Interviews met Hitoshi Motomura

I entered art college because I learned about the field of design and wanted to be a designer.

We are an interior design firm located in Ginza, Tokyo, Japan. My main work is interior design for restaurants and commercial facilities.

I think it is the first priority among many things. A necessary element in choosing something.

I like simple furniture. I especially like chairs.

I especially like Mario Bellini's cab. I think the design is simple and sophisticated, and the curves that can be seen in the details and the sharp silhouette that makes use of the material of leather are wonderful.

Office layout and big table

When thinking about a flat layout

To discover a line that kills two birds with one stone.

Fun and uplifting.

I think it is most enjoyable when it is completed in my imagination, just before it is realized.

One stroke and contemplation

I think it is important to see if the design can retain its beauty. I think a design that breaks or gets dirty easily is not good.

To show that sensitivity is essential to the essence of the words functional and efficient.

I believe that we are constantly evolving. The finished products around us are becoming simpler, yet more complex in function. I don't think that pursuit will ever stop.

We do not hold exhibitions.

Most of the inspiration comes from the words of the client, "This is what I want to do.

The design emphasizes simplicity and ease of use. This design style is brushed up by solving various problems.

I live in Tokyo. Cons are that it is a city of miscellaneous, mass consumption, and scrap-and-build. Pros are that there is still a spirit of tradition and design that lives on in the new.

I am willing to cooperate generously if requested.

I feel that companies are ordering too much and as a result, only the same things are being made. I think we can do a good job with designers by making the direction of the companies as clear as the choice of designers.

There is nothing set in stone.

MODE (armchair we made this time), i phone, Alfa Romeo MITO, ruler, thermal cup

Be humble and don't listen to design stories told by older designers.

The good thing is that I can see things from different angles. The bad part is that I stick to what I like.

To be less line and more selective.

The ability to see and feel.

Paper and pen. mac and vector works.

When we design as a team, we divide the roles.

1 to 3 months

Why did you become a designer?

To have designed a bar as one designer for the first time.

Restaurant owner, construction company

Stand lights, light fixtures

Because they are important elements that set the mood of the space.

I want to do more product design as well as interior design.

Develop by myself or work in a team.

I have, but I will keep it to myself.

Email me(in English), call me (in Japanese only).

This design was created using lines that have been simplified to the absolute minimum—sensual lines that would be impossible to achieve through mass-production perspectives and manufacturing methods.The result is a piece that is modern yet possesses a classic feel or touch.It blends seamlessly into a variety of spaces, and I believe you’ll see why when you view the perspective renderings showing it placed in simulated environments.

METAL is an effective material for achieving compactness and lightness. In contrast, WOOD offers an organic and natural alternative.We initially produced the product with a wooden shell, but it was angular and heavy. (See photo.)The alternative material is an aluminum shell with a three-dimensional wood grain print.Although it is expensive, we were able to round the corners, which not only reduced the weight but also improved safety and durability.

When designing restaurants in central Tokyo, I often found that the minimum width for a two-person table was 600 millimeters.Based on my experience, the optimal arrangement for chairs and tables is for the chair width to be narrower than the table width; this also looks more visually appealing.The number of seats in a restaurant is a crucial factor for business operations, especially in smaller establishments.　Standard wooden armchairs are typically over 65 centimeters wide, which is inefficient and makes them heavy.Furthermore, ordinary armless chairs fail to convey a sense of luxury or privacy. They also leave the diner’s feet too exposed when viewed from the side.Napkins slide onto the floor, and there’s no place to set down a small bag.In Tokyo, the reality is that we must constantly seek ways to create a space where people can relax, even in spaces that are by no means spacious.Chairs play a major role in achieving this.

For this design, we sought the cooperation of Japanese chair designers. We designed the fabric portion to be rounded so that it comes into contact with the user’s arms before the aluminum shell does, while also providing a certain degree of softness. Meticulous attention to detail has been paid to ensure that even these small curves provide a sense of comfort.

In my day-to-day interior design work, I don’t usually design chairs.While I design tables, bench sofas, and stools, chairs are a distinct design category.However, I’ve always been very interested in them, and selecting chairs has been one of my favorite parts of interior design. Through my work on numerous retail store designs, I’ve remained convinced that this concept is effective.What ultimately made this project possible was the fact that my workload decreased during the COVID-19 pandemic, giving me more free time.It was around that time that I learned about the A Design Award.

This frame combines structural integrity with armrest functionality. The frame’s design makes the legs appear long and sleek.The legs are composed of a single, continuous rectangular tube. While standard chairs typically feature a reinforcing frame near or beneath the seat, this chair does not. It is there, but it is virtually invisible.These long legs contribute to the chair’s distinctive style, making the shell appear to float.We did not resort to the common design tactic of simply raising the seat height to make the legs appear longer in order to enhance the chair’s aesthetic appeal.

To put it simply, I approached two companies—one specializing in cutting-edge laser technology andthe other in traditional craftsmanship—and commissioned them to produce the piece. I sent a prototype of the shell to an upholstery company for their approval, and I’d say we managed to create a perfect marriage of the two?

To be honest, I’m not sure exactly how well we can meet consumer needs.However, by combining the three elements—shell, upholstery, and frame—and adjusting the size, we can create a wide range of variations.In terms of virtual designs, we can even create everything from armchairs to high-counter chairs.Please take a look at the attached images. There are truly countless variations possible.

We enlisted the help of two companies in Japan’s interior design industry that specialize in high-precision metal panel fabrication. The aluminum panels were wood-grain aluminum panels—a new product at the time—manufactured using one company’s proprietary technology. While their aesthetic appeal is a key feature, their light weight and durability are also important factors.We then approached another company with expertise in laser cutting and bending to discuss whether they could fabricate the panels.As you can see in the photo, we were ultimately able to make it happen.

I believe this creates a new dimension for chairs.Take, for example, the kind of cramped urban restaurant I mentioned earlier.Similarly, there are spaces where floor area is limited but operators still want to stand out—such as high-end brand stores for brief customer interactions or waiting areas. There aren’t many chairs on the market that are suitable for seating guests when there’s no time or resources to guide them to a larger space.I imagine this product could make inroads into such niche applications.