The lightness like winds flowing

Kengo Kuma

Furniture does not have much of a presence within traditional Japanese architecture. In the Western world, furniture frequently plays the starring role, but in contrast, Japanese furniture is extremely understated. It was long thought that this understatement was related to the traditional Japanese practice of sitting directly on tatami matting. Since Japanese people traditionally sat either directly on tatami matting or on thin cushions called zabuton, chairs were not necessary to begin with. The tables used for meals were mainly small, single-person tray-like tables called meimeizen. These tables were more an extension of trays than actual furniture and were extremely delicate.

I believe that this uniquely Japanese stance towards furniture is, in fact, not due solely to the traditional practice of sitting on the floor; rather, it also stems from the transparent nature of traditional Japanese architecture. In Japan, heavy walls are abhorred; roofs are supported by slim pillars underneath which spreads a transparent single-room space. In traditional houses, walls do not separate the interior from the exterior; rather, there are only paper-covered sliding windows called shoji, and these were often left open. Similarly, the partitions between rooms walls are avoided and thin sliding doors are used in their stead to separate spaces. Bringing large furniture with a strong presence into transparent spaces such as these would ruin the carefully crafted transparency and excellent ventilation. Based on this thinking, Japanese people have traditionally sought sophisticated designs that minimize the size of furniture and create pieces that are as delicate as possible.

My objective is to design modern furniture as an extension of these innovations in traditional Japanese furniture that have been honed over the centuries. This is because I believe that people today need furniture of this nature and modern transparent spaces. Specifically, I glean many hints from zabuton. The basis for zabuton is sewing two pieces of cloth together and then placing a thin cushion inside, and the edge is narrow, like a fine line. This edge design enables the zabuton to merge with the space, allowing air to flow over it. In the same way, I also want tables and chairs to be light and delicate like meimeizen. Such elegant pieces are content to play a supporting role and never attempt to steal the spotlight. The starring roles are performed by our human bodies or by the food or drinks we place on the table. To respect and complement these living entities, I want furniture to be as understated as possible.