The “Polyester Resin Polished Coating” technique, which was widely used in Karimoku furniture products from the 1980s to the early 1990s, was also used in the furniture and home objects designed by WAKA WAKA for “Survey 01: NEW TRADITION”
The opening of “Survey 01: NEW TRADITION” was held at the KARIMOKU RESEARCH CENTER in January 2025. Los Angeles-based design studio WAKA WAKA, and New York-based design studio Lichen, took on the theme of NEW TRADITION presenting their respective exhibitions in THE ARCHIVE and THE LIBRARY.
For a company with a long and rich history, what does ‘tradition’ mean to Karimoku Furniture, and how does this differ from KARIMOKU RESEARCH?
How should we honor and treat ‘tradition’ in a world that is constantly changing?
We spoke to Hiroshi Kato, Vice President of Karimoku Furniture and Creative Director of DCA SYMPHONY and KARIMOKU RESEARCH, Brad Holdgrafer, to find out.
The exhibition, “Survey 01: NEW TRADITION”, opened in January, so I’m curious to know how you both view the word ‘tradition’?
Hiroshi: That's a very deep question. First of all, I want to continue to cherish the values and identity of Karimoku Furniture without drastically changing them. For example, we love trees and forests, and keeping the forests in a healthy state is part of our work. Producing furniture in harmony with forest regeneration is a ‘tradition’ of Karimoku Furniture that we must vow to uphold.
On the other hand, the world is constantly changing, so we do need to constantly propose new ideas and to adapt. In other words, there are both aspects that we have to protect and aspects that we have to change. The same is true of tradition. That's why I really like the phrase NEW TRADITION. It really expresses our viewpoint.
Brad: I'm an American, so I'm looking at Japanese culture from the outside, and I find the nuanced differences between the Japanese and American concepts of ‘tradition’ really interesting.
In Japan, the word ‘tradition’ has a very sacred feeling, and there is a strong sense of respect for traditional crafts and culture. In America, on the other hand, the country's history is relatively new, so the word ‘tradition’ is used in a more casual way.
That’s why at KARIMOKU RESEARCH, we felt that we needed to carefully approach the theme of tradition from an outside perspective and bring a freshness to our approach.
Even in Japan, we often hear that traditional techniques and crafts are dying out. It’s not because they aren’t wonderful or beautiful, it’s simply because there are few opportunities to encounter them. That's why I want to create opportunities, like this exhibition, where we can discuss the theme of ‘tradition’ and help people to realize, “These are such interesting techniques! Can we use these to make something new?”
Can you tell us about any examples of encounters with traditional techniques that have led to new works?
Hiroshi: There are many! In fact, the chair I’m sitting on right now was created by an artist who rediscovered traditional techniques.
This special technique for creating a cracked-looking finish was developed about 20 to 25 years ago, but we didn't know how to use it in relation to furniture making, so it was left unused. Then one day, architect, Koichi Suzuno from TORAFU ARCHITECTS, found a sample of this finish and was really excited, saying, “This is amazing!”. He decided to use this coating on a chair he had designed called CAP Chair. The only problem was that no one knew how to make it. Although the samples were still around, the technique had been lost. So we contacted a craftsman who had already retired and asked for his help.
Brad: I think the metallic coating on the SEYUN series, which was created in collaboration with Zaha Hadid Design, also made use of traditional techniques.
What’s wonderful about the story with Koichi Suzuno is that, while the design of the CAP Chair that he originally brought in was very simple, when he came to the factory and tried out various combinations of “let's use this paint” and “let's match this fabric”, something completely new was created. I think that this is something that could only be achieved because of a place like KARIMOKU RESEARCH.
Innovation is a keyword that seems to be popping up a lot - when it comes to encouraging innovation, what things do you think you need to be conscious of?
Hiroshi: One of the KARIMOKU RESEARCH project members, architect Keiji Ashizawa, often says that if you try to separate the places where designers and creators work (“designers over here” and “creators over there”) then innovation is unlikely to occur. For this reason, at KARIMOKU RESEARCH, we try to bring the two together as close as possible.
Designers sometimes come up with very challenging ideas and when they say,“This is what I want!”, it can inspire the factory staff to try something new. It’s exactly these moments that are important for innovation.
Brad: I think that everyone's willingness to try and experiment is also opening the door for people with different lifestyles to create something new.
There are certain standards of beauty in the design industry as a whole and in the field of furniture. But the reality is that not everyone lives in the kind of aesthetically pleasing space you see in magazines. There are all kinds of different lifestyles.
We can't change those lifestyles themselves or the way people decorate their rooms. But we can change the quality of the furniture that is made. And one of the strengths of Karimoku Furniture is that we can make everything to the highest quality.
Even if many people feel that something is not to their taste, as long as it’s made using the highest level of craftsmanship, everyone will respect its quality. Because quality has universal value. That’s why at KARIMOKU RESEARCH, we invite a wide range of people to discuss things and try to realize their ideas with the highest possible quality so that we can observe people's diverse lifestyles.
Whilst we’re on the theme of tradition and innovation, how have you felt the domestic market has changed over the past 30 years? Is that also something that has influenced the conception of KARIMOKU RESEARCH?
Hiroshi: Yes, I think there have been some really big changes. First of all, the population in Japan is declining and the economy has been stagnant for a long time. As a result, more and more people don't want to spend much money on furniture, and the domestic furniture market has become extremely competitive.
On the other hand, fortunately, sales of our new brands such as Karimoku Case and Karimoku New Standard are going very well. This is because these brands have been highly valued in overseas markets, and in turn, many people in Japan have become interested in them.
We’re a Japanese company, and my grandfather founded Karimoku Furniture with the desire to enrich the lives of Japanese people, who had been losing hope after everything was destroyed after the Second World War. Therefore, the domestic market is absolutely vital. However, in order to revitalize the domestic market, we need to incorporate new perspectives and ideas from around the world and take on new initiatives at a different speed than before.
Brad: When I first came to Japan, the birth rate was already rapidly declining. The tone of the people around me when they talked about it was pessimistic, with comments like, “The birth rate is declining, so there's no hope for Japan's future”.
However, although the number of children may be lower than in the past, they certainly exist, and they will be the ones to take on the future. That's why I think it's important to increase the opportunities for children to come into contact with things like design and art.
I believe that if children are exposed to design, art, and creativity from a young age, they will be able to acquire the ability to redesign the world more freely. And if children can express their creativity, the communities around them and the world as a whole will become even more wonderful than they are now. Because the world we live in is also something that the people of the generation above us have created.
This is also an important theme for KARIMOKU RESEARCH. So don't be surprised if we come up with a survey on the theme of 'children' in the near future.
Thank you both for your time! Is there anything you would like to say to the readers of this article?
Hiroshi: What I want to say is simple: please come and visit the KARIMOKU RESEARCH CENTER. I would like to call the people who come here my friends, and at KARIMOKU RESEARCH there are no barriers or restrictions, and we always welcome ideas from our friends in an open and genuine way.
So, please feel free to come and talk to us or play with the wood or materials here. You can experience everything about Karimoku Furniture here, including information about our technology and products, and our values, so I think you will definitely be able to find something you are looking for. We're waiting for you!
Brad: “Finding something you're looking for” is a wonderful way of thinking. But if you come here and don't find what you're looking for, that's even better! Because our goal is to create something new for you or with you.
If you feel that “this chair doesn't quite suit me...”, please tell us about your thoughts and your lifestyle. And then, maybe we can create something new. Together.
