDesign #Woodworking #MinimalistDesign #JapaneseCraftsmanship #SustainableMaterials #InteriorDesign

The AESTUS series of stratified wooden vases represents a fusion of traditional materials and contemporary technology, drawing inspiration from the dynamic interplay between nature and machinery. These vases, designed by architect and wood researcher Oliver David Krieg, are characterized by their soft natural curves and a futuristic, warm aesthetic, achieved through the precise alignment, combination, and gentle sculpting of hundreds of layers of beech wood. Each vase incorporates a stainless-steel internal cavity, which serves both as a water-resistant repository and a stable base. Oliver David Krieg's design process for AESTUS intentionally blurs the lines between handcrafted artistry and automated manufacturing. The vases are carved by an industrial robot, capturing the fluidity of the machine's movements within the intricate texture of the wood. This approach yields unique, custom-made pieces, fabricated in Germany from premium beech wood, intended to highlight the emerging aesthetic possibilities within modern wood design. The project aims to celebrate the innovative application of technology to natural materials. While not explicitly following trends, the AESTUS collection aligns with a broader movement in design influenced by digital design and fabrication processes. This trend allows for the creation of complex, three-dimensional shapes that were previously unattainable. AESTUS distinguishes itself through its dialogue between natural materials and advanced technology, prompting reflection on contemporary technological advancements and natural forms. The development phase presented challenges in balancing natural, physical, and digital elements, particularly in integrating the robot's movements as a primary design tool. Parametric software and digital simulation tools were developed to explore design possibilities and seamlessly incorporate robotic fabrication, complemented by the production of prototypes to understand robotic constraints and ensure consistent quality. The future direction for AESTUS involves increasing exposure for Krieg's studio and attracting clients interested in either the specific product line or the underlying manufacturing process, which has potential applications across various surfaces and materials. Current efforts include developing new versions of AESTUS with alternative materials. From the perspective of interior design, wood, as one of humanity's oldest and most natural materials, continues to hold allure for designers and architects. Despite a past perception of being outdated, wood has recently seen a resurgence in interest due to its sustainability, adaptability, and inherent tactile and visual depth. This renewed appreciation for natural materials coincides with the emergence of innovative digital technologies that empower designers to engage directly with novel fabrication methods. Consequently, the interior design and interior products sectors are increasingly prioritizing sustainability and responsible manufacturing. This shift does not necessarily signal the emergence of specific new styles but rather a renewed focus on modern and classic design solutions that incorporate wood. #HomeDecor #ArtDesign #InnovationDesign #WoodenVases #DigitalFabrication #RoboticsInDesign #SustainableMaterials #InteriorDesign #BeechWood

The article introduces the work of Japanese designer Asao Tokolo, who effectively merges art and mathematics, bridging historical and contemporary influences, and Eastern and Western aesthetics. Tokolo's designs are characterized by patterns that interlock harmoniously without repeating, a concept initially demonstrated through magnetized tiles. These tiles, when rotated, consistently match at every edge, creating endless new configurations from a single set of elements. Tokolo's inspiration draws from the traditional Japanese arabesque patterns, known as karakusa, which originated in various Western and Middle Eastern regions approximately 1200 years ago. These patterns, typically representing flora, were historically used on clothing, bedding, and ceramics in Japan. While scholarly work often focuses on the fractal geometries and repetitive nature of these patterns, Tokolo's innovation lies in creating unique tile shapes that, despite their individuality, always connect seamlessly. This approach reflects a conceptual blend of Western individualism and Eastern collectivism. Following the development of the mathematical principles behind his unique patterns, Tokolo explored various applications. He collaborated with interior designers and architects, leading to the use of his designs in ceramic tiles and wall decorations. The patterns extended beyond decorative elements for homes, appearing in public spaces such as Tokyo trattorias, where they were frosted into glass partitions. Furthermore, Tokolo's designs were integrated into fashion and automotive industries, notably adorning Ooito jackets and Volkswagen Beetle seat fabrics, demonstrating their versatility and adaptability across diverse mediums. The article emphasizes the compelling nature of Tokolo's work, particularly highlighting the original magnetic tile piece as the most remarkable example of his design philosophy. The consistent fit yet non-repeating characteristic of these patterns is described as a form of mathematical magic. This aspect of his work underscores the designer's ability to create complex, engaging patterns that offer endless possibilities for arrangement while maintaining an inherent harmony. Tokolo's designs, therefore, are not merely aesthetic but also incorporate a deep mathematical and philosophical underpinning, challenging conventional notions of pattern and repetition. #AsaoTokolo #PatternDesign #JapaneseDesign #MathematicalArt #InteriorDesign #CeramicTiles #KarakusaPatterns #DesignInnovation #ModularDesign

The interior stylist Colin King, known for his minimalist aesthetic, has launched a new rug collection for Beni, titled “A Study on Balance.” The collection draws inspiration from a historical design movement known as japonisme, which emerged in the 18th century when trade routes between France and Japan reopened after a period of Japanese isolation. Japonisme saw French creatives incorporating Japanese aesthetics into their own work, leading to a significant shift in European visual culture from ornate designs to a more restrained and uncluttered style. This movement influenced prominent French modernists such as Edgar Degas, Charlotte Perriand, Pierre Chareau, and Le Corbusier, blurring the lines between art and design and elevating the status of craftsmen. King's interest in japonisme was sparked in 2021 while working on an exhibit for the French gallery Demish Danant, which explored the intersection of Japanese and French minimalism. He became fascinated by how this cross-cultural exchange transformed fine arts, sculpture, performing arts, architecture, industrial and furniture design, interiors, and textile arts. The principle of melding craft with contemporary design, central to japonisme, resonated with King, informing the conceptual framework for his Beni rug collection. The “A Study on Balance” collection reinterprets traditional Japanese motifs and the clean lines of French modernism for a contemporary audience. The designs intentionally reject excessive ornamentation, favoring simplicity and structured geometric patterns. For instance, the “Doors” rug features strong black lines in parallel and perpendicular arrangements on a muted cream background, while “Faces” explores the rhythmic interplay of squares and rectangles. These designs are described as bold and graphic yet balanced and versatile, ensuring they do not overpower a space. The color palette of the collection is predominantly muted, featuring cream as a base, with deliberate splashes of dusty cornflower blue and brick red. These specific accent colors were chosen not only for their aesthetic appeal but also for their historical significance, being two of the oldest colors in the Japanese language. While modernism is sometimes perceived as cold, King's collection aims to evoke warmth, with the colors contributing to a transformative effect that simulates the look and feel of a vintage textile, suggesting an heirloom quality that has been cherished across generations. The versatility of King's rugs, with their historical and cross-cultural dialogue, allows them to complement diverse interior styles, from urban lofts in Tribeca or Tokyo high-rises to more relaxed settings like a Laurel Canyon bungalow or a Parisian pied-à-terre. Adding another layer of global appeal, Beni Rugs are crafted by skilled female Moroccan weavers in the Atlas Mountains, emphasizing the collection's international influences and artisanal quality. #ColinKing #BeniRugs #Japonisme #FrenchModernism #JapaneseAesthetics #RugCollection #InteriorStyling #GeometricPatterns #HomeDecor #TextileArt

Traditional Japanese rural homes, known as kominka, are facing widespread demolition in Japan due to urbanization, population decline, and maintenance challenges. These timber-framed structures, historically serving as single-family dwellings for multiple generations, are increasingly being abandoned or torn down to make way for new construction, as their cultural and historical significance often goes unrecognized in their native land. A survey by Japan’s Ministry of Internal Affairs and Communications indicated a 13% decrease in kominka between 2008 and 2013, with experts estimating only about 1.25 million remaining. The decline is further fueled by issues such as the lack of central heating and adequate insulation for harsh winters, concerns about earthquake resistance under modern building codes, and significant costs associated with repairing water or insect damage. Additionally, a diminishing number of carpenters possess the traditional skills required to work on these homes, and financial incentives for renovation are often difficult to access. This situation leads many owners to prefer demolition and new construction over preservation. In response to this loss, organizations such as the Kominka Collective, with offices in Japan and the U.S., Toda Komuten, and the Japan Kominka Association are actively working to salvage and repurpose these structures. Their efforts are guided by the Japanese concept of "mottainai," which emphasizes avoiding waste. These groups identify abandoned or dilapidated kominka, often through networks of traditional builders and artisans, and prioritize rescuing them from demolition. The salvaging process involves carefully disassembling the homes, labeling each joint and frame member, and transporting them to a warehouse for cleaning, inspection, and repair. Components like ceramic roof tiles, tatami mats, doors, and shoji screens are also salvaged whenever possible. The timber frames are then reassembled to ensure structural integrity, documented, and finally disassembled again for shipping, often to other countries. One notable project involved the reconstruction of a kominka in northeastern Oregon. Eric Carlson, a long-time admirer of Japanese architecture, initiated this endeavor after observing discarded materials from old houses in Japan. Collaborating with Kunito Niwa and members of Toda Komuten, he helped establish the Kominka Collective to export these frames to North America. The first frame was used to build a 600-sq.-ft. structure on Carlson's property. Inspired by this, neighbors Bill Oliver and Kiyomi Koike commissioned the Collective to build a tea and guesthouse, expanding their initial request for a small studio. The project involved a hybrid design, blending traditional Japanese elements with modern building practices to meet local codes. The reconstruction process in Oregon combined salvaged sills, floor joists, and exposed timber roof framing with modern materials and Western building assemblies. New foundations were laid, and the salvaged 6x8 cypress beams were installed using traditional timber-frame joinery. The space between exterior posts was infilled with 2x6 walls, and mortise-and-tenon joints were secured with hidden structural lag bolts for code compliance. The reclaimed kominka roof framing, with its complex arrangement of crossbeams and natural shapes, was left exposed to the interior, providing an aesthetic connection to the home’s heritage. An over-roof with 2x12 rafters and R-40 fiberglass insulation was added to enhance comfort and energy efficiency. Lightweight enameled steel panels were used for the roofing, mimicking traditional Japanese tiles without adding excessive weight, and Japanese cypress was utilized for exterior wood details due to its weather resistance. The exterior walls featured a plaster finish achieved by applying a limestone-based stucco over tile backer panels, as traditional Japanese plaster was difficult to source. Decorative frame-and-panel details made of enameled steel were also incorporated at the lower portion of the exterior walls. The project, which took nearly a year, including delays from weather and the global pandemic, allowed for careful design decisions. The owners expressed that the completed Zen House Kominka offers a unique blend of vibrancy and serenity, transcending cultural boundaries. This initiative not only preserves traditional building arts but also offers an appreciation for kominka and the ancient Japanese timber-framing tradition, known for its flexible joinery and resilience against earthquakes, exemplified by structures like the Horyu-ji Temple, one of the oldest wooden-framed buildings in the world. #KominkaCollective #JapaneseArchitecture #TimberFrame #HistoricPreservation #SustainableBuilding #CulturalHeritage #HomeDesign #TraditionalCraftsmanship #OregonConstruction

The article explores the rising popularity of Alpi Sottsass wood veneer in interior design, a material created by acclaimed designer Ettore Sottsass in 1985 and manufactured by Italian company Alpi. This veneer, known for its distinctive grainy and groovy pattern, is gaining traction as an alternative to traditional plywood, particularly in kitchen designs and furniture. Designers are drawn to its unique aesthetic, which some describe as resembling a zebra pattern or sand waves. Eline De Bruyne, a Belgium-based teacher and interiors enthusiast, incorporated Alpi Sottsass into her kitchen, seeking a designer furniture-like appearance for her storage units. This choice reflects a broader appreciation for the material among those who admire the Memphis movement of the 1980s. While Alpi collaborates with several designers like Patricia Urquiola and Kengo Kuma, the Sottsass design, especially in its gray colorway, is becoming increasingly prevalent in contemporary projects. Magda Kwoczka of Finch Studio, based in Poland, has notably used the Sottsass product in multiple areas within a single apartment. The manufacturing process of Alpi veneers begins with FSC-certified wood, typically poplar, limewood, or ayous, sourced from forests in Cameroon. This wood is then transported to Alpi's plant in Modigliana, Italy, where it undergoes a detailed sequence of stripping, dyeing, compositing, gluing, pressing, squaring, shearing, and testing. For U.S. customers, Brookside Veneers acts as the primary distributor for the Ettore Sottsass Alpi wood, with orders requiring direct contact through a request form or sales agent rather than online purchasing. While the ordering process is manageable, interior designer Dawid Konieczny notes that it can take approximately four to five weeks for delivery. A significant factor to consider is the cost, which is provided upon request from Alpi. Konieczny highlights that Sottsass veneer is considerably more expensive, roughly five times the price of simple white oak. Despite the higher price point, designers like Konieczny and Kwoczka justify the investment due to the veneer's originality and the prestige associated with its designer. The material's versatility means it can be used in various interior applications, with the only limitation being its unsuitability for outdoor, non-weatherproof environments. Designers are finding innovative ways to integrate Alpi Sottsass veneer into their projects. Dawid Konieczny, for instance, used it to construct a bed frame in a Warsaw home, drawing inspiration from desert landscapes. Magda Kwoczka showcases its effectiveness when juxtaposed with materials like Calacatta Viola marble, creating a captivating interplay of patterns. Architect Matt Bowles of Tenbooks plans to use the veneer in kitchens to contrast with the solidity of stone countertops, appreciating its departure from conventional linear-grained hardwood products. Dustin Fritsche of Softer Studio discovered the material's potential in smaller furniture pieces, noting its significant visual impact even in limited applications, such as a sideboard in a living room. Its malleability, owing to its thin-sliced nature, also allows for the creation of curved surfaces, as demonstrated by Kwoczka's rounded cabinets in a home office and De Bruyne's kitchen doors, which effectively conceal various items while adding an element of wonder to the built environment. #AlpiSottsassVeneer #EttoreSottsassDesign #MemphisMovement #WoodVeneerTrends #InteriorDesignMaterials #KitchenRenovation #FurnitureDesign #DesignerWood #HomeDecor

IVC Commercial has broadened its Studio Moods collection of vinyl tiles, providing nine distinct geometric shapes that facilitate the creation of a myriad of patterns. The series prioritizes adaptability, aiming to accommodate diverse design requirements across various environments. The nine shapes available are Triangle, Chevron, Diamond, Big Diamond, Trapezoid, Hexagon, Big Hexagon, Small Plank, and Parallelogram. Each of these shapes is offered in over 150 different floor finishes from IVC Commercial's catalog. These finishes encompass a broad spectrum of colors and textures, including oak, terrazzo, slate, and concrete, enabling extensive customization. To assist customers, IVC Commercial has developed more than 100 pre-designed pattern layouts, showcasing the versatility and numerous possibilities for arrangement. Certain shapes offer multiple design outcomes; for example, the Diamond tile can form either pointed patterns or three-dimensional cubes, while the rectangular Small Plank tile can be configured into herringbone or grid formations. Additionally, the collection includes patterns that integrate multiple shapes, such as the hexagonal Pepper and the basketweave-inspired Wicker. The ability to blend various colors and textures introduces an added layer of complexity and customization to the designs. This customization can fulfill several functions, such as serving as directional signage, delineating distinct areas within a space, or simply making a bold aesthetic statement. Cindy Van Moorleghem, marketing director at IVC Commercial, emphasizes the personalized nature of Studio Moods, stating that it allows for individual expression, whether through mixing material effects or employing simple tonal patterns. The manufacturing of Studio Moods takes place in Belgium, in a facility designed with sustainability as a core principle. The production process is powered by renewable energy from a wind farm, and the tiles themselves are composed of 50 percent recycled materials. Studio Moods tiles are notable for their durability and ease of cleaning, making them suitable for a range of settings including workplaces, retail establishments, hospitality venues, leisure facilities, and residential properties. The tiles feature a matt finish, imparting a natural appearance. Some designs also incorporate Emboss in Register (EIR) technology, further enhancing their authentic look and feel. For projects requiring a quick flooring solution, a selection of pre-defined building blocks is available for immediate shipment, with no minimum order quantity. For larger, bespoke projects, custom creations are offered for areas measuring at least 75 square meters. This extensive range and flexible ordering options underscore the collection's commitment to providing both adaptable and sustainable flooring solutions. #FlooringTiles #GeometricPatterns #VinylFlooring #InteriorDesign #CustomizableFlooring #SustainableMaterials #CommercialInteriors #ResidentialDesign

Shou sugi ban, known as yakisugi in Japan, is an ancient Japanese technique originating in the 18th century, primarily used to protect rural homes and warehouses from fire. This method involves charring wood, which paradoxically makes it fire-resistant. Traditionally, the technique used Cryptomeria japonica, also known as Japanese cedar, though Western applications now utilize other wood types. The process includes charring, cooling, cleaning, and finishing the wood with natural oil, offering a chemical-free preservation method. This technique is currently experiencing a modern resurgence in the West due to its aesthetic appeal, durability, and eco-friendly properties. The article showcases eight different modern homes and structures that have incorporated shou sugi ban into their design. The first example is a Lake Michigan home where the shou sugi ban exterior was inspired by the architects' trip to Japan. Austin-based Delta Millworks treated the cedar used for both exterior cladding and interior details. Furthermore, Desai Chia Architecture, in collaboration with Environment Architects and Delta Millworks, utilized wood from plagued ash trees on the client's property for interior millwork, flooring, and trim, while cladding the exterior with intentionally burned cedar to protect against fire, insects, and aging. Shou sugi ban elements were also integrated into the home's interior. Another application is seen in two tiny cabins in New Zealand. Cheshire Architects employed an improvised blowtorch system to char the external faces of the boards, mimicking the traditional shou sugi ban process for a modern, chemical-free preservation method. These 290-square-foot structures are designed to be minimalist sculptures in the landscape. The ESCAPE One, a 276-square-foot Park Model RV by Wisconsin-based builder ESCAPE, features a stylish shou sugi ban exterior, giving it the appearance of a minimalist cottage with simple pine interiors. A Park City property in Utah showcases a dramatic exterior clad in shou sugi ban, creating a striking contrast with the clear red cedar soffits under the roof. Designed by Axis Architects and built by Benchmark Modern, the residence maximizes sunset views and allowed for a contemporary design near the town's historic district. Sett Studio's modular prefab studio in Austin, Texas, integrates shou sugi ban-inspired techniques to enhance wood durability, making it resistant to mold, pests, and more fire-retardant. The charred-wood siding is available in various stains, including cherry. A 2,500-square-foot passive house in the Netherlands, designed by Pieter Weijnen of FARO Architecten, utilized a panelized system for construction. Shou sugi ban was incorporated as a sustainable feature for its facade, where it is layered with bright orange planks and complemented by solar collectors and a wind turbine. Finally, in New York's Hudson Valley, BarlisWedlick Architects designed a main house that serves as a soothing space, clad in shou sugi ban, adjacent to a 19th-century barn. This main house is constructed from structural-insulated panels and charred cedar. The Wabi House in Southern California, designed by Sebastian Mariscal, transformed a rancher into an architectural achievement with various shou sugi ban elements, including charred-cedar cladding on an integrated Sub-Zero refrigerator. These examples highlight the versatility and aesthetic appeal of shou sugi ban in contemporary architecture. #ShouSugiBan #JapaneseTechnique #CharredWood #SustainableDesign #ModernHomes #Architecture #WoodPreservation #HomeTours #EcoFriendlyBuilding

John Webster, a former commercial oil and gas diver, has transitioned into a timber craftsman specializing in Yakisugi, an ancient Japanese method of charring timber. This technique, also known as 'burnt cedar,' offers a durable, low-maintenance, and aesthetically pleasing alternative to traditional stained timber, particularly for achieving the popular black timber house look. Unlike staining, which can be harsh on wood, Yakisugi enhances the timber's natural properties, making it more resistant to insects, UV radiation, and water due to its hydrophobic qualities. Webster's journey into Yakisugi was born out of extensive experimentation. He spent approximately two and a half years in his garage developing the precise method for charring wood, a process that initially led to a serious incident involving smoke inhalation and a stay in Intensive Care. Following this, he implemented a smoke extractor system to safely continue his work. His dedication allowed him to master the technique, enabling him to produce charred timber in commercial volumes. Traditionally, Yakisugi utilizes Japanese cedar. However, Webster has found that thermally modified radiata pine from the New Zealand company Abodo Wood serves as an effective and sustainable local alternative. This adaptation makes the ancient Japanese technique more accessible and environmentally conscious in his region. Prior to his career as a timber craftsman, John Webster spent 12 years working as a commercial oil and gas diver. His work involved extended periods in confined spaces with limited human interaction, leading to unique psychological challenges. An accident that occurred at a depth of 220 meters resulted in PTSD symptoms, which he later recognized when a seemingly innocuous act like putting on his motorcycle helmet triggered a panic attack. Through resilience and recovery, Webster has overcome these challenges and can now comfortably engage in activities like scuba diving and riding his motorbike. This article highlights John Webster's remarkable career change from a high-pressure, hazardous profession to a specialized craft, emphasizing his innovative approach to traditional timber treatment and his ability to overcome personal adversity. His work with Yakisugi not only provides a sustainable and durable building material but also introduces an ancient, effective technique to a modern context. #Yakisugi #TimberCraftsmanship #JapaneseTechnique #SustainableBuilding #CareerChange #WoodTreatment #Entrepreneurship #PTSDRecovery

The Swedish design firm Claesson Koivisto Rune collaborated with the Italian furniture manufacturer Arflex to create the 'Bonsai' upholstered seating collection. This collection draws inspiration from Japanese culture and aesthetics, specifically referencing the meticulously manicured, cloud-like forms of bushes and shrubs found in traditional Japanese gardens. The soft and curvy shapes of the seating pieces are a direct translation of these natural elements into furniture design. The 'Bonsai' collection features low, rectilinear wooden bases that support the rounded, upholstered tops. This design choice is a nod to the Japanese practice of 'tokonoma,' where cherished items, such as a bonsai tree, are displayed on horizontal surfaces to create a focal point. By emulating this traditional display method, the 'Bonsai' seating aims to elevate the upholstered components, treating them as objects of art or contemplation within a living space. The collection includes both sofa and pouf configurations, offering versatility in furnishing various interior environments. A distinctive optional feature of the 'Bonsai' seating is an integrated lamp. This lamp incorporates a draped, flowing fabric shade, contributing to the soft and organic aesthetic of the collection. Additionally, the lamp design includes a recessed stone plate, further grounding the piece in natural materials and textures. The combination of these elements — the rounded, organic forms, the low wooden bases, and the integrated lighting with natural accents — creates a harmonious and serene furniture collection that reflects a deep appreciation for Japanese design principles. The collaboration between Claesson Koivisto Rune and Arflex showcases a successful fusion of Scandinavian design sensibilities with Italian craftsmanship, all while being profoundly influenced by Eastern cultural practices. #BonsaiSeating #JapaneseCulture #ClaessonKoivistoRune #Arflex #FurnitureDesign #UpholsteredSeating #InteriorDesign #ScandinavianDesign #ItalianCraftsmanship

This article highlights ten furniture and lighting designs from Japanese brands and designers, curated to coincide with Designart Tokyo, an annual design festival that showcases architecture, interiors, product design, and art across various locations in Tokyo. The selection features a range of products including outdoor lantern lamps, sculptural tables, and carved wooden chairs, all previously showcased on Dezeen Showroom. Among the featured designs is the Kawara Armchair by Ronan and Erwan Bouroullec for Koyori. This chair is characterized by its classic shape, designed for dining or meeting settings, and its representation of high-quality Japanese craftsmanship. The box-like structure of the chair is intended to provide comfort. Another notable piece is the Sculpture Casting Bronze table by Time & Style, which incorporates a metal casting technique traditionally used for Buddhist statues in Japan for its large, sculptural base. This base is paired with an elliptical oak tabletop available in two sizes. Eterble fabric tablecloths by Japanese tableware brand Eterble are also presented. These tablecloths are made from recycled fabric, sourced from discarded items from weddings, hotels, and function rooms, and are offered in a neutral color palette. Seiki Design Studio, led by Kyoto-based designer Seiki Ishii, introduces the Bell lamp, a mobile lamp crafted from recycled glass. Its bell-shaped lampshade and blue loop allow it to be hung on a wall or placed on a floor stand. The Sou sofa, designed by Teruhiro Yanagihara for Swedish manufacturer Offecct, combines a wooden base with various cushioned seat options. Its minimalist design draws inspiration from both Japanese and Scandinavian design traditions. The Spectrum Workstation Round ST160, a collaboration between German studio Geckeler Michels and Japanese furniture manufacturer Karimoku, is a table made from Japanese oak. It features a circular cable tunnel in its center to manage cables efficiently while maintaining an aesthetic appeal. Product designer Yoshiki Matsuyama's Cachalot lamp for Ambientec is a portable light with a shape inspired by a whale's body. It consists of an LED light unit within a sculptural acrylic case, mounted on a die-cast zinc base. The DC10 chair by Inoda + Sveje for Miyazaki Chair Factory showcases a frame made from a carved piece of wood, emphasizing the natural material's color and grain. Its construction blends traditional handcrafting with modern CNC technology. The TO side table, created by Japanese designer Naoto Fukasawa for Italian brand Plank, is a minimalist piece featuring a circular base and tabletop. Made from four-millimeter-thick steel, it comes in various powdered-coated finishes. Finally, the Sparkler Lanterns by Kensaku Oshiro for Poltrona Frau are outdoor lamps available in three sizes. Their perforated shells, made from woven polypropylene rope, create unique patterns of light and shadow. This collection underscores a blend of traditional craftsmanship and contemporary design across various home furnishing categories from Japan. #JapaneseDesign #FurnitureDesign #LightingDesign #DezeenShowroom #DesignartTokyo #ProductDesign #InteriorDesign #Craftsmanship #SustainableDesign

The Cornice stacking stool, designed by Tokyo-based Nao Iwamatsu, addresses a gap in the modern furniture market for stackable seating that is both functional and aesthetically refined. While stools are versatile, offering additional seating, side table functionality, or even serving as plant stands, their lack of stackability can create storage issues, particularly in smaller living spaces. Iwamatsu's design aims to provide a solution that is playful yet elegant, suitable for sophisticated interiors. The inspiration for the Cornice stool is a fusion of East and West architectural elements. It draws from the layered cornices prevalent in Western architecture and the rhythmic beam structures characteristic of ceilings in Japanese temples and shrines. The stool's individual design features a stepped profile, which becomes more pronounced and sculptural when multiple stools are stacked. This stacking action transforms the functional objects into an artful display, highlighting the elegance and meticulous craftsmanship embedded within the design. Iwamatsu emphasizes that the true captivating aspect lies in the artisans' sensibility and the breath of craftsmanship expressed in these intricate, repeating details found in architecture. Beyond its aesthetic appeal and innovative stackability, sustainability is a core principle in the creation of the Cornice stool. Each unit is constructed from slender wood offcuts, minimizing waste. The legs, crafted from 13mm-thick wooden pieces, are designed with domino joints for enhanced strength. This joinery also facilitates flat-pack transportation, reducing shipping volume and environmental impact. While the initial prototype was made from teak, Iwamatsu suggests that other wood types, such as oak, can achieve a similar level of refinement and visual presence. This adaptability in material further contributes to the stool's sustainable design philosophy. The Cornice stool emerges as a significant contribution to contemporary furniture, especially as compact living continues to become more common in both urban and suburban environments. The design effectively demonstrates that space-saving solutions do not need to compromise on elegance or thoughtful design. Iwamatsu's work with the Cornice stool serves as an example of how practical needs for functionality and storage can be met without sacrificing sophisticated aesthetics, offering a refined piece of furniture that integrates seamlessly into diverse interior styles while also addressing environmental considerations through its material usage and transport efficiency. #StackingStools #NaoIwamatsu #JapaneseDesign #SustainableFurniture #CompactLiving #HomeFurnishings #InteriorDesign #ArchitecturalInfluence

Orvi is a distinguished Indian brand that seamlessly integrates traditional craftsmanship with modern technology to produce bespoke surfaces and home pieces. The brand specializes in creating innovative surfaces for walls and floors, as well as a diverse range of home items including artistic wall decor, handmade furniture, serve ware, and home accessories. Orvi's commitment to blending artistry with technological advancements is evident in its varied finishes, which encompass natural stone, wood, liquid metal, ceramic, and glass. The brand prides itself on employing over 200 in-house artisans who bring global craft techniques to life, such as intricate stone-in-stone inlay, hand-sculpting, and raku firing, transforming surfaces into works of art. Founded in 2013 by Sanjeev Agrawal, Orvi is a culmination of his extensive background in the gemstone business and his profound appreciation for modern aesthetics and meticulous detail. Agrawal's entrepreneurial journey began in 1992, and his vision for Orvi was to champion traditional Indian handcrafted techniques while pushing the boundaries of contemporary design. Under his leadership, Orvi has garnered international recognition, engaging in prestigious projects worldwide and exporting its products to countries including Germany, the USA, and various European nations. Orvi's design philosophy is rooted in a creative fusion of Western aesthetics with artisanal techniques sourced from Asia and beyond. Craftsmanship, technology, and tradition form the foundational pillars of its design language, differentiating it in the market. The brand is celebrated for its innovativeness and its unique surfaces, which are versatile enough for both interior and exterior applications. Furthermore, Orvi's home pieces are thoughtfully inspired by the subtle nuances of everyday life, crafted from natural materials and molded into elegant forms. At the AD Design Show 2022, Orvi showcased several of its prominent collections, including Palacio, Arazzi, Trenza, and Tesserae. The Trenza collection features solid stone surfaces with diverse textures, suitable for both walls and floors. These artisanal surfaces draw inspiration from organic natural elements, characterized by distinctive lines and strokes, each exhibiting unique variations in design and color. The collection's bespoke elegance is enhanced by micro-engraved solid stone and tactile textures, meticulously refined by artisans. In contrast, the Tesserae collection reintroduces 12th-century Roman micro mosaic art, making it ideal for decorative wall features. This collection meticulously utilizes minute pieces of stone, glass, and semi-precious tesserae to craft vivid, textural, and evocative patterns that achieve a compelling three-dimensional effect. These collections exemplify Orvi's dedication to preserving traditional art forms while innovating for contemporary spaces. #OrviSurfaces #Craftsmanship #ModernTechnology #HomeDecor #BespokeSurfaces #IndianHandicrafts #ArchitecturalDesign #ADDesignShow #ArtisanalTechniques

Shibori, an ancient Japanese method of pressing, twisting, and coloring textiles with indigo, has been a prominent trend in home decor, appearing on headboards, dinner napkins, and wall art. While shibori-dyed items remain popular in California-cool homes, designers are exploring new patterns to follow this bohemian style. This article consults four designers to predict the next significant pattern trends. Christina Bryant, founder of St. Frank, suggests Kuba cloth as the new neutral. Originating from the Congo, Kuba cloth is handwoven from raffia palm leaves, featuring earthy tones and a modern, elevated, and masculine feel. Bryant has incorporated its large winding lines into lumbar pillows, pouches, and even wallpaper, while still appreciating shibori fabric, as evidenced by a large shibori-covered surfboard in her living room. Rebecca Atwood, a textile designer and author, highlights Suminagashi, a Japanese marbling technique. Initially experimenting on paper with India ink and water, Atwood transferred these dreamy, hypnotic swirls to cotton duvets and pillow covers. She notes that Suminagashi shares the irregular and painterly quality that resonated with people in shibori, lending itself to a coastal and bohemian aesthetic. Caitlin Murray, principal at Black Lacquer Design, anticipates prints that are both exotic and suitable for everyday use. She is drawn to sophisticated geometrics with a softer, organic touch. Her top choices include Kelly Wearstler’s District fabric, a heavy linen with Cubist influences, and Clarence House’s Aimee print, which has been featured on a Memphis-style ottoman. Heather Taylor, owner of Heather Taylor Home, looks to channel the aesthetic of Amanda Brooks’s Cotswolds boutique by layering gingham and stripes. She proposes a maximalist approach, suggesting pairing a checkered duvet with matching window treatments. By adding beautiful florals, this combination can evoke the charm of the English countryside. These designers offer fresh perspectives on textile patterns, signaling a shift in popular home decor trends beyond the prevalent shibori style. #InteriorDesignTrends #TextilePatterns #Shibori #KubaCloth #Suminagashi #GeometricPrints #LayeredPatterns #HomeDecor