Cornice Stacking Stools Echo the Beauty of Japanese Shrines

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

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

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 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

Ryo Kan MX, a boutique hotel in Mexico City, offers a tranquil escape designed to emulate traditional Japanese countryside inns, known as ryokans. Situated near one of Mexico City’s prominent avenues, this establishment distinguishes itself with its serene atmosphere and unique architectural and interior design. The hotel features an origami-inspired sculptural facade and houses only 10 rooms, each embodying a blend of Japanese aesthetics and Mexican craftsmanship. The design of Ryo Kan MX was spearheaded by architect Regina Galvanduque of GLVDK Studio, who oversaw not only the architectural framework but also the interior decor, art selection, branding, and even the tableware. The overarching design philosophy emphasizes the integration of Japanese hospitality principles with local Mexican materials and contemporary technology. Throughout the hotel, a commitment to locally sourced materials and textures is evident, coupled with styling that draws heavily from Japanese design traditions. Collaborations with local designers and artisans were crucial in developing and selecting furnishings that reflect this fusion. The hotel’s design is rich in sensory details, incorporating handmade crafts such as ceramics and textiles throughout the property. The light-filled welcome area provides an inviting space with an open library, comfortable seating, and a zen garden, establishing a calm ambiance upon arrival. This zen garden, located at the core of the ryokan, is specifically designed to create a dialogue between Eastern and Western influences, and traditional versus contemporary styles. Each of the ten guest rooms is named after a Japanese number and is conceived to mirror traditional ryokan spaces while incorporating modern automated conveniences. Features like automated lighting, controllable via the hotel’s in-house app, enhance guest comfort. Some of the more spacious tatami bedrooms offer views of the interior garden, a mini-bar, and an independent lounge area within their 225 square feet. The rooms are further customized with locally sourced materials like bejuco, a vine used in Mayan architecture, alongside terrazzo and oak, adding a distinct local flavor to the Japanese-inspired decor. Sliding modular doors, reminiscent of traditional Japanese shoji screens, are also a prominent feature. Ryo Kan MX aims to introduce the concept of 'mindful hospitality' to Mexico City, aligning with Japanese cultural values such as simplicity, reverence for nature, appreciation for local natural materials, and community. The hotel staff articulate that this approach combines these values with a meticulous service style, fostering a new perspective on responsible tourism through a blend of Japanese and Mexican cultures. The intention is to redefine the standards for small lodges within a large metropolitan area. A highlight of the hotel is its rooftop deck, which offers four private onsen baths providing panoramic city views, further enhancing the tranquil and luxurious experience. #JapaneseDesign #MexicanCraftsmanship #BoutiqueHotel #MindfulHospitality #ZenGarden #TatamiRooms #OnsenBaths #ArchitecturalDesign #InteriorDesign

The architectural practice 2m26 has designed a timber sheep pen named Hitsujigoya, located in Kyoto, Japan. This structure features a thick thatched roof adorned with purple iris flowers and serves as a gatehouse to separate male and female sheep within a field, offering covered resting areas on both sides. The design emphasizes the use of natural materials and traditional construction methods, aligning with the firm's experimental approach to architecture. Hitsujigoya is constructed primarily from local cypress logs, which were hand-assembled using traditional Japanese joinery techniques. These logs are set upon stone foundations, ensuring a robust yet natural base. The roof is a significant element, crafted using a traditional method involving layers of rice straw applied to bamboo nets, further covered with cedar leaves, cedar bark, and soil. This layered approach not only provides insulation and protection but also ensures the structure's eventual return to nature if not maintained. A notable and distinctive feature of the Hitsujigoya's roof is the inclusion of Japanese roof irises at its apex. This design choice is a nod to historical practices in Japan, France, and China, where irises were traditionally grown on thatched roofs. These flowers are believed to have been used to prevent leaks, with their extensive root systems helping to bind the roof materials together. For 2m26, a practice founded by French architects Mélanie Heresbach and Sébastien Renauld working in Japan, this detail also symbolizes a cultural connection between their two backgrounds. The project reflects 2m26's broader philosophy of using locally sourced materials and traditional techniques that minimize environmental impact. The architects explicitly stated their intention for the building to naturally decompose and return to the earth if human intervention ceased, highlighting a commitment to sustainability and a deep respect for the surrounding landscape. The only non-natural element used in the construction is a hinge, which was custom-ordered from a local blacksmith, further emphasizing the reliance on traditional craftsmanship and local resources. This project is consistent with 2m26's previous works, which similarly explore the integration of traditional Japanese materials and construction methods into contemporary design. Examples include a mobile ramen restaurant that draws inspiration from traditional Japanese food carts and a chicken coop designed with references to Japanese shrines. These projects demonstrate the practice's ongoing dedication to creating structures that are contextually relevant, environmentally conscious, and culturally resonant, while also pushing the boundaries of architectural experimentation with natural forms and materials. #Japan #Wood #Animals #Kyoto #Huts #WoodenArchitecture #2m26

Seoul, designated as World Design Capital 2010, is showcasing its commitment to design through various ambitious architectural projects and exhibitions. Among these, Tokujin Yoshioka's "Spectrum" show at the Museum Beyond Museum stands out. Yoshioka, a Japanese designer, views design as an experiential rather than a purely creative process, and his works often possess an ethereal quality. His installation for Kartell at Salone del Mobile and his "Tornado" creation for Design Miami in 2007 exemplify this unique approach. The current exhibition features a nine-meter-tall window composed of 500 crystal prisms, titled 'Rainbow Church,' which is a central and awe-inspiring piece. This project was inspired by Yoshioka's visit to Henri Matisse's Chepelle du Rosaire in his early twenties, where he was deeply affected by the vibrant light filtering through Matisse's stained glass. This experience sparked his long-held dream of designing architecture that allows individuals to perceive light with all their senses. The exhibition also highlights some of Yoshioka's significant works from the past decade. These include the innovative "Venus" chair, which was cultivated from crystals within an aquarium, and the "Honey-pop" chair, a honeycomb-like structure crafted from sheets of glassine paper. A previously unseen piece, "Waterfall," is also on display. This counter table is fashioned from a massive glass block, similar to those used in giant observatory telescopes, and was originally created for a private gallery in Tokyo in 2006. Its appearance evokes that of a colossal ice block. Yoshioka's work consistently aims to engage all senses, offering an immersive experience for viewers rather than a passive observation. The "Spectrum" show in Seoul continues this tradition, inviting visitors to deeply interact with his designs and the unique way he interprets and utilizes light and materials. The exhibition is hosted at the Museum Beyond Museum in Gangnam-gu Chungdam-dong, Seoul, South Korea. #TokujinYoshioka #SeoulDesign #MuseumBeyondMuseum #DesignExhibition #CrystalPrisms #RainbowChurch #VenusChair #WaterfallDesign #JapaneseDesign

Empty or bland corners in a home can be transformed into aesthetically pleasing and purposeful spaces. Instead of filling these nooks with random items, a bit of intentional planning and decoration can enhance the entire interior. The first step involves envisioning the desired function and style for the corner, whether it's for a houseplant, a light, or a seating arrangement. The goal is to turn an unused corner into a visually appealing and functional statement within the room. One effective way to decorate a corner is by adding the right plant. The choice of plant should align with one's watering habits and the specific corner's needs. For those who tend to underwater, snake plants, cacti, and philodendrons are ideal due to their low water requirements. Conversely, over-waterers might consider ferns, peace lilies, or elephant ear plants, which thrive with more moisture. Smaller plants like potted pothos, coin plants, or English ivy can adorn shelves. Introducing greenery can significantly liven up any corner of the house. Accent stools offer versatility in corner decoration. Rather than standard counter stools, taller and more slender accent stools can serve as decorative elements or small tables. These can be used to display small decor items, picture frames, or stacks of books. Selecting a stool under 20 inches in height ensures it functions as an accessory table without occupying excessive space, making it perfect for bedrooms, living rooms, bathrooms, or hallways due to its narrow silhouette. A vertical gallery wall is another option for transforming an empty corner. By arranging a collection of framed art and photographs on both walls meeting at the corner, one can draw attention to this often-overlooked area. The key is to plan a layout with a common theme, mixing colors, art, and personal photos for an authentic and cohesive display. Consistency in frame color can create a uniformed look, or a mix of contrasting elements can add interest. Floor lamps are not only functional for illumination but also serve as stylish decorative pieces. When choosing a floor lamp for a corner, consider its primary purpose—task lighting or ambiance—to guide design choices. Lamps with unique structures, such as arched designs, sculptural forms, or streamlined silhouettes, can act as illuminating sculptures that match the room's aesthetic, whether traditional, contemporary, or boho chic. Pedestal tables, with their dainty yet functional design, can add pizzazz to a corner. These small tables are perfect for holding small decor, a vase of flowers, or other visually interesting items. A circular tabletop is particularly effective in corners as its rounded edge introduces movement and avoids sharp angles. Smaller circumference tables, like those under a foot in diameter, fit well without obstructing flow. Decor on these tables can be easily updated seasonally to refresh the corner's look. Installing corner shelves is an excellent way to decorate without occupying floor space. Floating or hanging shelves provide a platform for displaying collectibles, figurines, seasonal decorations, and personal photos. Geometric or custom-designed corner shelves can create a focal point. Proper placement at eye level ensures all displayed items are visible and appreciated. These shelves keep clutter off the floor while allowing small decor to shine. For a dramatic effect, leaning a large mirror in a corner can add depth and openness to a space, especially beneficial in smaller rooms or apartments. Mirrors with detailed framing can instantly elevate a bland corner. Whether an arched, modern mirror or a vintage-inspired piece, a large floor-length mirror (typically 48 inches or taller) reflects the interior, enhancing its perceived size and style. Adding an accent chair to a corner, if space permits, introduces additional seating and serves as a decorative statement. Accent chairs offer high functionality, acting as an extra seat, a potential table, or a footrest. Choosing a chair with a pattern in complementary colors can integrate seamlessly into the existing color palette, introducing a missing element to the room's design formula, whether it's floral, solid, or striped. Creating a corner feature wall using wallpaper or millwork can make an impactful statement. Peel-and-stick wallpaper offers an easy way to elevate a space without permanent commitment. Instead of covering an entire accent wall, focusing on the corner walls allows for a unique design. Ensuring the wallpaper is level and matching the pattern at the edges creates a stunning feature. Millwork, adhered with glue or nails, also provides a trendy and impactful corner transformation. An open bookcase provides a see-through option that prevents the corner from feeling smaller or enclosed. Ladder-style bookcases, visible from different angles, allow decor to be showcased effectively. The open structure helps balance positive and negative space, giving the appearance of more room. This offers a decorative touch without being bulky, ensuring the corner remains airy and visually accessible. Finally, designating a place for blankets and baskets offers both functionality and style. Blanket ladders keep throws and quilts tidy and within reach, acting as a decorative element. Woven baskets made from natural materials like seagrass, hyacinth, wicker, or rattan, or those made of cotton or wire in neutral tones, can fit into most interior styles and provide storage. Both options help organize and decorate the corner simultaneously. For a unique touch, a tiered bar cart transformed into a coffee station with mugs, espresso cups, and stirrers can be a stylish addition to a corner near the kitchen or living room. These diverse strategies demonstrate that every corner, regardless of size, offers an opportunity for chic and thoughtful decoration. #HomeDecor #CornerDecoration #InteriorDesign #AccentFurniture #Houseplants #GalleryWall #FloorLamps #PedestalTables #CornerShelves #DecorativeMirrors #AccentChairs #FeatureWalls #StorageSolutions #CoffeeStation

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

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

This project details the construction of a compact office building situated within a residential area in Kitakyushu, Japan. The primary occupant is Ecoplan Corporation, a company specializing in wildlife and vegetation studies. The architectural design, a collaboration between Furumori Koichi architectural design studio and Daiju Kuwahara, was completed in 2024 and spans an area of 444 square meters. Kyoko Omori provided the photographic documentation for the project. The lead architectural team included Koichi Furumori, Kohei Hashisako, and Kenichi Anai, with Daiju Kuwahara also playing a key role. Structural engineering was handled by Kenichiro Takashima, while Tomohiro Urata was responsible for the landscape architecture. Azuma Kensetsu served as the general contractor for the construction. The project integrates into a residential neighborhood, emphasizing a design that harmonizes with its surroundings. The choice of Ecoplan Corporation as the tenant suggests a focus on environmental considerations, potentially influencing material selection and design elements. The building’s modest size indicates a tailored approach to meet the specific needs of the company, rather than a large-scale commercial development. The involvement of multiple specialists, including structural engineers and landscape architects, highlights a comprehensive design and construction process, ensuring both structural integrity and aesthetic integration with the site's natural elements. The architecture likely considers aspects such as natural light, ventilation, and material sustainability, given the tenant's focus on environmental research. Photographs by Kyoko Omori capture various aspects of the building, including interior spaces, exterior views, and possibly details of material use. The images, which include wood and glass elements, suggest a design that incorporates natural materials and maximizes transparency to foster a connection with the outdoors. The mention of beams in some image descriptions indicates structural expression within the interior, contributing to the overall aesthetic. Aerial views and cityscape images would provide context regarding the building's placement within Kitakyushu’s urban fabric and its relationship to the broader environment. Key design features potentially include a thoughtful integration of wood, which can offer warmth and a natural feel to the office environment. Glass components would allow for ample natural light, reducing reliance on artificial lighting and enhancing the working atmosphere. The phrase "Office in the Breeze" in the title hints at a design that facilitates natural airflow and promotes a comfortable indoor climate. This could involve strategically placed windows, balconies, or other architectural elements designed to harness prevailing winds. The building's category as "Commercial Architecture" within a residential context suggests a nuanced approach to zoning and community integration, possibly requiring sensitive design choices to blend functionality with neighborhood character. The collaboration between two design studios implies a rich exchange of ideas and expertise, likely leading to an innovative and well-considered architectural solution. The project serves as an example of contemporary commercial architecture in Japan, demonstrating how design can respond to both client needs and environmental considerations within a specific urban setting. The area of 444 square meters signifies a mid-sized project that allows for detailed attention to both functional layout and aesthetic quality, potentially incorporating flexible workspaces to support Ecoplan Corporation’s research activities. #CommercialArchitecture #JapaneseArchitecture #Kitakyushu #OfficeDesign #WoodArchitecture #GlassArchitecture #EnvironmentalDesign #KyokoOmori

This article showcases ten diverse home interiors that feature window seats, emphasizing their dual functionality as comfortable nooks for relaxation and efficient storage solutions. The selection highlights various design approaches, materials, and settings, illustrating how window seats can be integrated into different architectural styles and personal preferences. The featured projects demonstrate a range of materials used for window seats, including blackened wood, natural wood, concrete, and birch plywood. Each example presents a unique aesthetic and practical application. For instance, the Burnt House in the UK, designed by Will Gamble Architects, incorporates a blackened-wood window seat inspired by Japanese architecture, complementing black steel-framed windows and a mid-century modern rattan chair. This design choice not only provides seating but also integrates with the home's distinctive style. CLB Architects' Wyoming residence positions a built-in wooden window seat to offer views of the Teton mountain range, pairing it with a nearby bookshelf to create an ideal reading spot. In contrast, Graux & Baeyens' 1960s chalet in Belgium uses a concrete base for its window seat, softened with animal hides, allowing residents to enjoy the surrounding countryside. Jordi Hidalgo Tané's Landaburu Borda extension in Spain features a deep concrete window sill in the kitchen, serving as both a seating area and a space for potted plants, blending utility with natural elements. Ström Architects' Woodpeckers project in the UK utilizes an elegant concrete window seat in a larch and glass holiday home, connecting the interior with its scenic outdoor environment. The seat is adorned with terracotta-colored cushions and a Josef Frank design pillow, adding a touch of color and whimsy. Nilsson Pflugfelder's House R in Cambridge, UK, includes a large window seat in the kitchen and dining area, deep enough for two people and offering views of a walled garden. This prefabricated wooden house thoughtfully places windows to maintain privacy while maximizing natural light and views. Dash Marshall's Tribeca home in New York incorporates a wooden window seat in a quiet living room corner, functioning as both a plant shelf and a reading nook, contributing to the home's aesthetic featuring dark wood and green plants. Jan Henrik Jansen's Birkedal in Denmark features a rounded window seat in a log-covered holiday home, enhanced with a fluffy fur throw and linen textiles. The design, including a pebble-covered floor, aims to immerse visitors in the rural Danish landscape. Mustard Architects' Nook House in London includes a concrete window seat in the kitchen, with hidden storage drawers underneath and space for cookbooks, combining seating with practical storage. Finally, Atelier 111 Architekti's Prague flat renovation adds built-in birch plywood shelving and a daybed around a window, creating a cozy, enclosed space that effectively functions as a sofa with integrated storage. These examples collectively illustrate how window seats are versatile design elements that can enhance comfort, functionality, and aesthetic appeal in various residential settings. #WindowSeats #InteriorDesign #HomeDecor #ArchitecturalDesign #ResidentialInteriors #SpaceSavingSolutions #ModernHomes #CozyNooks #DesignInspiration

Case Real, a Fukuoka prefecture-based design and architecture firm, has undertaken a partial renovation of the Yamaguchi Sake Brewery in Kurume city, Japan. The project involved updating a traditional cedar-beam property, originally constructed in the early 1800s by the Yamaguchi family ancestors. Designers Koichi Futatusmata and Koichi Shimohira were responsible for infusing contemporary architectural thought into the historic site. The core of the renovation addressed the client's desire to effectively utilize the courtyard situated between the aged main house and a warehouse on the same premise, while ensuring continuity between the two structures. To achieve this, Case Real connected the buildings with a washed-finished cement floor and a stair. Additionally, large openings in the lounge space of the main house were re-arranged to foster a closer connection between the two previously distinct areas. The design facilitates the delicate sake brewing process, which requires gentle handling of rice milling and precise humidity levels in the rooms. The newly created connective courtyard allows for a more comfortable flow of this intricate process. A key feature of the renovation is the secret garden, intentionally sparsely ornamented with slim native trees and anchored by off-white pebbles. This garden is designed to provide a distinct and meditative area, offering brewers a serene space to unwind during their shifts. In conjunction with the garden, a new, dedicated lounge space was created. This lounge is conceptualized as a zen environment that respects the brewery's historical roots while embracing a contemporary outlook. The walls within this space are rendered in modern sweet-chestnut shades, and vast windows are strategically placed to maximize natural light. The flooring incorporates characterful, polished stone, referencing the structure's early days. Overhead, the original cedar beams remain sturdy, serving as a constant reminder of the Yamaguchi family’s long-standing heritage in sake brewing. Case Real has a history of designing functional workspaces that prioritize employee freedom and creativity, as seen in their previous projects such as a Japanese storehouse live-work conversion and minimalist designs for brands like Aesop. This renovation of the Yamaguchi Sake Brewery continues that tradition, blending historical preservation with modern functionality and a tranquil aesthetic. The project exemplifies a harmonious integration of old and new, creating a refreshed environment that supports both the traditional craft of sake brewing and the well-being of its practitioners. #JapaneseArchitecture #SakeBrewery #MinimalistDesign #SecretGarden #ArchitecturalRenovation #WorkspaceDesign #TraditionalCraft #ZenDesign #CaseReal

AD50 architect Bijoy Jain, renowned for his ability to craft enduring structures from humble materials, has translated his signature aesthetic into a captivating furniture collection for Brussels-based studio MANIERA. This collaboration invited architects to design bespoke furniture pieces, with Studio Mumbai being selected for this year's edition. The resulting series features four meticulously hand-crafted collections, all produced in the firm's Mumbai-based workshop, demonstrating how an architect can effectively downsize their grand vision to create smaller, yet equally impactful, fragments. One of the collections, 'Brick Studies,' makes an elegant statement using the ubiquitous brick. Miniature bricks were baked directly in the studio and then carefully glued together to form the backrests of simply constructed stools and benches. These seating pieces are offered with either a rosewood or marble base. The unique quality of the 'Brick Studies' seats lies in their ability to reflect the individual skill of both their maker and their creator, emphasizing the handmade aspect of each piece. The 'Illumination Studies' collection draws inspiration from the Tazia, a ceremonial object used in India during Muharram. Traditionally, Tazias are models of monuments crafted from bamboo sticks and cotton strings, then covered with river-mud and 'carved' paper, carried on shoulders in processions. Studio Mumbai reimagined this cultural object as a light fixture, albeit one without a conventional bulb. The almost 3-foot-high objects are fashioned from slender bamboo sticks tied together with pink silk threads and adorned with gold leaf, transforming a traditional symbol into a contemporary design element. 'Charpai Studies' reinterprets the archetypal Indian daybed, or charpoy, a common fixture in many homes, into a contemporary rosewood folding chair. The decision to evolve the charpoy into a chair was influenced by Bijoy Jain's recollection of Gio Ponti's Superleggera chair while working on the design. This collection also includes a one-seater variation. Ropes play a crucial role in these pieces, not only holding the construction together but also serving as the seat and backrest, highlighting a minimalist and functional design approach. Finally, 'Landscape Studies' is a nature-inspired collection that draws from India's agrarian landscape. This collection features two abstract pieces created using papier mâché, bitumen, and cow dung. These materials are further treated with body wax and rubbed with coal. The culmination of this unique material combination and process results in abstract forms that deliberately avoid any specific geometry, instead embodying the organic and unrefined beauty of natural landscapes. This collection showcases Jain's ability to imbue furniture with a sense of place and natural texture, reflecting his deep connection to material and context. #BijoyJain #StudioMumbai #MANIERA #FurnitureDesign #HandcraftedFurniture #ArchitecturalDesign #IndianDesign #MaterialInnovation #AD50Architect

Industrial designer Keiji Takeuchi, based in Milan, has introduced a new line of pendant lamps named Lacquer, which draw inspiration from traditional Japanese lacquer bowls. These lamps, despite their contemporary release, possess a timeless aesthetic that could easily be mistaken for classic designs from the 1970s. The initial concept for the collection originated from Takeuchi's visualization of a Japanese lacquer bowl suspended upside down from the ceiling. This foundational idea led to the development of a small-sized pendant lamp, which subsequently expanded into a comprehensive collection featuring several larger variations. A key design element highlighted by Takeuchi is the intricate detail incorporated into the light diffuser. This component was meticulously crafted with a concave contour. This specific shaping ensures that the diffuser remains concealed within the lampshade when viewed from certain angles, maintaining the clean lines and aesthetic integrity of the design. Beyond its discreet appearance, this concave diffuser also serves a functional purpose: it effectively broadens the light distribution, spreading illumination across an impressive 180-degree wide angle. This thoughtful integration of form and function enhances both the visual appeal and practical utility of the lamps. The Lacquer collection is currently being manufactured and distributed by Nine Furniture, a European design brand. This collaboration brings Takeuchi's vision to a broader market, offering consumers a lighting solution that marries traditional Japanese artistry with modern industrial design principles. The emphasis on subtle details, such as the hidden yet highly functional diffuser, underscores a design philosophy that values both aesthetic beauty and innovative engineering. The overall impression is one of refined simplicity, where every element contributes to a cohesive and effective lighting fixture. The lamps reflect a blend of cultural heritage and contemporary design, making them versatile additions to various interior spaces. The collection is designed to provide both direct and ambient lighting, suitable for diverse residential and commercial applications. The production process by Nine Furniture ensures high-quality craftsmanship and adherence to the original design intent, making these lamps a notable addition to the modern lighting market. #PendantLamps #KeijiTakeuchi #JapaneseDesign #IndustrialDesign #LightingDesign #NineFurniture #HomeLighting #ModernDesign #DesignInnovation