With so many definitions of good chairs, a lightweight chair is one of the answers we sought this time. The chair is so light that anyone can lift it with one hand to move it from room to room or upstairs without any trouble. The chair has a quiet look and exudes a spruce presence.
Silence and simplicity are Japan’s forte, which creates value. The chair is inconspicuousness without embellishments but inspires thoughts of the dignity that can only dwell in the craftwork carefully fashioned by hand with attention to detail.
To add resonance to the quiet appearance that reflects a sense of Japanese spirituality, we made a bold attempt to reduce the thickness of the frames and other components of the overall structure as much as possible. To compensate for thinner components, the design incorporates the structure of traditional Japanese architecture and traditional Windsor chairs to provide the necessary strength. After forming the components into rough shapes, a special tool called the Nanjing plate is used in most processes to shape each component from the rear legs and the back column to the front legs using the hands of skilled craftsmen to finish the chair. Not all craftsmen are capable of this process while identifying the individual characteristics of the wood — a specialist smooths out each joint by hand to finish all components. This process completes the chair that embraces a sense of dignity.
What we wanted for this chair was to trim the weight yet maintain its strength, which is contradictory, with the aim of seeking the best of both worlds. For that, the chair conforms to the traditional pattern of jabbing bars with Nuki joints that connect the four legs into each leg. The chair uses joints for interlacing and unifying the main seat frame with the legs without using a corner block at the back of the seat to add strength as with regular chairs. The Nuki joints are employed to distribute the force to the slim legs with the proper balance and maintain strength. Another element where we paid extra attention was to complete the back of the chair with a sense of smooth unity. Instead of focusing on the visible parts, we made the less visible back of the seat beautiful by embracing the combination of its high-quality appearance with painstaking craftsmanship and a unified look.
For walnut, our uniquely developed beeswax, which is a mixture of preservative-free sunflower oil from Hokkaido and high-quality domestic beeswax is applied as a finishing touch. This has the effect of adding depth to the color of the wood with beautiful changes.
By sharing the long history and design of furniture and chairs around the world, our important mission is to know the significance of creating chairs and furniture and what we can do in the country. Standing before numerous chairs created around the world, we concluded that if we create chairs to release the aromatic elements in the context of Japan’s unique sensitivity, perspective on beauty, spirituality, and techniques, as well as Japan’s cultural background of influences from China, South Korea, and other Asian nations, then the new proposal is for a major theme of universal chairs.
Item No. I-281
Item No. I-282