Interview with SEIJI KUMAMOTO / design ground 55 —part 2
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the most important thing is comfortableness and customer experience
— Seiji Kumamoto / design ground 55
photography : Daisuke Shima
words : Reiji Yamakura/IDREIT
continue from part 1
SHUHARI Kuromon was designed by design ground 55, four years after their Dojima branch. Based on the concept using original elements as much as possible, they use original ceiling panel after cleaned and fixed.
Collaborate with an architect, they started with structural reinforcement. (photography: design ground 55)
— Next, please tell us about the ‘SHUHARI Kuromon’ that opened four years after the Dojima branch. Was the site decided at the time of the offer?
For the Kuromon branch, I went to find the site together. We found an old building that was a tatami store before, and we started structural reinforcement with the architect. The house was very damaged, and a part of the house leans to one side, but we had the policy to keep it as much as possible. We made an effort and made full use of the existing part.
As a result, we managed to create a unique atmosphere that is not in new buildings. We removed the ceiling panel, washed, reinforced, and returned to its original position. Also, for the structural materials which needed to replace, we looked for reused wooden beams that fit the old building and installed them.
— It takes a lot of time and effort. What is the colourful material used for the partition besides the long table?
It is a copper plate that naturally changed its color over time without colouring. It was cut and opened over 100 years old rain gutter and showed its inside. For the communal table in the center, we used reclaimed timber with grain patterns without smoothing the surface. The owner and I traveled far away to find antique materials and potteries. Actually, it was the second restaurant after the Dojima branch, so the owner and I put our heart into finding the best design and materials to make it even better than the first one.
For the partition wall, antique copper plates are installed like a wallpaper. Originally the copper was used as a rain gutter in old buildings. The designer used the copper plates inside out to show the beautiful patina.
Rough reclaimed timbers was used for the countertop. They kept the rough surface without planing to show the aged grain pattern.
— Like the Dojima branch, this restaurant also has a moss garden.
For this restaurant, firstly, we choose the place where is little exposure to sunlight. I paid my best attention to the arrangement of the windows where guests can overlook the moss garden. I designed the moss garden could be seen from the seats and toilet. Still, we verified the best location on-site so that the restroom and neighboring apartment could not be seen from the seats.
The fixed small window was designed carefully because the designer wanted customer not to see a neigboring building from the inside.
Comfortable seatings besides the moss garden. The owner use a vacuum tube amplifier for the restaurant and Kumamoto placed the sound systems above the window.
— Please tell us if you have any theme you have in both restaurants.
I learned from the restaurant name “Shuhari” and tried to break Japanese tradition while keeping it and create something new. While dealing with Japanese design, I was particular about the materials and lightings to keep a calm but unique atmosphere. I paid extra attention to design lightings to give a modern impression.
— What are the keys when designing a Japanese-style space?
I think of the Japanese's unique sense of beauty as a base, “Wabi-Sabi,” and create space without using many ornaments. Whenever I feel lost, I always see the traditional architecture and the authentic details in Kyoto. It is challenging to reproduce traditional Japanese style in the restaurant because there are many rules. However, even in such a case, I try to analyze the elements of Japanese design and consider which part has “Japaneseness.” I also think you can show the Japaneseness without using typical lattices or Japanese ‘Washi’ papers if you are aware of how to choose appropriate wood, how to use the spaces, and how to use the lights.
— Lastly, please tell us what you keep in mind when you design.
To me, the most important thing is the comfortableness and customer experience. I'm a designer, so I think it's important to consider the whole balance and volume of suitable colours and materials for each space, then create a beautiful thing, and I dedicate myself to think about it.
At the same time, however, the ego of the designer inevitably included in the appearances and details. I think a comfortable place is where people feel it's worth going. Especially for restaurants, the beautiful design won't attract customers for good. I mean, a restaurant that is just beautiful may catch on in the beginning, but if you think about it from a long term perspective, it often gets bored very quickly. So, this is why I always try to focus on comfortable design.
Kumamoto sometimes puts antiques in a modern space; on the contrary, for SHUHARI Kuromon, he created the modern impression of the quaint Japanese building by adding a cast iron stove and original lightings. It seems that in addition to material and shape design, he successfully incorporates the concept of time and aging.
Also, his way of handling natural materials such as gardens and clay walls may be influenced by how he grew up in a natural environment.
SEIJI KUMAMOTO
Born in Amami, Kagoshima in 1975. 1994-1997 University of East Asia, Faculty of Art 1997-2005 Living in Tokyo, USA, Tokyo, and Osaka. Established his own design studio 'design ground 55' in Osaka, 2007. works: The wall hotel、Residence in Ashiya、Mixology Salon
