A collection created using accumulated techniques and materials from Japan

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 ancient Japanese woodworking technique known as kumiko, which originated in the Asuka period (538 to 710 C.E.), involves precisely cutting thin wood slats to interlock into repeating geometric patterns. Initially used for screens and inlaid furniture panels, kumiko has evolved into a celebrated art form with its own distinct designs. This art will be featured at the 43rd annual Smithsonian Craft Show in Washington, D.C., held from April 24 to 27. The show will present the work of 120 American artists across various disciplines, with selections based on originality, artistic conception, beauty, and quality. Among the featured artists is David Gootnick, a D.C.-based kumiko craftsman. Gootnick utilizes Alaskan yellow cedar, transforming a five-foot-long plank into intricate, often less than two-millimeter-thick pieces. He emphasizes the importance of consistent wood thickness and precise angle cuts for the lattice-like designs. Gootnick, a lifelong woodworker, discovered kumiko ten years ago through online practitioners, including Australian expert Des King. He began by incorporating kumiko into cabinetry panels before creating self-contained wall art. While adhering to traditional Japanese motifs like hexagons and equilateral triangles, Gootnick adds contemporary elements such as darker redheart or Osage woods for color contrast and incorporates colorful cloth backings. He also introduces his own variations, including rosettes and lanterns, reminiscent of mission furniture. Although traditional kumiko relies solely on pressure from precisely cut angles, Gootnick uses a small dot of glue for enhanced longevity, ensuring his pieces endure for centuries. Another artisan showcasing kumiko at the Craft Show is Michael Jury from Springfield, Virginia. Jury, primarily known for his handmade Shaker- and Danish-inspired furniture, integrates traditional kumiko patterns into his cabinets and tables. He crafts basswood into small components to form the 'asa-no-ha' (hemp leaf) pattern. Jury has also used kumiko panels as sliding doors for a sideboard, backed with black momigami (kneaded paper), a piece that has received critical acclaim, including “best in show” awards at several exhibits. Gootnick notes his continuous improvement in the kumiko process, observing that a piece that once took him a month to complete can now be finished in two weeks, with a cleaner and more precise result. This evolution reflects a dedication to achieving closer to perfection in his craft. #Kumiko #JapaneseWoodworking #GeometricPatterns #SmithsonianCraftShow #DavidGootnick #WoodArt #Craftsmanship #Artisan #HomeDecor

Jiun Ho, founder and president of a multidisciplinary firm specializing in residential and commercial design, furniture, lighting, and art, has released a new textile collection inspired by Japan. Ho, who has traveled to over a hundred countries, considers Japan his constant source of inspiration, stemming from his first visit as a boy from Malaysia. His latest collection draws from the natural elements and harmonious color palettes of Kyoto, the former capital of Japan and a hub of history and culture. Ho describes Kyoto as a city where old shops with aged-wood detailing line the streets, and geishas clad in hand-woven kimonos attend traditional tea ceremonies. He appreciates the subtlety, craftsmanship, and wabi-sabi aesthetic of the city. The color names in the new textile collection reflect various aspects of Kyoto, such as greens and golds inspired by Kinkakuji, a temple known for its gold leaf and cypress trees. Ho plans to return to Japan for personal rituals, including bike rides to explore Kyoto's temples like Kiyomizu-dera and its gardens, hoping to witness the cherry blossoms in bloom. Ho emphasizes that Japanese culture uniquely allows materials to speak for themselves, whether in textiles, cuisine, or ceramics. He details the designs within the Kyoto collection: **Ami:** This performance textile features a partially buried boucle, giving its ribbed surface a texture reminiscent of flowering trees. It comes in Washi, Rice Paper, and Enoki. Ho notes that most textiles in the collection are high-performance, utilizing the latest generation of polypropylene for a softer feel and enhanced resistance to abrasion and pilling, making them suitable for residential, commercial, and yacht use. **Hanakago:** Named after traditional Japanese flower baskets, this is Ho's first indoor-outdoor print, showcasing an organic graphic design with vibrant color pops. He explains that while Japanese culture is often seen as calm, it also has a vibrant side, which he sought to capture. For example, the Japanese Maple colorway features deep brown, pink, red, gold, and orange, mimicking the tree's hues. Indigo references the shibori dyeing technique with interwoven green for contrast, while Matcha reverses this with dominant green and light blue. Black Sesame, his personal favorite, pairs bright yellow against a deep charcoal background. **Lava:** This popular fabric, known for its linen-like feel and volcanic stone-inspired texture, is reintroduced with lighter neutrals: Rice Paper and Pearl. It is an indoor-outdoor polypropylene. **Raku:** Inspired by a 16th-century Japanese pottery style characterized by unique, organic, and slightly rough pieces, this high-performance fabric has a "crackled" texture with multiple shadings. Colorways include Shiitake (mushroom tones), Matcha (tea greens), and Mizu (deep blues). Kintsugi, named after the Japanese art of repairing broken ceramics with gold, features gold threads woven into darker yarns, symbolizing the celebration of imperfection. **Salar II:** Inspired by Ho's journey to the Salar de Uyuni salt flats in Bolivia, this re-released fabric comes in Salt, Platinum, and Onyx. The chenille fabric has a slight sheen and reflectivity, and its pattern directly translates photographs of the salt flats. **Tatami:** Named after classic Japanese floor mats, this textile has an irregularly ribbed surface and a dry hand, yet is surprisingly soft and exceptionally durable. It is ideal for seating and headboards due to its high performance and easy care, making it family-friendly. One colorway, Sureto, means "black" or "charred" in Japanese. **Umami:** Woven at a Belgian mill using a jacquard technique and seven distinct types of yarn, this linen-blend fabric has a tactile boucle slub texture. Its six colorways, including Sea Salt, Toro, Shiso, and Whiskey, evoke complex flavors. Ho envisions it for upholstery and drapery in traditional Western homes. **Yugen:** Lighter and more ethereal than Umami, Yugen is an indoor-outdoor performance fabric that defies the perception of performance fabrics being tough. Its chenille composition provides a soft hand. Colorways include neutrals like Washi, Taro, and Rock Garden, as well as saturated options like Wasabi (chartreuse green) and Mizu (blue). Yugen, an aesthetic concept describing subtle, mysterious grace, aptly rounds out the collection inspired by Kyoto's nuances. #JiunHo #TextileCollection #KyotoInspiration #JapaneseDesign #InteriorDesign #PerformanceFabrics #LuxuryTextiles #HomeDecor #ProductLaunch

Metaphor Interior Architecture, a Jakarta-based interior design consultancy, services clients globally. This firm, composed of creative individuals, aims to provide optimal design solutions, specifically focusing on The Zora Kanade cluster. Christine, a senior associate, spearheads the design for Kanade Type 12. She reveals that her prior work on the Samasana Club House at The Zora provided a foundational understanding of the developer's design aspirations for the Kanade Cluster, which she extended to its three show unit houses. Her approach to the design brief involved analyzing the high-end target market and varied price points of the three housing units to determine appropriate interior design concepts. This led to distinct designs for each show unit, all incorporating a Japanese sensibility tailored for a modern, affluent demographic. Christine explains that the Japanese philosophy is translated not through direct imitation, but through the principle of 'balancing,' akin to Zen philosophy. This balance is evident in the harmonious use of colors, materials, and room composition, which collectively contribute to the desired ambiance. Elaborating on design balance, Christine highlights that each room's decor aligns with its function. For instance, a spacious area between the living and dining rooms demonstrates their strategy for balancing different zones within a single space. They also collaborate with Henco Home Decor to supply custom-designed furniture. Regarding color palettes, earth tones like brown or gray form the base, augmented by accent colors such as burnt orange, teal, and combinations thereof. While orange might not be traditionally Japanese, teal and olive are chosen for their natural associations, reflecting leaf colors. These accent colors are strategically employed to infuse a modern and luxurious feel into the Japanese aesthetic. Acknowledging the Japanese preference for simplicity, Christine clarifies that the target market's demand for luxury necessitated a nuanced approach to color, resulting in a unique modern atmosphere. The three show units, contrary to having a common thread, are each designed with distinct interior concepts to cater to their specific target markets. For example, the Type 12 unit targets a mature clientele prioritizing luxury, while Type 8+ and Type 10 units are designed with younger families in mind, featuring more youthful aesthetics. To ensure each unit resonates with potential buyers, the design process incorporates diverse consumer style preferences. These customer needs are then translated into unique designs for each unit, varying in color and overall concept. Material selection prioritizes both aesthetics and ease of maintenance, with choices like solid surface, marble, or laminate ensuring durability and practicality. #InteriorDesign #JapaneseDesign #LuxuryHomes #MetaphorInteriorArchitecture #HomeDecoration #DesignPhilosophy #ColorPalette #MaterialSelection

The latest interior design trends are seeing a significant Japanese influence emerging, moving beyond the traditionally robust and rustic country styles. This new trend is characterized by rich, silky textures, intricate calligraphy prints, sophisticated stylized seascapes, and elegant crane motifs, which are adorning a wide array of homeware items. John Lewis, a prominent retailer, is at the forefront of this trend, having introduced a new collection of decorative pieces that draw inspiration directly from the Victoria and Albert Museum (V&A). Philippa Prinsloo, the Head of Design at John Lewis, highlights the profound and extensive impact of Japanese culture across various facets of life, including traditions, design philosophies, culinary arts, and craftsmanship. She notes that Japanese influences are increasingly visible in contemporary thought, lifestyle choices, and aesthetic preferences. The V&A, known for possessing one of the world’s most comprehensive collections of Japanese art and design, served as a crucial source of inspiration for the development of this new collection. Central to Japanese aesthetics is the reverence for the natural world. This principle guided the creative process for the collection, where natural motifs were reimagined and transformed into geometric patterns. These patterns seamlessly transition across different pieces, such as from one plate to another, or intricately weave through the backgrounds of textiles and wallpapers. The designs in the collection are characterized by their delicacy, intricacy, fine detailing, rich color palettes, and overall refinement. The design team meticulously studied various Japanese artifacts, ranging from miniature Netsuke carvings to the powerful and ornate attire of samurai warriors, to inform the collection's aesthetic. Among the featured items in the collection are the Konoha and Kumo cushions, priced at £45, and the Kaiyo Wallpaper Panel, which retails for £80. The natural world's influence is evident in these pieces, with updated designs that maintain a delicate and intricate feel. Another notable piece is the Fitzhenry Collectors' Cabinet, priced at £999. This furniture item showcases Japanese craftsmanship through its rich wood tones, complemented by brass legs and an intricately patterned back. Display cabinets, which have recently seen a resurgence in popularity, are elegantly utilized to showcase tableware from the new Japanese range, adding a touch of sophistication to any room. The tabletop collection features unique illustrations inspired by the V&A's art exhibits. The decorative china distinctly reflects Japanese design, notably through the incorporation of the elegant crane motif. In Japanese culture, the crane is a mystical creature symbolizing good fortune and longevity. Examples include the Yama Side Plates, a set of four for £65; the Mizu platter, priced at £55; and the Tobu cup & saucer, available for £25. In terms of lighting, the Japanese style emphasizes ambient and mood-enhancing illumination, shunning bright spotlights. Light fixtures are often large in scale but cleverly designed to conceal bulbs, ensuring that the emitted light is consistently soft and never overpowering. An example is the Jones Wall Light, priced at £75, which not only provides a gentle glow but also casts impressive silhouettes on surrounding walls. This new collection is anticipated to be available in stores and online by the end of the month, offering consumers an opportunity to incorporate Japanese-inspired elegance into their homes. #JapaneseDesign #HomeDecor #InteriorTrends #JohnLewis #VAMuseum #HomewareCollection #Craftsmanship #ElegantInteriors #DesignInspiration

Acne Studios, the Swedish fashion label, has opened a new flagship store in Tokyo's Aoyama district, a move that encapsulates the brand's playful yet minimalist aesthetic. The store, located on a prominent corner of Omotesando, an area known for its architectural significance, was designed by Acne Studios' founder and creative director, Jonny Johansson, in collaboration with Stockholm-based studio Halleroed. This new location replaces a previous store on a nearby backstreet and represents the culmination of Johansson's long-standing connection and inspiration drawn from Japan. The conceptual foundation for the store was inspired by the idea of a 'garage' – an open, technical space. Johansson envisioned an interior that maintained the skeleton of the original building, incorporating extensive use of glass to create a seamless flow between the inside and outside, allowing visitors to feel connected to Aoyama. This structural openness is complemented by a unique design element: softly-textured pink granite stone. This material is used to connect various spaces, extending across floors and walls, and forms two prominent, airy staircases with clean, minimalist lines and subtly indented handrails. The choice of pink for the granite was deliberate, aimed at avoiding a 'banal' or 'naïve' impression. According to Ruxandra Halleröd, co-founder of Halleroed, the team explored various textures and materials before settling on a granite that intensifies in pink hue when flamed. This approach was intended to create a mature and nuanced pink, moving beyond typical feminine connotations to become a 'pop color' that aligns with Acne Studios' slightly vague yet distinct brand identity. Contrasting the soft pink granite, the store integrates reflective metal accents, angled mirrors, and dynamic stainless steel clothing hangers that are sharply suspended from the ceiling. This blend of materials and forms adds to the store's contemporary and edgy atmosphere. Further enhancing the creative interior are bespoke elements from long-term Acne Studios collaborators. British designer Max Lamb contributed a series of pieces, including shiny soft leather seats that appear to merge with the walls, tufted carpets, and 'Blob' chairs made from hand-dyed yarns. Illumination is provided by dozens of custom strip-lighting fixtures, conceived by designer Benoit Lalloz, which are strategically placed across ceilings and integrated into metal displays. Surrealist mannequins by artist Daniel Silver introduce an additional layer of artistry. Ruxandra Halleröd emphasizes that the design thrives on contrasts, mirroring Tokyo's own blend of high-tech and historical elements. The stark, hard-material-clad building contrasts with the irregular, shiny furniture, creating unexpected visual and tactile experiences. Christian Halleröd, also a co-founder of Halleroed, highlights Japan as a significant source of inspiration, particularly for its commitment to quality and craftsmanship. The store's opening is also marked by a collaboration with artist Takuro Kuwata, who created a series of candy-bright ceramic vessels and reinvented the brand's 'Camero' bag and denim jeans with rainbow designs and trompe l'œil effects. This reflects Johansson's perspective that "fashion is supposed to be fun" and a desire for luxury to be inclusive rather than exclusive, a philosophy that deeply informs the new Tokyo flagship. #AcneStudios #Tokyo #FlagshipStore #FashionDesign #RetailArchitecture #InteriorDesign #JapaneseCraftsmanship #ContemporaryArt

This article explores a unique approach to appreciating traditional Japanese kimono by focusing on souvenirs crafted from repurposed kimono fabric and accessories. It highlights how these items allow individuals to engage with the intricate beauty of kimonos without the commitment of owning and maintaining a full outfit. The piece presents a curated selection of seven distinct kimono-inspired products available in Tokyo, offering practical and stylish alternatives for those seeking a connection to Japanese culture. One featured item is the kimono tumbler from Asakusa Tatsumiya, a business with over 80 years of history, now revitalized by its third-generation owner. These handmade tumblers are adorned with elegant sections of obi sashes made from exquisite Nishijin-ori silk fabrics from Kyoto. Each tumbler is unique in design, reflecting meticulous craftsmanship and ranging in price from ¥7,700 to ¥33,000, presenting both a beautiful and practical souvenir. Another innovative product is the collection of sneakers from Tokyo Kimono Shoes, which combines Japan's upcycling ethos with a passion for footwear. The brand repurposes unused luxurious silk kimonos, which are typically reserved for special occasions, into unique sneakers. These shoes are 100 percent made in Japan, utilizing Japanese silk kimono and genuine Japanese leather, ensuring that no two pairs are identical due to the varied patterns cut from different kimonos. Wonder Fabric offers modern fashion accessories by transforming vintage kimono and obi-sashes into stylish caps. This brand provides a solution for those who appreciate traditional garments but seek a more contemporary application. Each cap is unique, owing to the limited availability of fabric from each kimono piece. For those interested in jewelry and home decor, 'I was a Kimono,' founded by Cristina Morini Sumi, upcycles used kimonos into various items such as Christmas baubles and beaded earrings and necklaces. The kimonos are sourced from antique markets across Tokyo, giving these cherished fabrics a new life and modern purpose. Relier81, a shoe brand from Kyoto, specializes in more formal footwear, crafting chic mules and sandals from upcycled kimono and obi. This brand also offers a unique custom order service, allowing customers to send in their own unused obi or kimono to be transformed into a personalized pair of shoes. Far East Fabric, based in Fukuoka, provides kimono shirts and jackets for men and women, offering a way to incorporate the kimono aesthetic into daily wear without donning a full robe. These one-of-a-kind pieces are remade from unworn kimonos and can be seamlessly integrated into a contemporary wardrobe. The brand also offers made-to-order shirts, allowing for personalized patterns and styles. Finally, Kimono Arts Sunaga offers a range of accessories made from recycled kimono material, alongside tailor-made and ready-to-wear kimonos. Their collection includes adorable coin pouches, eyeglass holders, colorful handbags, and cardholders, allowing individuals to carry a piece of kimono art with them daily. These diverse products exemplify creative ways to honor and extend the legacy of traditional Japanese textiles. #KimonoSouvenirs #JapaneseCrafts #UpcycledFashion #TokyoShopping #TraditionalTextiles #CulturalKeepsakes #SustainableFashion

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

The article details a new exhibition by Takahiro Iwasaki, the artist-in-residence at the Portland Japanese Garden, focusing on his installations that challenge perception and integrate Japanese cultural concepts. Iwasaki, born and based in Hiroshima, received his Ph.D. from Hiroshima City University and an MFA from Edinburgh College of Art. His work, often categorized into 'Reflection Model' and 'Out of Disorder,' has gained international recognition, including exhibitions at the NGV in Melbourne and representing Japan at the Venice Biennial in 2017. The exhibition at the Portland Japanese Garden, titled 'Takahiro Iwasaki: Nature of Perception,' features a new 'Reflection Model' in the Pavilion and an 'Out of Disorder' installation in the Calvin and Mayho Tanabe Gallery. The 'Reflection Model' at the Pavilion is a detailed, handmade wooden re-creation of the Rashomon Gate, a historical structure at the entrance of Kyoto and central to Akira Kurosawa’s 1950 film of the same name. Iwasaki meticulously crafted the model, with the exception of the laser-cut 'Rashomon' sign, from historical drawings and the film’s set design. This model includes a 3-D mirror inversion, simulating a reflection in water, which creates a perceptual illusion. The physical solidity of the model, combined with its seemingly suspended, inverted twin, challenges viewers’ understanding of reflection and reality. The wood used is untreated cypress, intended to fade to a silver color, a detail that hints at the ephemeral nature of things. The installation connects to the Japanese concept of _mono no aware_, which refers to the understanding of the ephemeral nature of things, but can also be interpreted as a feeling of emptiness or a lack of resolution. This concept is particularly relevant to the Rashomon Gate, which no longer exists historically and was recreated for the film, emphasizing its transient existence. The article discusses how both Kurosawa and Iwasaki use the gate to address historical impacts, including war and nuclear destruction, and the ravages of time and human actions. The film _Rashomon_ itself is known for its exploration of subjective truths and unreliable narratives, with different characters providing contradictory accounts of a crime. The Portland Japanese Garden provided a cautionary note regarding the film's portrayal of women, although the artist intended his work as a cultural metaphor rather than an endorsement of the film's specific content. The author delves into the film's narrative concerning a rape and murder, highlighting the varied, self-serving testimonies, and connects this to contemporary discussions around the 'Me Too' movement and the challenges of discerning truth in biased accounts. A second Japanese concept, _mitate_ (seeing things with fresh eyes or radical re-contextualization), informs Iwasaki’s other installations. These include miniature cranes made from discarded threads, glued into books related to Kurosawa, displayed in acrylic containers. These miniature works, reminiscent of traditional Japanese _netsuke_, use reflections to multiply their images, reinforcing the theme of multiple perspectives. The author notes that understanding these cultural references, such as the film _Rashomon_ and historical poetry, enhances the appreciation of Iwasaki's art. Another installation, 'Out of Disorder (Thread through Time),' features miniature landscapes of Portland bridges and landmarks fashioned from glue-stiffened threads pulled from discarded fabrics, prompting familiarity and recognition for local viewers. The use of everyday materials and miniatures is a recurring theme in Iwasaki’s work, encouraging reflection on perception and the re-contextualization of the ordinary. The article concludes by emphasizing Iwasaki's inspirational invitation to view the world with fresh eyes, drawing parallels between his art and the renewed beauty of the rain-splashed Japanese Garden. #TakahiroIwasaki #PortlandJapaneseGarden #ArtExhibition #JapaneseArt #RashomonGate #ReflectionModel #MonoNoAware #Mitate #PerceptionArt #ContemporaryArt

Kengo Kuma, born in 1954 in Yokohama, Japan, initially favored modern concrete homes over his traditional wooden childhood dwelling, which featured rice paper screens and tatami mats. His perspective on traditional architecture shifted after being deeply impressed by Kenzo Tange's Yoyogi National Gymnasium, designed for the 1964 Tokyo Olympics, which ignited his passion for architecture. Over time, Kuma developed a profound appreciation for his childhood home's craftsmanship, natural materials, and the unique sensory experience it offered, influencing his architectural philosophy. Kuma's current architectural approach emphasizes harmony with the environment, history, and local traditions, focusing on the use of natural and handmade materials. This philosophy is evident in his diverse projects globally, including the wooden Japan National Stadium in Tokyo and the stone-clad V&A Dundee in Scotland. He begins each project with an immersive site visit to understand its 'spirit,' feeling the breeze and smelling the soil, often spending an entire day there to grasp its essence before selecting the most suitable materials. He believes that finding the 'protagonist material' for a place is crucial for architecture. His recent works demonstrate this material-focused approach. The UCCA Clay Museum in Yixing, China, incorporates handmade ceramic tiles to celebrate the region's pottery heritage, while the CMP Inspiration museum in Taichung, Taiwan, features a green-planted roof seamlessly integrated with partially buried exhibition galleries. For the Banyan Tree Higashiyama Kyoto, Kuma drew inspiration from traditional Japanese Noh theatre, creating an outdoor stage using yellow cedar and Kyoto cypress, highlighting the ethereal beauty of local traditions. In the South of France, Kengo Kuma & Associates designed the World Heritage and Pyrénées National Park House in Gavarnie, emphasizing harmony with the stunning natural landscape through traditional materials. The building's fluid form and glazed walls offer mountain views, while its thatched roof celebrates local haymaking traditions. Kuma actively advocates for the sustainable properties of thatch, using it in innovative ways such as exterior walls in the Yusuhara Marche and an upside-down thatched roof at Greenable Hiruzen, despite the challenges of reintroducing traditional materials into contemporary construction. Kuma has designed over 70 museums worldwide, including the V&A Dundee and the Hans Christian Andersen Museum. He redefines museums not just as spaces for art, but as places for conversation with art, space, and gardens, prioritizing intimacy and a sense of belonging within urban environments. His favorite museum project is the Nezu Museum in Tokyo, which he redesigned to integrate with its gardens, preserving the spirit and lifestyle of its founder, Nezu Kaichiro. He sees the museum as a tender, intimate space with a soft atmosphere, particularly appreciating the small café where Nezu's living room once stood. Addressing challenges in contemporary architecture, Kuma notes the rising costs of projects due to global events. He believes the solution lies in a long-term vision, emphasizing that architecture should create 'treasures' for future generations. He advocates for a return to nature, natural materials, and craftsmanship, which he sees as the foundation of community and economy. Kuma aspires to be remembered as the architect who transformed concrete-centric architecture back to using natural materials, drawing inspiration from the simplicity and sensory richness of his childhood home. He also admires Geoffrey Bawa's work, finds inspiration in Japan's onsens and ryokans for design ideas, and considers the Bamboo House in China one of his favorite projects due to its contrast with the Great Wall. #KengoKuma #Architecture #NaturalMaterials #SustainableDesign #JapaneseModernism #MuseumDesign #CulturalHeritage #ThatchArchitecture #EnvironmentalHarmony

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

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

Carlo Scarpa, a distinguished Venetian architect, is widely acknowledged for integrating Japanese aesthetic principles into his architectural works. Although his visits to Japan were limited to two, in 1969 and 1978, the influence of Japanese culture, design, and Zen spiritualism profoundly shaped his creative output. This impact is evident in iconic features across his projects, such as the symbolic interlocking circles at the Brion Cemetery, which represent male/female union and where Scarpa is interred. Other notable examples include the Shoji-esque latticed doors at the Castelvecchio Museum and the stark minimalism of his Olivetti showroom, all demonstrating a deep sensitivity to detail aimed at achieving harmony with natural elements and seasons. Scarpa's architectural philosophy revolved around a unique synthesis of ancient techniques and modern innovation, a characteristic deeply resonant with post-war Japanese architectural thought. Despite the clear parallels, the extent of Japanese influence on Scarpa's work has traditionally been under-investigated, with earlier documentaries often omitting any mention of this crucial connection. However, long before his initial visit to Japan, Scarpa was exposed to Japonism through the works of artists and architects he admired, including Gustav Klimt and Frank Lloyd Wright, who had already incorporated elements of Japanese aesthetics into their creations. This exposure laid a foundation for his later direct engagement with Japanese culture. An exhibition at the MAXXI Foundation in Rome, titled 'The Japanese House. Architecture & Life after 1945,' sheds new light on this significant aspect of Scarpa's career. The exhibition features a comprehensive collection of Scarpa’s personal documents, photographs, and library materials, including his decade-long collection of 'Japan Design House' magazines. It also displays books on Japan by Fosco Maraini and Mario Gromo, which served as travel guides and contain Scarpa's own annotations and reflections, offering intimate insights into his thought process and inspirations. A revealing interview conducted just a month before his final, fateful trip to Japan in 1978 captures Scarpa's own acknowledgment of this profound connection. He stated, "Yes, I am very much influenced by Japan, and not just because I visited it, but because even before I went there, I admired their essentiality and above all their supreme good taste. What we call good taste is present everywhere in Japan." This statement underscores his admiration for the inherent elegance and essential nature he perceived in Japanese design and culture. This focused exploration of Scarpa’s relationship with Japan provides fresh perspectives on one of the 20th century's most influential architects and his lasting legacy. Furthermore, it contributes significantly to a broader understanding of the cultural exchange between East and West during the last century, illustrating how cross-cultural influences can inspire groundbreaking architectural innovation. #CarloScarpa #JapaneseInfluence #Architecture #MAXXIFoundation #BrionCemetery #CastelvecchioMuseum #Japonism #ArchitecturalHistory #CulturalExchange

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

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

Traditional Japanese design, known for its refined simplicity and natural material usage, has consistently influenced architectural trends globally. Contemporary interpretations often merge classic Japanese elements with modern aesthetics, sometimes blending with Scandinavian influences to create 'Japandi style.' This article highlights five homes featured in Architectural Digest that exemplify the fusion of traditional Japanese-inspired design with contemporary decor. The first example is a midcentury modern home in Dutchess County, New York, purchased by interior designer Brygida Michon and her husband. This 1960s residence, known as The Falls, captivated them with its abundant natural light, facilitated by floor-to-ceiling windows and numerous skylights. The home integrates various textures, including stone floors, cedarwood walls, and curved wooden beams. The couple preserved the home’s original architectural intent, focusing on furniture selections that complemented its existing design and harmonious connection to nature. Next, the article explores NBA star D’Angelo Russell's Minneapolis retreat, renovated by interior designer Tiffany Thompson of Duett Interiors. Russell desired a limited color palette, primarily black and white, inspiring Thompson to create contrasts using elements like a black Italian leather sectional and a cream-colored Flag Halyard chair. Cherry wood flooring unifies the space. Thompson drew inspiration from Japan's densely wooded island of Yakushima, aiming for an aesthetic balancing textures and incorporating shou sugi ban treatments, a Japanese principle embodying wabi-sabi through asymmetry, roughness, and simplicity. The design reflects a distinctive emotional response to the seasonal shift, creating a calm and seductive atmosphere. The third home featured is a California remodel with Japanese and Coloradan influences. Designer Momoko Morton Wong collaborated with her sister Aiko on transforming a 1950s property. The remodel involved reimagining the layout to suit a contemporary lifestyle, with shared spaces now occupying the larger side of the house and private areas on the smaller side. Asian influences, stemming from Aiko's time in Japan and Singapore, were integrated alongside elements from Colorado, such as stones, woods, and metals. The design prioritizes clean lines and a neutral color palette, harmonizing with the surrounding mountain views. Unique touches, like a playful wallpaper in the pantry, add unexpected joy. Another example is a brutalist abode in Houston, Texas, inspired by architect Tadao Ando. Architect Christopher Robertson and his wife, Vivi Nguyen, from Robertson Design, based their family home on Ando’s work, particularly his sequenced entries and concrete minimalism observed during a trip to Japan. The house comprises two stacked volumes, one in wood and one in concrete, featuring a processional entry through a rock-garden-style courtyard, reminiscent of traditional Japanese residential architecture. Despite a seemingly bunker-like concrete exterior, the interior is open and filled with diffused Texas sunlight through window walls and skylights, creating a sense of surprise. Finally, the article showcases a Pasadena indoor-outdoor oasis, a Buff & Hensman-designed home from 1976, belonging to architects Robin Nanney and Christopher Norman. This residence embodies Eastern-influenced modernism, with interiors featuring redwood, oakwood floors, and teakwood details. The home's structure and exterior present a slight roughness, contrasted with smooth and refined millwork. Japanese-style gardens, with gingko and Japanese maple trees, have been meticulously maintained since construction. The entrance, flanked by stained-glass windows, blurs the line between indoors and outdoors, offering an oasis-like transition into the home and fostering a sense of peace. #JapaneseDesign #ModernHomes #ArchitecturalDesign #InteriorDesign #JapandiStyle #NaturalMaterials #MidcenturyModern #IndoorOutdoorLiving #BrutalistArchitecture