Claesson Koivisto Rune in Japan by Bukowskis

CLAESSON KOIVISTO RUNE IN JAPAN

VIEWING AUGUST 24–28 | BERZELII PARK 1, STO CKHOLM | AUCTION ONLINE AUGUST 20 –29

Since a few years back, Bukowskis has enthusiastically been working on a unique project with the world-renowned architecture and design studio Claesson Koivisto Rune, recently awarded ‘Interior Designer of the Year’ by Elle Decoration, Japan. The project has unfortunately been pushed forward due to the pandemic but 2021 is the year when it will all happen. Let us present the Swedish-Japanese exhibition and auction Claesson Koivisto Rune in Japan in conjunction with the Olympic Summer games in Tokyo. With 25 years of experience and counting, Claesson Koivisto Rune has been celebrating several successful projects earning many international and Swedish architecture and design awards. A considerable part of their time has been spent on projects in Japan. In this unique collaboration, Bukowskis will be the first to present a wide selection of items from these Japanese projects with an exclusive catalogue, exhibition and auction to follow. Until today, most of the items featured in this catalogue have never been exposed to the western world. It's a unique moment to experience the essence of Claesson Koivisto Rune's designs with a large variety of items, materials and expressions. From the minor craft details to the extensive building projects, from sugar biscuits to bicycles, furniture and decorative art, you will be surprised by Claesson Koivisto Rune's versatile production and methods. This power trio has once again managed to create an outstanding exhibition within their world of aesthetics combined with Bukowskis world of collectible design. Claesson Koivisto Rune's admiration and respect for their Japanese colleagues, the producers, and the unique Japanese culture are evident and easy to understand when perceiving the care of which the different objects have been designed and executed. The exhibition, the catalogue and the auction will be an inspiring journey for all our clients; it will also invite you to get a glimpse of the perception of contemporary Swedish design in Japan. During this process, an even greater fascination for Japan has flourished. We have encountered this project with great interest. It has been more than enjoyable to delve into these items, but most inspiring has been spending time with Mårten, Ola and Eero, listening to their beautiful stories about their travels to Japan and the many award-winning projects. I hope you all will enjoy this auction and catalogue as much as I did! Jonatan Jahn

For inquiries please contact Jonatan Jahn | Specialist 20th–21st Century Design | +46 (0)703 92 88 60 | jonatan.jahn@bukowskis.com

Mårten Claesson, Eero Koivisto and Ola Rune (centre) at the opening of the K5 Hotel in Tokyo, 2020.

Photo: Knut Koivisto.

We first came to Japan around 1992 or 1993. It was still a couple of years before our graduation and we’d received travel scholarships with the self-imposed purpose to see and experience all aspects of Japanese architecture first hand. We frantically crisscrossed the three main islands in our pursuit. Staying in cheap ryokans and hostels, backpacking on Japanese Rail passes, logging over a hundred contemporary and historic buildings, temples, shrines and imperial villas and gardens in the month our stay lasted. Our love affair with Japan had started and our own friendship had been forged. Without this experience it may be that we would not later have come up with the idea to form Claesson Koivisto Rune Architects. We had been bitten by a unique culture, that to this day is largely misconceived in the west. It is not a copy-cat nation, but one that manages to nurture a strong historic tradition and at the same time embrace superior ultra-modern technology and un-hindered progress. Tradition and future are not each-others rivals like they tend to be here – but accepted as equal and afforded side-by-side existence. The other characteristic of Japanese culture that we found important is the pride of performance and perfection in every undertaking. In short: An architect’s dream! Or the foodie’s, or manufacturer’s. Or whatever your walk of life is, where quality is important to you. Seems stiff? Wrong. Socially, the Japanese manners could not be friendlier, more easy-going or fun. Since our first visits, we have returned to Japan on an annual basis. Some of the best moments include our 2003 design of the Sfera Building culture house in the Gion neighbourhood of Kyoto – afterwards selected for presentation at the Venice Biennale of Architecture; product design commissions for companies such as Meetee, Nousaku/Japan Creative, E&Y, Arflex Japan, Franc franc and Time & Style; the 2013 design of the flagship store of ceramic company Ceramika in Matsumoto – for which we received the German Design Award; the gallery show of our Faciem art project during Designart Tokyo 2017; our 2019 ‘Hand’ table and benches for Tokyo Craft Room – so other-worldly executed by master carpenter Saisimonokagu Takahashi; and the design of the Hotel K5 Tokyo in 2020. The latter rendering us the ‘Designer of the Year’ award by Elle Decor Japan – an incredible honour for a foreigner in Japan. We’ve always felt very well received and appreciated in Japan. And from our side it is no understatement to say that Japanese crafts, design and architecture has been the single largest source of inspiration in our work – and continue to be. Still, we remain Scandinavian. In fact, we have never heard anyone say that we make ‘Japanese’ design, not even a touch. How can that be? Though no scholars of cultural sociology, we have a thesis: The Swedish or Scandinavian aesthetic is unmistakably reduced in expression. Historically, when more flamboyant periods like the Rococo or early Neoclassicism prevailed over continental Europe, Sweden was a poor agricultural nation. Even the ruling classes could not afford the gold leaf, marble and lavish decorations to their furniture or mansions like in France or Italy, but had to stay content with simpler versions in plain wood and maybe some paint. Later, when Sweden entered the modern times, was industrialised and poverty was kicked-out, our ideals were already set in the understated. In Japan the understated aesthetic is also cherished, but likely more for historic Zen Buddhist philosophical reasons than economical. So even if Sweden and Japan have had little-to-none of interaction historically, a curiously similar aesthetic has emerged. We believe that this is why our design soul feels so much at home in Japan. Vice versa, should you visit any of our three respective Stockholm homes, you would find that nearly all of our houseware is from Japan. In fact, we sometimes joke that in Japan we have probably spent more over the years in various crafts shops than we’ve received from commission fees! Then, for creative inspiration, our gain has been invaluable. After over a quarter century we’ve met so many wonderful individuals in Japan, many of whom have become our friends. We can’t name all but must send our special thanks to Shigeo Mashiro of Sfera Kyoto, Ryutaro Yoshida of Time & Style, Astrid Klein and Mark Dytham of Klein Dytham architecture, Ryuko Kida of Elle Decor Japan and ‘design impresario’ Teruo Kurosaki. For your contributions to this publication and because there had not been a body of work for it without you. And last but not least – we wish to thank everyone at Bukowskis who saw the full quality of our Japanese endeavours, that until now largely has been a ‘secret’ to our own part of the world.

Stockholm, August 2021 Mårten Claesson, Eero Koivisto and Ola Rune

Sfera Building, Kyoto.

SHI GE O MASHI RO

Designer and creative director with a special focus on connecting contemporary design and traditional crafts. Founder of the Sfera brand – with its Kyoto headquarters in the Claesson Koivisto Rune designed Sfera Building.

The design of the ‘Sfera Building’ in Kyoto, which opened in 2003, gave me my first encounter with Claesson Koivisto Rune and marked the start of the subsequent projects that we worked on together over the following years. Gion is an area where the essence of Kyoto is condensed, in this city of tradition and history. The Sfera Building project was to create a showroom for my brand ‘Sfera’ and a base for presenting its vision and style in Gion. Sfera’s products, including interior accessories and furniture, represented with a new approach the culture and craftsmanship that has been refined in history. Its newness aims to be universal for the future, not transient superficial. We were looking for something with the same spirituality in the architecture and I expected that the building would be designed in the same spirit. The reason I asked Claesson Koivisto Rune – who were already at that time attracting a lot of attention in design and architecture – was not just because of the sculptural sensibility that can be seen from their work, but also because I sympathized with their comprehensive perspective on life. A flexibility of thought unique to those who design everything from small objects to architecture. I also thought that the similarities between the ancient cultures of Scandinavia and Japan, such as nature worship, could lead to the sharing of senses that transcend language. The plan they proposed was unique and bold. The ‘skin’ of the building is made of perforated sheet titanium that expresses the pattern of cherry blossom leaves, composed of innumerable large and small holes. At night, green light leaks from the inside, making the entire building soft. Like a lantern, it emits light. The façade that softly connects the inside and the outside is inspired by traditional Japanese shoji screens (paper sliding door) and lattice doors and windows. At first glance, the idea seems bold, however, it is based on their deep insight and respect for traditional Japanese architecture, and their spirit to express it through creative ideas. By respecting tradition in their way, the Sfera Building was welcomed by the special open-to-the-new temperament of Kyoto, and it has been a part of the cityscape of Gion for nearly 20 years now without losing its freshness. After the Sfera Building project, I have been working with Claesson Koivisto Rune on a variety of design projects, from small confectionery to Sfera’s showrooms in Tokyo and Milan. Theirs is a partnership of three creators, each full of individuality. As a client, and a designer myself, I am always very interested in how the unique organic personality and working method as a studio have been cultivated through many years of activities. It has been 20 years since I met them for the first time. I am looking forward to seeing further creative evolution of this unique trio and what new collaboration is waiting for us in the next 20 years.

Claesson Koivisto Runeの3人と私の最初の出会いを生み、そして、その後に続く、共に取り組んだプロジェクトのはじまりとなったのは、2003年にオープンした京都の「スフェラ・ビル」の設計です。伝統と歴史の街、京都の中でも、そのエッセンスが凝縮されたエリアである祇園。その祇園に、私のブランド「スフェラ」のショールームであり、その世界観を発信する拠点となる場を創るー。インテリアアクセサリーやファニチャーをはじめとするスフェラのプロダクトは、歴史に磨かれてきた文化や工芸技術を、新しいアプローチで表現したものです。その新しさは、一過性の表面的なものではなく、未来に向けた普遍性を持ったものとなることを目指しています。ブランドの発信拠点となる建築においても同様の精神性を持ったものを求めていました。当時、若手のクリエイターとして注目を集めていたClaesson Koivisto Runeにプロジェクトの依頼するきっかけとなったのは、その作品から見て取れる造形的な感性はもちろん、片手に収まる様な小さなプロダクトから建築物までを自由に行き来しデザインする彼らならではの、モノ、ライフスタイルへの総合的な視点に共感を頂いたことです。また、例えば、自然崇拝など、北欧と日本の古来からの文化の類似点も、言語を超えた感覚の共有に繋がるのではないかと考えていました。彼らから提案されたプランは、ユニークで大胆なものでした。ビルの一番外側を取り囲むレイヤーとなるのは、桜の葉のパターンを大小の無数の穴で表現したチタン製のパンチングメタル、その内側からグリーンの光がもれ、ビル全体が行灯の様に柔らかく発光するというもの。この内と外とを柔らかに繋げるファサードは、日本の障子や格子からインスピレーションを得たものです。一見、大胆に思えるプランは、彼らの日本の伝統的建築物への洞察と敬意、それをクリエイティブなアイデアで自由に表現する精神が感じられるものでした。スフェラ・ビルは、伝統を重んじる一方、新しいものにも開かれた京都の気質にも受け入れられ、新鮮さを失わないまま、祇園の風景に溶け込み、 20年近くの年を重ねています。スフェラ・ビルのプロジェクト後、彼らとは、お菓子からファニチャー、東京やミラノのスフェラのショールーム設計など、共に様々なプロジェクトに取り組んできました。各々に個性溢れるクリエイター3人によるパートナーシップであるClaesson Koivisto Rune。長年の活動を通して、独自の有機的な個性や活動スタイルがどのように培われてきたのかは、クライアントとして、デザイナーとして、常にとても興味深く感じています。彼らとの出会いから20年。これから先の20年に、どのようなクリエイションの進化が見られるのか、どのような彼らとのコラボレーションが待っているのか楽しみにしています。

Lot No: 1319875

Lot No: 1319515

Claesson Koivisto Rune, a ‘Sfera Chair’, limited edition 3/8, Sfera Japan, 2004. Laser engraved hole leaf pattern in stainless steel, chrome plated tubular steel legs, marked with label Sfera Chair 03 Design by Mårten Claesson Eero Koivisto Ola Rune, 65 x 51 cm, height 74 cm, seat height 45 cm. The Sfera Chair originated from the Sfera Building architecture project in Kyoto from 2003. The punched-hole leaf pattern is the same as on the façades. Made in small numbers for the pavement café of the building. Has been in the possession of Eero Koivisto of Claesson Koivisto Rune between 2004–2020. (d) Estimate: SEK 20 000 / EUR 1 970 Lot No: 1319515

Claesson Koivisto Rune, a ‘Sfera Chair’, prototype, Sfera Japan, 2004. Laser engraved hole leaf pattern in black lacquered stainless steel, chrome plated tubular steel legs, marked with label Sfera Chair Design by Mårten Claesson Eero Koivisto Ola Rune, 65 x 51 cm, height 74 cm, seat height 45 cm. The Sfera Chair originated from the Sfera Building architecture project in Kyoto from 2003. The punched-hole leaf pattern is the same as on the façades. This black chair was made as a one-off for the office of Claesson Koivisto Rune Architects in Stockholm. (d) Estimate: SEK 20 000 / EUR 1 970 Lot No: 1319875

Claesson Koivisto Rune, a ‘Sfera Chair’, limited edition 7/8, Sfera Japan, 2004. Laser engraved hole leaf pattern in white lacquered stainless steel, chrome plated tubular steel legs, marked with label Sfera Chair 07 Design by Mårten Claesson Eero Koivisto Ola Rune, 65 x 51 cm, height 74 cm, seat height 45 cm. The Sfera Chair originated from the Sfera Building architecture project in Kyoto from 2003, designed by Claesson Koivisto Rune. The punched-hole leaf pattern is the same as on the façades. A small number of white chairs were made for a display at Salone del Mobile in Milan, circa 2005. Has been in the possession of Ola Rune of Claesson Koivisto Rune between 2005–2020. (d) Estimate: SEK 20 000 / EUR 1 970 Lot No: 1319877

Claesson Koivisto Rune, a ‘Bonbon’ lamp, Sfera, Japan, 2005. Rotation moulded green/translucent polyurethane, diameter 45 cm, height 32 cm. A plastic floor lamp which doubles as a stool, water resistant for indoor and outdoor use. Designed as part of the ‘Bonbon’ upholstered seating family; a sister to the upholstered stool. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 7 000 / EUR 690 Lot No: 1330474

Claesson Koivisto Rune, a ‘Bonbon’ lamp, Sfera, Japan, 2005. Rotation moulded white/translucent polyurethane, diameter 45 cm, height 32 cm. A plastic floor lamp which doubles as a stool, water resistant for indoor and outdoor use. Designed as part of the ‘Bonbon’ upholstered seating family; a sister to the upholstered stool. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 7 000 / EUR 690 Lot No: 1330473

Sfera Shop, Tokyo.

Claesson Koivisto Rune, a ‘Bamboo’ sideboard, Sfera, Japan, 2007. Solid bamboo wood, top in white laminate, front with three folding doors, 145 x 44 cm, height 29 cm. From a family of cabinets in slender, solid bamboo wood with a recessed top. The cabinets were first introduced as a part of the ‘Sfera Furniture’ collection in 2007 and were the same year used throughout the ‘Sfera Shop’ in Tokyo Midtown. And later, in 2010, in the ‘Sfera Senses’ shop in via Varese 10, Milan. The architecture of both shops was designed by Claesson Koivisto Rune. This sized cabinet’s intended use was as a TV bench. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1319879

Claesson Koivisto Rune, a ‘Step’ step ladder, Sfera Japan, 2005. Solid bamboo, 45 x 45 cm, height 45 cm. A step ladder for the library or kitchen. Geometrically sculptural, so that it shouldn’t have to be stowed away. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 12 000 / EUR 1 180 Lot No: 1319920

Claesson Koivisto Rune, a ‘Frame’ tea trolley, Sfera, Japan, 2005. Brushed stainless steel frame with bamboo wound handle, white solid laminate tops, 95 x 60 cm, height 72 cm. A tea trolley with careful detailing, proportioning, choice of materials and finish. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 20 000 / EUR 1 970 Lot No: 1319907

Claesson Koivisto Rune, ‘Monet’, four boxes of Japanese tea bisquits, Sfera, Japan, 2008. Cedar wood box with 36 sugar cookies, 15.5 x 15.5 cm, box height 3 cm. Made to order in 2021. These traditional recipe Japanese sugar cookies are handmade from wood moulds in Kyoto by master craftsmen. Popular as a give-away box and often consumed accompanying the tea ceremony. The white cookie is an abstraction of the waterlily flower and with ‘natural’ (sugar) flavour. The green cookie is the lily’s leaf, with green tea flavour. In the box together, they make up an abstract waterlily pond. Estimate: SEK 1 500 / EUR 150 Lot No: 1319903

Claesson Koivisto Rune, ‘Stand by’, two toilet paper holders, Sfera, Japan, 2005. Black and white painted stainless steel with white rubber discs, depth 13.5 cm, height 16.5 cm. A wall hung toilet paper holder designed for ‘one-hand operation’. The rubber disc providing just enough friction for the paper not to tear when pulling out slowly, then to tear at the desired length at a light tug. A development of a design idea first conceived during design university under a workshop held by guest teacher Tom Dixon, circa 1992. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 2 000 / EUR 200 Lot No: 1329087

Claesson Koivisto Rune, a ‘Bonbon’ planter, Sfera, Japan, 2005. Rotation moulded, orange polyurethane, diameter 45 cm, height 32 cm. Designed as a sister to the ‘Bonbon’ lamp/stool. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 4 000 / EUR 400 Lot No: 1319897

Claesson Koivisto Rune, a ‘Bonbon’ lounge chair and ottoman, Sfera, Japan, 2005. Upholstered in blue textile, 95 x 95 cm each, height of the easy chair 64, seat height 32 cm. A lounge chair and ottoman designed as part of the ‘Bonbon’ upholstered seating family, consisting of a series of compact combinable square and rectangular shapes – rounded to meet the human body softly. A slight inclination of the sides anchors the volumes spatially on the horisontal floor plane. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. There named ‘Bonbon sofa–2’ (ottoman) and ‘Bonbon sofa–4’ (lounge chair). Estimate: SEK 30 000 / EUR 2 950 Lot No: 1319898

Claesson Koivisto Rune, a ‘Kin Urushi’ set of five tea light holders, limited edition, Sfera/Skultuna for Tohoku Support Limited Japan, 2011. Urushi lacquer on brass, numbered 21–25/75, height circa 4 cm. Six months after the great Tohoku earthquake and tsunami disaster in 2011 Claesson Koivisto Rune initiated the Kin Urushi Tohoku Support Limited Edition project. Joined by the Swedish brass manufacturer Skultuna, Kyoto Keikou Nishimura Lacquer Art Studio and design brand Sfera, this limited-edition variation of the Kin tea light holders was introduced. Each piece was carefully hand-finished in lacquer by 3rd generation Master Keikou. The proceeds from the sales were donated to support groups of the disaster area. In all, 15 sets were made. Estimate: SEK 10 000 / EUR 990 (d) Lot No: 1328342

Claesson Koivisto Rune, a ‘Nest’ basket, small, Sfera, Japan, 2005. Wooven bamboo, marked with label Sfera, 22 x 22 cm, height 28 cm. This basket caused the master weaver in Kyoto some problems. Since the pattern was random and not repeated, it needed his full concentration throughout the weaving. He was very proud of the result, but admitted he had also suffered from migraine afterwards. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 3 000 / EUR 300 Lot No: 1319911

Claesson Koivisto Rune, a ‘Nest’ basket, large, Sfera, Japan, 2005. Wooven bamboo, marked with label Sfera, 30 x 30 cm, height 37 cm. This basket caused the master weaver in Kyoto some problems. Since the pattern was random and not repeated, it needed his full concentration throughout the weaving. He was very proud of the result, but admitted he had also suffered from migraine afterwards. From the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Estimate: SEK 4 000 / EUR 400 Lot No: 1319914

Claesson Koivisto Rune, a basket for personal items, Sfera, Japan, 2005. Wooven bamboo, 31 x 31 cm, height 16 cm. In accordance with Japanese customs this basket is used at a café or restaurant to temporarily put your personal belongings, like a handbag or a scarf, while seated. The basket is then placed next to your seat. Custom made for the Sfera Building in Kyoto. Related to, but not a part of, the original ‘Sfera Furniture’ collection launched by Sfera in 2005. Its shape is related to the Nest baskets of the same collection. Estimate: SEK 3 000 / EUR 300 Lot No: 1328346

Lot No: 1319914

Lot No: 1326908

Claesson Koivisto Rune, a ‘Leaves’ curtain, green tinted, Almedahls AB, Sweden, 2003. Ausbrenner pattern on fabric of 70% cotton and 30% polyester, 140 x 870 cm. The ‘Leaves’ pattern was developed after the façade of the Sfera Building in Kyoto, designed by Claesson Koivisto Rune in 2003. Leaves were picked from a cherry tree in Stockholm, turned into a repeated dot grid, and used for the hole punching of the titanium façades – and for ‘ausbrenner’ of the green tinted textile used as a long wall curtain in the restaurant inside. Discontinued. These are the last production meters. Estimate: SEK 4 000 / EUR 400 Lot No: 1326908

Claesson Koivisto Rune, a ‘Leaves’ curtain, white, Almedahls AB, Sweden, 2003. Ausbrenner pattern on fabric of 70% cotton and 30% polyester, 140 x circa 520 cm. The ‘Leaves’ pattern was developed after the façade of the Sfera Building in Kyoto, designed by Claesson Koivisto Rune in 2003. Leaves were picked from a cherry tree in Stockholm, turned into a repeated dot grid, and used for the hole punching of the titanium façades – and for ‘ausbrenner’ of the green tinted textile used as a long wall curtain in the restaurant inside. Discontinued. These are the last production meters. Estimate: SEK 3 000 / EUR 300 Lot No: 1324668

Photo: Åke E:son Lindman.

Villa Widlund, Öland.

RYUTARO YOSHI DA

Founder of Time & Style, manufacturer, curator, architectural custodian and jazz music record label owner. Yoshida’s main mission is to help revive Japanese craftmanship by inviting traditional expert producers across the country and invite them to collaborate.

A unique lifestyle sensibility is said to exist in Japan. This sensibility has been cultivated in Japan’s natural environment, where geographical conditions isolated the country from the rest of the world, as well as its culture, which has a singular historical background. For example, Japanese aesthetics find meaning in the subtle placement of a flower in the corner of a toilet, or in traditional cultural tools, such as tea ceremony utensils. Also, a reflexive sensibility induces Japanese people to instinctively put their hands together in prayer whenever they pass by a temple or shrine or partake of a meal. It was my belief that such aesthetics and reflexive sensibilities could only be shared among Japanese people. Claesson Koivisto Rune and I became friends 20 years ago by way of their creation of the Sfera Building (Kyoto), and I have no sense of them being Swedish. I feel that we have been conversing among ourselves all these years with the same sense of communicating as Japanese people communicating among themselves. It is my belief that the reason that I, a Japanese person, can be so free among them is that the essence at the root of Japanese culture and Claesson Koivisto Rune’s sensitivity are organically connected. Eero sometimes sends packages from Stockholm to my home in Tokyo, and when I open the package, it will contain several jazz CDs together with a postcard with a short poem-like message, such as ‘These CDs are music you like/One is a Stockholm trio/The other is a Copenhagen trio/This is also music I like.’ The music delivered in the package has a pure acoustic sound-music that interweaves novelty and universality. Ordinarily, it is difficult for people to share individual preferences, such as music, but some aspects of this sensibility are actually very similar to the sensibility of sharing design details or craft concepts. Several years ago, an exhibition of traditional Japanese handicrafts designed by Claesson Koivisto Rune, entitled House Art View, was held in Tokyo. The nine works presented at the exhibition consisted of a project based on Japanese artisanship and Claesson Koivisto Rune’s creativity. Incorporating the composition of Claesson Koivisto Rune architecture in Sweden as their basic design motifs, these works were created to interpret the essence of artisanship, translate this essence into designs, and then evolve the artisanship. The products exuded both novelty and universality – contrasting senses of presence – and fused together the essence of Japanese and Northern European design. We were not operating on the premise that non-Japanese creators could understand the uniqueness of a lifestyle underlain by Japan’s traditional culture. However, these nine works converted the outline and volume composed on the basis of Claesson Koivisto Rune’s architectural concepts into small living utensils with a form exuding a natural sense of presence as if they had been there alongside the lives of the Japanese people.

Japan’s small vessels and utensils are said to contain vast nature or the infinite universe. The smallest work that Claesson Koivisto Rune created for the House Art View exhibition was a miniaturization of an existing house, down to chopstick rests only a few centimeters long. This product takes the large outline and volume that is architecture and pulverizes it into ceramic particulates, closely approaching architecture’s density. The brass paperweight is a miniaturization of the same house’s outline and volume to the size of a paperweight but at the same time achieves balance through the weightiness and density inherent in brass. The stone bookends are a product that divides architecture’s volume into two, integrating the texture and weightiness of stone with functionality as bookends. Utilizing traditional Japanese designs, such as stone paving and stone walls, the three-part plate realises a density of texture, functionality, and volume through a unique interpretation. In all nine works of the collection, Claesson Koivisto Rune embodied the vast scale that is architecture and the essence of architectural design, increasing the density of traditional Japanese artisanship and even the sense of scale of the Japanese mentality as they miniaturised, selecting materials appropriate for each product’s use, and presenting innovation that reshapes Japanese tradition anew. In 2020, just before the worldwide COVID-19 pandemic, Claesson Koivisto Rune designed the K5 Hotel, which is the renovation of an old bank building located in front of the Tokyo Stock Exchange. The first fusion of Japanese culture and European lifestyle in the truest sense, the K5 Hotel can be said to be Tokyo’s most highly perfected boutique hotel. At the worksite, it was Ola who took the central role, and the project proceeded amidst warm interpersonal relationships, as if everyone involved were the best of friends. There was none of the harsh atmosphere that ordinarily permeates construction sites; instead, the air was filled with kindness and a positive sense of tension. It was like observing the working style of Claesson Koivisto Rune, who gently yet strongly connect various people. The day after the hotel’s opening, we visited the architecture office of Kengo Kuma & Associates. At the end of our chat, Mårten said to Mr. Kuma, ‘Please tell us, your juniors, what you believe to be the most important aspect of architecture.’ Mr. Kuma thought for a few moments before replying, ‘Architecture should be humble.’ From this conversation, it was possible to understand the architecture envisioned by both Mr. Kuma and Claesson Koivisto Rune, as well as their attitudes toward life. No other non-Japanese architects or designers have acquired the Japanese aesthetic sensibility, as well as the ability to read and comprehend Japanese sensibilities, through pure, flexible activities and the accumulation of experience transcending national borders as Claesson Koivisto Rune have, in addition to their creative ability overcoming differences in scale, from the architecture that they build to their interior and product designs. The style of repeated creation through improvisation that the Claesson Koivisto Rune partnership has built up over time plays a fresh, universal melody like music born from the intersection of their creativity and Japanese sensibilities.

Lot No: 1319449

Lot No: 1319466

日本には特有の生活感覚が存在していると言われています。地理的条件によって世界から隔離されてきた自然環境や日本の特異な歴史的背景を持つ文化によって培われた感覚です。例えば、トイレの片隅にさりげなく花を飾ったり、茶道などの伝統文化の道具に意味を見出す美意識、またはお寺や神社の前を通りかかった時や食事をする時に自然と両手を合わせて祈る反射的感覚。このような美意識や感覚は日本人同士でしか共有できないと信じていました。私たちは20年前に彼らが手掛けたスフェラビル（京都）をきっかけに付き合いが始まった友人同士ですが、私には彼らがスウェーデン人だと言う感覚がありません。私たちは日本人同士が伝え合うような感覚で対話してきたように思います。日本人である私が彼らとの間で自由にいられるのは、日本文化の根底にある本質と彼らの感受性が有機的に結びついているからだと思います。Eeroは時々、ストックホルムから私の東京の自宅に小包を送ってくれるのですが、封を開けると数枚のジャズCDとともに、『このCDは君が好きな音、 1枚はストックホルムのトリオでもう1枚はコペンハーゲンのトリオ、僕も好きな音』という詩のような短いメッセージが書かれた葉書が添えられていたことがあります。小包で届いた音はアコーステックの純粋な響きを持ち、斬新さと普遍性が交差する音楽でした。本来、音楽のように個人的な嗜好を分かち合うのは難しいことですが、これはデザインのディテールや工芸の概念を共有する感覚に近いものがあります。数年前、彼らがデザインした日本の伝統工芸品による展覧会「House Art View」を東京で開催しました。この展覧会で発表した9つの作品は、日本の工芸技術と彼らの創造性に基づいたプロジェクトでした。スウェーデンにある彼らの建築の構成をデザインの基本モチーフとした作品たちは、工芸の本質を解釈してデザインへと翻訳し、工芸を進化させてゆくようなに生み出されたものでした。作品は新しさと普遍性と言う相反する存在感を持ち、日本と北欧のデザインエッセンスが融合したプロダクトになりました。私たちは日本の伝統文化を背景にした生活習慣の独自性を日本人以外のクリエーターが理解できると言う前提に立っていません。しかし、この9つの作品はClaesson Koivisto Rune の建築の概念で構成されたアウトラインとボリュームを、自然な佇まいを持つ小さな生活の道具へと転換され、以前からそこにあったかのように存在していたのです。日本の小さな器や道具は、大きな自然や無限の宇宙を内包していると言われています。「House Art View」で彼らが創造した最も小さな作品は、実在する住宅を数センチの箸置きにまで縮小したものです。建築という大きなアウトラインとボリュームを、陶石を粒子状にまで砕いて建築の密度まで近づけたプロダクトでした。真鍮製のペーパーウエイトは同じ住宅のアウトラインとボリュームをペーパーウェイへとサイズダウンしながらも真鍮が持つ重量感と密度によってバランスを図り実現しました。石のブックエンドは建築のボリュームを2分割して、石の素材感と重量感がブックエンドとしての機能と整合したプロダクトです。 3つのパーツからなるプレートは、石畳や石垣のような日本の伝統的意匠を用いて、素材感、機能性、そしてボリューム感の密度を独自の解釈によって実現しています。 9つの全てのコレクションで彼らが具現化したのは、建築と言う大きなスケールと建築デザインのエッセンスを日本の伝統技術や日本人のメンタリティーのスケール感まで縮小しながらも密度を高め、それぞれの用途に適した素材を選定し、日本の伝統のイノベーションを提示したことです。世界がコロナ禍に入る直前の2020年、Claesson Koivisto Rune は東京証券取引所前の古い銀行を改築したK5ホテルをデザインしました。K5ホテルは日本の文化とヨーロッパのライフスタイルが本当の意味で初めて融合した、東京で最も完成度の高いデザインホテルと言えます。施工現場ではOlaが中心となり、関わる全ての人たちが友人同士のような温かな人間関係の中でプロジェクトを進行していました。一般的な現場に漂う厳しい空気感は無く、優しさと前向きな緊張感に満ちていました。その光景は、様々な人たちを緩やかに強く繋ぐClaesson Koivisto Rune の仕事の流儀を見るようでした。ホテルがオープンした翌日、私たちは隈研吾建築都市設計事務所を訪ねました。雑談の最後にMårtenは「建築で最も大切だと思うことを後輩の僕らに教えてください」と隈氏に問いました。彼はしばらく考えてから「建築は謙虚であるべきです」と答えました。その会話には、隈氏とClaesson Koivisto Rune の両者が考える建築や人生に対する姿勢が映し出されているようでした。 Claesson Koivisto Rune が作る建築からインテリア、そしてプロダクトに至るまでのスケールの違いを超えたクリエーションと、国境を超えた純粋で柔軟な活動と経験の積み重ねから体得した、日本人の感性を読み解く感覚と美意識は他の建築家やデザイナーにはないものです。彼らが時間を掛けて作り上げてきたインプロビゼーションによる創造の繰り返しは、日本の感性と彼らのクリエーションとが交差して生み出される音楽のように新鮮さと普遍性を奏でます。

O B J E T S D ’A R T C O L L E C T I O N Villa Widlund, a private house by the sea in Öland, Sweden, was designed in 2011 for Mr Jan Widlund and wife Mrs Karin Meidner. Mr Widlund was one of the founding partners of the renowned Swedish business law firm Vinge and is a dedicated follower and long-time private collector of contemporary art. In 2018 the house was revisited by the architects for the publication of a book about its architecture. ‘Stemming from Villa Widlund, and from the passing of time, nine objects have been conceived by us at Claesson Koivisto Rune Architects and manufactured by master craftsmen from all around Japan under supervision of Mr Ryutaro Yoshida of Time & Style. ‘Objets d’art’ that are inspired by one architectural concept but also hold a function in their own right. They are neither typical art, nor typical design, but somewhere in between. Adding another layer to a process that started seven years ago.’ Claesson Koivisto Rune, 2018.

Lot No: 1319439

Claesson Koivisto Rune, ‘Objet d’Art, N°1’, a set of three platters, Time & Style, Japan, 2018. Porcelain, maker’s mark, measurements as a square 25 x 25 cm. The plate set is made in Ureshino city (Saga prefecture), in the Hizen region, an area that straddles Saga and Nagasaki. The clear whiteness of Time & Style’s Hizen Yoshida ware is a result of utilizing Amakusa pottery stone, a porcelain ingredient produced in Amakusa (Kumamoto Prefecture). Great care is paid to the shaping and firing of the porcelain to produce thin, sharp lines and the moulds are made to accommodate the distortion and contraction of clay during the firing process. Estimate: SEK 1 500 / EUR 150 Lot No: 1319439

Claesson Koivisto Rune, ‘Objet d’Art, N°2’, a bookstand, Time & Style, Japan, 2018. Japanese oak, height 12.5 cm, width 36.5 cm. The book stand is made in Asahikawa city (Hokkaido) using oak from Hokkaido. With its vast forests, Hokkaido is rich in high-quality timber. As a result, the furniture production techniques and industry took root in Asahikawa, where the climate is suitable for wood drying and manufacturing. Asahikawa city is a prominent production district of furniture in Japan and it is also where the Time & Style factory is located. Estimate: SEK 3 000 / EUR 300 Lot No: 1319444

Claesson Koivisto Rune, ‘Objet d’Art, N°3’, a set of three trays, Time & Style, Japan, 2018. Japanese oak, 7 x 22 cm, 19 x 19 cm, 16 x 29.5 cm. The tray set is made in Asahikawa city (Hokkaido) from natural wood from Japan, such as oak, wild cherry and Japanese zelkova. Working from a solid piece of wood, the artisans use woodworking chisels to carve the sharp line between the surfaces of each tray. Estimate: SEK 5 000 / EUR 500 Lot No: 1319446

Claesson Koivisto Rune, ‘Objet d’Art, N°5’, five chopstick rests, Time & Style, Japan, 2018. Porcelain, height 1.3 cm, 3.6 x 1.2 cm. The chopstick rest is Hizen Yoshida ware porcelain from Ureshino city (Saga Prefecture). Hizen Yoshida ware has a history of 450 years, during which it has specialized in the manufacturing of practical tableware. Over the years in the Hizen area, a division of labour system was adopted wherein each highly specialized artisan is responsible for a step of the earthenware production process. Even now, many ceramic producers remain in this area. Estimate: SEK 1 500 / EUR 150 Lot No: 1319452

Claesson Koivisto Rune, ‘Objet d’Art, N°9’, a set of three frames, Time & Style, Japan, 2018. 24-karat gold plated stainless steel, height 20, 22, 33 cm, width 22.5, 38.5, 20.5 cm. The ornamental frames are made in the famous cutlery production district of Tsubame-Sanjou (Niigata Prefecture). Utilizing the techniques of precision sheet metal production that have sustained the development and improvement of the Japanese industry, finely cut stainless sheets are welded together and plated with 24-karat gold. Estimate: SEK 6 000 / EUR 590 Lot No: 1319466

Claesson Koivisto Rune, ‘Objet d’Art, N°8’, a vase, Time & Style, Japan, 2018. Unglazed porcelain, maker’s mark, height 6.5 cm. The vase is made in Hizen Yoshida ware porcelain from Ureshino city (Saga Prefecture). The clear whiteness of the Amakusa pottery stone can be utilized to make unglazed wares, such as this vase, as it possesses the rare quality of not requiring mixing with other ingredients to produce porcelain. Estimate: SEK 1 500 / EUR 150 Lot No: 1319461

Claesson Koivisto Rune, ‘Objet d’Art, N°6’, a paperweight, Time & Style, Japan, 2018. Polished brass, 9 x 3 cm, height 3 cm. The paperweight is made in Takaoka city (Toyama Prefecture), a production district for objects made out of cast metal. Because the lost-wax casting method can reproduce fine details, it is used to craft highly-decorated Buddhist statues and ceremonial tools in Takaoka. Brass gains a deep colour with the passage of time. Estimate: SEK 1 500 / EUR 150 Lot No: 1325307

Claesson Koivisto Rune, ‘Objet d’Art, N°6’, a paperweight, Time & Style, Japan, 2018. Blackened cast iron, 9 x 3 cm, height 3 cm. The paperweight is made in Takaoka city (Toyama Prefecture), a production district for objects made out of cast metal. Because the lost-wax casting method can reproduce fine details, it is used to craft highly-decorated Buddhist statues and ceremonial tools in Takaoka. Cast iron has a unique, coarse quality to the touch. Estimate: SEK 1 500 / EUR 150 Lot No: 1319457

Claesson Koivisto Rune, ‘Objet d’Art, N°7’, a pair of bookends, Time & Style, Japan, 2018. Granite, height circa 12 cm. The bookends are made in Sekigahara city (Gifu Prefecture) from granite. Formed over millions of years, granite is a result of heat and pressure exerted by geological forces on minerals. The history of the planet is embedded in natural stone. The 15 cm length takes roughly one hour to cut and is polished by hand. Estimate: SEK 8 000 / EUR 790 Lot No: 1319458

Claesson Koivisto Rune, ‘Objet d’Art, N°7’, a pair of bookends, Time & Style, Japan, 2018. Black marble, height circa 12 cm. The bookends are made in Sekigahara city (Gifu Prefecture) from marble. Formed over millions of years, marble is a result of heat and pressure exerted by geological forces on minerals and organic matter. The history of the planet is embedded in natural stone. The 15 cm length takes roughly one hour to cut and is polished by hand. Estimate: SEK 8 000 / EUR 790 Lot No: 1325320

Claesson Koivisto Rune, ‘Objet d’Art, N°4’, an easy chair, Time & Style, Japan, 2018. Grey transparent acrylic, height 62 cm, 60 x 60 cm. The club chair is made in Kanagawa prefecture from acrylic. Acrylic has a higher transparency than glass and is also very safe and strong. The skill of Japanese artisans shines in the small details, such as the glueing techniques and treatment of the cut edges. Custom colour dyeing of acrylic is very rare as the material is typically manufactured commercially only in a fixed palette of colours. Estimate: SEK 50 000 / EUR 4 920 Lot No: 1319449

Claesson Koivisto Rune, ‘Objet d’Art, N°4’, an easy chair, Time & Style, Japan, 2018. Violet transparent acrylic, height 62 cm, 60 x 60 cm. On loan.

The sign on Roppongi-dori Ave. for Klein Dythham’s legendary night club/event space SuperDeluxe.

A ST R I D KL E I N AND MAR K DYT HAM

Royal College of Art graduates and founders of Tokyo-based multi-disciplinary design practice Klein Dytham architecture (KDa). In 2003 Klein and Dytham devised and founded the world famous show and tell format Pecha Kucha.

THE LIFE OF ADAM & EVE. We first met Claesson Koivisto Rune during the Milano Salone in 2002, it was like meeting old friends. This was before the internet and social media had taken hold and we had only seen glimpses of one another’s work in magazines and books, but there was an instant unspoken synchronicity. The more we talked, the more we discovered our invisible connections to design, materials, shapes, colour, cars, furniture, interiors and architecture. There was Eero with an affinity to Mark, not only in size, but being jovial and always up for a party. Mårten came across as more of a quiet poet, but with a cracking sense of dry humor. While as Ola for us was always the stylish one: he was wearing a black maxi skirt with such panache, as if it were the most obvious thing to do for a guy back then! Their emotional power combined, with a positive outlook on life and a determination to make it witty, felt like we were all on the same wavelength. Personal ego didn’t matter as long as we made a difference for a better fun filled life – all imbibed with a healthy sense of competition. We remember clearly, that whenever looking for interesting references, something would pop up from amongst a myriad of images and sure enough, once again it was a Claesson Koivisto Rune creation. Yes, we were envious, but also proud to have such great friends! We launched SuperDeluxe, our creative kitchen/event space in October 2002 and during Tokyo Designer’s Week the following year in October 2003, we imagined SuperDeluxe Hotel with 5 ‘designer’ rooms and a sexy central shower booth in front of the bar counter. Guests could party on late and actually stay overnight, though breakfast was not included. ;–) Of course Claesson Koivisto Rune were to do one room and they came up with the most hilarious queen bed ever invented: Adam & Eve. Adam would have this cute round ‘bulge’ which so neatly fit into Eve’s indentation when pushed together. All this heightened by the choice of the contrasting fabric colours: Adam being gentle pale pink, while Eve was a more red hot. Needless to say that they made for many fun memories for all, though we don’t know of any babies born from that union. Adam & Eve stayed on in Tokyo, but as love sometimes goes in tight quarters, separate lives ensued. Adam lived an active life in Klein Dytham architecture’s office where he was instrumental in helping many a jet lag being slept off. While Eve led a calm, but inspiring life as a daybed next to a large sunny window in Astrid’s flat. It is a very good thing that Adam & Eve have once again found each other and we wish them a long and happy life together! Send a postcard of your whereabouts sometime. ;–)

私達が Claesson Koivisto Rune の3人に初めて会ったのは2002年のミラノサローネのときでしたが、まるで古くからの友人に再開したかのような出会いでした。当時はインターネットやソーシャルメディアが今ほど定着する前のことで、雑誌や本でお互いの作品を垣間見ることしかできませんでしたが、出会った瞬間お互いに暗黙のシンクロニシティが生まれていたのです。話をすればするほど、デザイン、素材、形、色、車、家具、インテリア、建築などお互いに目に見えないつながりが多くあることを発見することになったのです。エーロは体の大きさもさることながら、陽気でいつもパーティーに参加しているところなどがマークととても似ていると感じさせました。マルテンは静かな詩人のような雰囲気ですが、ドライなユーモアで抜群のセンスを持っていました。オーラはいつもスタイリッシュな人のひとりで、黒いマキシスカートをそれを身につけるのが当然であるかのように堂々と着こなせるのは彼しかいませんでした！彼らのエモーショナルなパワーは、人生に対するポジティブな展望とそれをウィットに富んだものにするという決意とが混じり合っていて、私たち全員が同じ波長にいると感じました。より楽しい人生を送るために違いを生みだすということにおいては、個人的なエゴは重要ではありません、すべてが健全な競争意識を包み込んでいるのです。面白いレファレンスを探すとき、無数の画像の中からポップアップしてくるそれが、 Claesson Koivisto Rune の作品であるということに何度も出くわしました。その度に嫉妬心を感じるのと同じくらいこのような素晴らしい友達がいることをとても誇りに思うのです！ 2002年の東京デザイナーズウィーク期間に立ち上げたクリエイティブキッチン / イベントスペースの SuperDeluxeで、翌年の 2003年の10月にわたしたちは 5つの「デザイナー」ルームとバーカウンター前にセクシーなシャワーブースがある SuperDeluxe Hotel をイメージしたイベントを企画しました。朝食は含まれていませんが、ゲストは遅くパーティーをして実際に一晩滞在することができました ;–) もちろん、Claesson Koivisto Runeは1つの部屋を担当することになっていて、彼らはこれまでに世に発明されたもののなかで最も陽気なクイーンベッド、Adam & Eveを思いついたのでした。アダムはかわいい丸い「膨らみ」を持っていて、イブのくぼみにぴったりとはまります。アダムは情熱的な赤色で、イブはより穏やかな淡いピンクという対照的なファブリックカラーによってもお互いの魅力が強調されています。合体によって赤ちゃんが生まれたのかは誰も知りませんが、訪れた人にたくさんの楽しい思い出を生み出してくれました。アダムとイブはしばらく東京にとどまっていましたが、愛というものには厳しい試練がつきもので、別々の生活が続きました。アダムはクラインダイサムアーキテクツのオフィスで時差ボケのお供として多くの人のために活躍しました。一方、イブはアストリッドの自宅にある大きな日当たりの良い窓の横でデイベッドとして落ち着いていながらも刺激的な生活を送りました。アダムとイブが再びお互いを見つけられたのはとても良いことで、私たちは彼らが長く幸せな人生を送ってくれることを願っています！いつかあなたの居場所からの手紙を送ってください ;–)

Lot No: 1324701

Lot No: 1324678

Claesson Koivisto Rune, an ‘Adam and Eve’ pair of daybeds, Klein Dytham architecture, Japan, 2003. Upholstered in Kvadrat ‘Tonica’, two tone grey wool fabric, lacquered steel legs, width 140 cm (combined), length 185 cm, height 31 cm. The Adam & Eve daybeds were uniquely made for the ‘SuperDeluxe Hotel’ event, exhibited during the Tokyo Designer’s Week in October 2003. As one of five invited international designers, Claesson Koivisto Rune designed two daybeds instead of one, but clearly meant to fit together. The mild joke inherent was referencing to a ‘love hotel’, a type of hotel that rents rooms by the hour, allowing young Japanese couples intimacy away from their small family homes. Originally upholstered in pink (Adam) and red (Eve). Re-upholstered in 2021 in black and off-white/grey, by the designers’ instructions ‘as a wedding couple’. Estimate: SEK 20 000 / EUR 1 970 Lot No: 1324701

Claesson Koivisto Rune, a ‘Dodo’, swivel easy chair, E&Y, Japan, 2002. Moulded plywood, with stretch wool fabric over high density foam, roller bearing swivel base, maker’s mark E&Y, 71 x 100 cm, height 51 cm. The Dodo is a cross between the traditional Japanese legless ‘Zaisu’ chair and a modern western office chair. Floor level seating, upholstered and with hidden swivel function. The backrest is extended to function also as a working surface, the size of a laptop. First shown at the ‘Family Tree’ exhibition of furniture designed by Claesson Koivisto Rune at the Axis Gallery in Tokyo, October 2002. Estimate: SEK 12 000 / EUR 1 180 Lot No: 1324678

Claesson Koivisto Rune, a ‘Happy’ daybed, prototype, Franc franc, Japan, 2002. Upholstered in Kvadrat ‘Tonica’ wool fabric, steel legs, 190 x 80 cm, height 30 cm. Originally upholstered in light blue and dark blue, like a ‘happy pill’. Re-upholstered in 2021 in dark blue/grey, by the designers’ instructions. Only this one prototype was made, and the design was not put into production. The Happy daybed was shown at the Claesson Koivisto Rune furniture design exhibition named ‘Family Tree’ at the Axis Gallery during the Tokyo Design Week in October 2002. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324986

Happy daybed tested by passers-by outside the Axis Gallery in 2002.

Lot No: 1324986

Lot No: 1324983

Claesson Koivisto Rune, a ‘Soft Stone’ massage pillow, small, &Medical, Japan, 2016. Stretch polyester fabric over urethane foam and solid massage unit, with original Japanese (100 V) adapter (will function with the proper 230 V adapter), 34 x 34 cm, height 14 cm. Design inspired by beach pebbles and how the soft massaging of waves of water over time have the power to soften hard stone. Designed in an understated form to leave in the sofa like a pillow, as opposed to a technical appliance that has to be stowed away. The company &Medical is active on the domestic Japanese market of ‘holistic medicine’. Estimate: SEK 2 000 / EUR 200 Lot No: 1319932

Claesson Koivisto Rune, a ‘Soft Stone’ massage pillow, large, &Medical, Japan, 2016. Stretch polyester fabric over urethane foam and solid massage unit, with original Japanese (100 V) adapter (will function with the proper 230 V adapter), 37 x 34 cm, height 14 cm. Design inspired by beach pebbles and how the soft massaging of waves of water over time have the power to soften hard stone. Designed in an understated form to leave in the sofa like a pillow, as opposed to a technical appliance that has to be stowed away. The company &Medical is active on the domestic Japanese market of ‘holistic medicine’. Estimate: SEK 3 000 / EUR 300 Lot No: 1319934

Claesson Koivisto Rune, a ‘Tsubaki’ set of five bowls, Nousaku, Japan, 2016. Tin, diameter 6, 7.5, 9, 25.5, 29 cm, height 4, 3.5, 3, 2.5, 2 cm. Each of Tsubaki’s five bowls have five sides. They also each have a depression in their centres that guide the next one toward the middle. The stacked bowl set forms a flower motif. Tsubaki means ‘rose’ in Japanese. Handcrafted from pure tin, in Takaoka, Japan, using intricate metal casting techniques. The collaboration was made possible through Japan Creative – an organization promoting Japanese craftmanship excellence – and first shown in New York in January 2016. Estimate: SEK 6 000 / EUR 590 Lot No: 1324983

Claesson Koivisto Rune, a ‘Wafer Side Table’, Meetee, Japan, 2015. Walnut and maple wood, 33.5 x 33.5 cm, height 35 cm. The Wafer collection combines light and dark-coloured wood in stripes. The effect of the walnut and maple is graphic, but it is also technically challenging, not least to seamlessly morph the round-section legs that meet flat planes. The stripe pattern has a different scale for each piece of the collection, fitting its size and geometry best. Estimate: SEK 8 000 / EUR 790 Lot No: 1324950

Claesson Koivisto Rune, a ‘Wafer Chair’, Meetee, Japan, 2015. Walnut and maple wood, height 80.5 cm, seat height 45 cm. On loan.

Claesson Koivisto Rune, a ‘Wafer Shelf’, Meetee, Japan, 2015. Walnut and maple wood, height 98 cm, depth 40 cm, width 80 cm. On loan.

Lot No: 1324945

Claesson Koivisto Rune, a ‘Five Hanging Clothes Rail’, Meetee, Japan, 2013. Clear lacquered maple wood, steel wire in red plastic, length circa 120 cm, adjustable height circa 115 cm. Designed as an accessory to Five collection of furniture. Estimate: SEK 4 000 / EUR 400 Lot No: 1324945

Claesson Koivisto Rune, a ‘Men’s urban padded jacket with collar’, prototype, 6 x 1 Copenhagen, Japan 2019. Dark blue, marked with label Claesson Koivisto Rune 6 x 1 Copenhagen, size circa small. A functional autumn winter season jacket with properties of wildlife and appearance for urban life. Allowing the garment to follow body movement. The design is reducing the three-dimensionality and functionality of a pattern to the appearance of one looped curve through seam construction, with concealed pockets, zippers and magnet locks. Design commissioned to Claesson Koivisto Rune by the Tokyo brand 6 x 1 Copenhagen for the Japanese AW19 season. Estimate: SEK 3 000 / EUR 300 Lot No: 1324988

Claesson Koivisto Rune, a ‘Men’s urban padded jacket with hoodie’, prototype, 6 x 1 Copenhagen, Japan 2019. Dark blue, marked with label Claesson Koivisto Rune 6 x 1 Copenhagen, size circa small. A functional autumn winter season jacket with properties of wildlife and appearance for urban life. Allowing the garment to follow body movement. The design is reducing the three-dimensionality and functionality of a pattern to the appearance of one looped curve through seam construction, with concealed pockets, zippers and magnet locks. Design commissioned to Claesson Koivisto Rune by the Tokyo brand 6 x 1 Copenhagen for the Japanese AW19 season. Estimate: SEK 3 000 / EUR 300 Lot No: 1324991

Claesson Koivisto Rune, a ‘Five Stool’, prototype, Meetee, Japan, 2013. Red lacquered maple wood, 42 x 42 cm, height 33 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 4 000 / EUR 400 Lot No: 1324941

Claesson Koivisto Rune, a ‘Five Stool’, Meetee, Japan, 2013. Red lacquered beech wood, 42 x 42 cm, maker’s mark, seat height 32 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 4 000 / EUR 400 Lot No: 1330350

Claesson Koivisto Rune, a ‘Five Stool’, Meetee, Japan, 2013. Clear lacquered walnut wood, 42 x 42 cm, seat height 32 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 4 000 / EUR 400 Lot No: 1324623

Lot No: 1330350

Lot No: 1324624

Claesson Koivisto Rune, a ‘Five Stool’, Meetee, Japan, 2013. Clear lacquered beech wood, 42 x 42 cm, seat height 32 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 4 000 / EUR 400 Lot No: 1327911

Claesson Koivisto Rune, a ‘Five Stool’, Meetee, Japan, 2013. Clear / red lacquered beech wood, 42 x 42 cm, seat height 32 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 4 000 / EUR 400 Lot No: 1324624

Claesson Koivisto Rune, a ‘Five Coffee Table’, Meetee, Japan, 2013. Clear lacquered maple wood, 94 x 94 x 28 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1324944

Claesson Koivisto Rune, a ‘Five Coat Stand’, Meetee, Japan, 2013. Clear lacquered maple wood, maker’s mark, 37 x 37 cm, height 123 cm, seat height 34.5 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1324942

Claesson Koivisto Rune, a ‘Five Chair’, Meetee, Japan, 2013. Clear lacquered maple wood, maker’s mark, 56 x 56, height 74 cm, seat height 43.5 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1324621

Lot No: 1324621

Lot No: 1328078

Claesson Koivisto Rune, a ‘Five Chair’, Meetee, Japan, 2013. Black lacquered maple wood, maker’s mark, 56 x 56 cm, height 74 cm, seat height 43.5 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1328078

Claesson Koivisto Rune, a ‘Five Chair’, Meetee, Japan, 2013. Red lacquered maple wood, maker’s mark, 56 x 56 cm, height 74 cm, seat height 43.5 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1328085

Claesson Koivisto Rune, a ‘Five Chair’, Meetee, Japan, 2013. Red lacquered maple wood, maker’s mark, 56 x 56 cm, height 74 cm, seat height 45 cm. When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1328082

Claesson Koivisto Rune, a ‘Five Chair’, Meetee, Japan, 2013. Red lacquered maple wood, maker’s mark, 56 x 56 cm, height 74 cm, seat height 43.5 cm When Claesson Koivisto Rune were given the assignment to design a collection of furniture for traditional wood manufacturing in Fuchu, Hiroshima Prefecture, they presented their concept like this: ‘We live in a world of five elements that we experience through our five senses. Five is gently odd. Five is not too many. Five is beautiful.’ The design feature is a shape that combines a circle with a pentagon. The chair, the table, the clothes rail and the other members of the Five family all share this shape. All made in solid wood. Estimate: SEK 6 000 / EUR 590 Lot No: 1328081

Lot No: 1328085

Lot No: 1324996

Claesson Koivisto Rune, a ‘Hand’ table, Sasimonokagu Takahashi, Japan 2019. Handmade in chestnut wood, 240 x 105 cm, height 73 cm. A dining group commissioned for the permanent exhibition room at the Tokyo Hamacho Hotel named Tokyo Craft Room, as a collaboration between Claesson Koivisto Rune Architects in Stockholm and master wood craftsman Yuji Takahashi in Hiroshima. Using only hand tools, all planar surfaces are ever so slightly convex – planed, not sanded – to a very soft and gentle, tactile finish. Thin at the edges, but retaining stability through the thicker central portion. Between leg and top, as well as between the leg and support-beam, the connection protrudes through the surface. Estimate: SEK 75 000 / EUR 7 380 Lot No: 1324996

Yuji Takahashi, master carpenter, making ‘Hand’.

Lot No: 1324998

Claesson Koivisto Rune, a ‘Hand’ stool, Sasimonokagu Takahashi, Japan 2019. Handmade in chestnut wood, 70 x 50 cm, height 45 cm. A dining group commissioned for the permanent exhibition room at the Tokyo Hamacho Hotel named Tokyo Craft Room, as a collaboration between Claesson Koivisto Rune Architects in Stockholm and master wood craftsman Yuji Takahashi in Hiroshima. Using only hand tools, all planar surfaces are ever so slightly convex – planed, not sanded – to a very soft and gentle, tactile finish. Thin at the edges, but retaining stability through the thicker central portion. Between leg and top, as well as between the leg and support-beam, the connection protrudes through the surface. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1331988

Claesson Koivisto Rune, a ‘Hand’ bench, Sasimonokagu Takahashi, Japan 2019. Handmade in chestnut wood, 150 x 50 cm, height 45 cm. A dining group commissioned for the permanent exhibition room at the Tokyo Hamacho Hotel named Tokyo Craft Room, as a collaboration between Claesson Koivisto Rune Architects in Stockholm and master wood craftsman Yuji Takahashi in Hiroshima. Using only hand tools, all planar surfaces are ever so slightly convex – planed, not sanded – to a very soft and gentle, tactile finish. Thin at the edges, but retaining stability through the thicker central portion. Between leg and top, as well as between the leg and support-beam, the connection protrudes through the surface. Estimate: SEK 25 000 / EUR 2 460 Lot No: 1324998

Claesson Koivisto Rune, ‘Brush rush’, six toothbrushes, Franc franc, Japan, 2004. Plastic in light blue, pink, black, white, light green, yellow, circa 18 x 2 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘Brush rush’ toothbrush is very simple, monochrome, with a loop at the end as a feature. The package included a holder, matching the loop, to be fastened on the bathroom wall with an adhesive pad. To provide for the whole family, six colours were produced: sky, blush, pistacchio, cream, white and black. Estimate: SEK 1 500 / EUR 150 Lot No: 1324679

Claesson Koivisto Rune, ‘Sha bo’, three shampoo bottles, Franc franc, Japan, 2004. Plastic in light green, white and light blue, length circa 23 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘Sha bo’ shampoo bottle is a loop, large enough to hang the bottle around a normal shower/bath tap or knob. The function is to squeeze it with one hand and collect the shampoo in the other. Suiting a Japanese custom where it is normal to buy containers for shampoo and soap and fill them up yourself with your preferred quality/fragrance. Estimate: SEK 1 500 / EUR 150 Lot No: 1324682

Claesson Koivisto Rune, ‘So bo’, two soap dispensers, Franc franc, Japan, 2004. Plastic in black and yellow, 8.5 x 12 x 4.5 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘So bo’ soap dispenser, is disc-shaped, with a spout. To pick it up, squeeze it with one hand and collect the soap in the other. Suiting a Japanese custom where it is normal to buy containers for shampoo and soap and fill them up yourself with your preferred quality/fragrance. Estimate: SEK 1 500 / EUR 150 Lot No: 1329208

Lot No: 1324682

Claesson Koivisto Rune, a ‘Fo to’ photo frame, Franc franc, Japan, 2004. Black plastic, transparent plastic film, height 14.5 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘Fo to’ photo frame has a fold which acts a support when placed on a shelf or mantelpiece. The support is not hidden, but plays a part in the overall composition. The photo is positioned off-centre to visually balance the support and to allow for horizontal or vertical positioning. The slot for the photo was the dimensions of the standard printed photo of the time. Estimate: SEK 1 500 / EUR 150 Lot No: 1324680

Claesson Koivisto Rune, a ‘Tic tac’ wall clock, Franc franc, Japan, 2004. White plastic, circa 30 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘Tic tac’ wall clock clock has two circular indentations in the face of the clock that trace the paths of the minute and the hour hands. The light in the room defines the circle shapes through shadows. Estimate: SEK 2 000 / EUR 200 Lot No: 1324688

Claesson Koivisto Rune, a ‘Tic tac’ wall clock, Franc franc, Japan, 2004. Black plastic, circa 30 cm. A family of five bathroom and home accessories were commissioned by legendary creative director Takuya Matsuda for the Japanese retail company Franc franc under the brief of being ‘likeable and friendly’. They were: a toothbrush, a shampoo bottle, a soap dispenser, a photo frame and a wall clock. The ‘Tic tac’ wall clock clock has two circular indentations in the face of the clock that trace the paths of the minute and the hour hands. The light in the room defines the circle shapes through shadows. Estimate: SEK 2 000 / EUR 200 Lot No: 1324684

Claesson Koivisto Rune, a magazine rack, prototype, Franc franc, Japan, 2004. Light blue lacquered steel, 43 x 30 x 18 cm. In addition to the family of five bathroom and home accessories (toothbrush, shampoo bottle, soap dispenser, photo frame, wall clock) that were launched by the Japanese retail company Franc franc, this magazine rack was prototyped in one sample, but never put into production. Designed with the proportions of a briefcase, to indicate the possibility to carry it by its handle to the preferred reading spot of the moment, by the sofa, bed or bathroom. Estimate: SEK 3 000 / EUR 300 Lot No: 1329086

Claesson Koivisto Rune, a bathroom mirror, prototype, Franc franc, Japan, 2004. Light blue lacquered steel, 40 x 35 x 8.5 cm. In addition to the family of five bathroom and home accessories (toothbrush, shampoo bottle, soap dispenser, photo frame, wall clock) that were launched by the Japanese retail company Franc franc, this bathroom mirror was prototyped in one sample, but never put into production. The frame with a depth to allow for a couple of items, like a tube of toothpaste. Estimate: SEK 3 000 / EUR 300 Lot No: 1329082

Claesson Koivisto Rune, three wall shelfs, prototypes, Franc franc, Japan, 2004. Light blue lacquered steel, 35 x 15.5 x 14 cm. In addition to the family of five bathroom and home accessories (toothbrush, shampoo bottle, soap dispenser, photo frame, wall clock) that were launched by the Japanese retail company Franc franc, this wall shelf was prototyped in a number of three, but never put into production. Its size suitable for CD storage or any smaller objects. Set of three. Estimate: SEK 4 000 / EUR 400 Lot No: 1329080

Lot No: 1328211

Claesson Koivisto Rune, a ‘Clear Chair’, E&Y, Japan, 2007. Beech wood and veneered plywood, 56 x 52 cm, height 77 cm, seat height 45 cm. An ultra-light and visually slim all-wooden chair with the rare added benefit of being stackable. Seat and back are laminated veneer wood and the legs are solid wood, bevelled to triangular sections for strength, while remaining visually thin. Based on a prototype made while studying at Parsons School of Design in New York in 1992. That prototype received the ‘Forsnäs Award’ for best laminated wood design in 1995. A first commercial version was manufactured by Swedish Skandiform under the name ‘Lite’ 1999–2005. Refined and reproportioned as the ‘Clear Chair’ for E&Y Tokyo in 2007. Estimate: SEK 4 000 / EUR 400 Lot No: 1324677

Claesson Koivisto Rune, a ‘Litet’ desk, prototype, Arflex Japan, 2004. Walnut, 120 x 50 cm, height 71 cm. The Litet desk was commissioned by Arflex Japan as a small personal desk for your home. One function being as a bedroom make-up table. Later discontinued and re-emerged as the Ponti desk for Italian brand Arflex in 2010, in slightly different proportions. This piece is the Japanese original pre-production prototype. Has been in the possession of Mårten Claesson of Claesson Koivisto Rune between 2005–2021. Estimate: SEK 10 000 / EUR 990 Lot No: 1328211

Claesson Koivisto Rune, ‘Wireframe’, a glass ware set (10), prototypes, Sarasa, Japan, 2007. Glass, height 5.5–21 cm. Made by small manufacturer Sarasa Co., in Gokuji, Tokyo. Inspired by the CAD-programmes of the time, where three-dimensional models would be viewed as joined segments or facets – as a preview to the more complex smooth renderings. But also referencing some tableware from the Edo period (15th to 19th century Japan). Prototypes, never put into production. Estimate: SEK 3 000 / EUR 300 Lot No: 1329077

Claesson Koivisto Rune, ‘Skeppsholmen’, a glass and ceramic set (6), prototypes, Sarasa, Japan, 2010. Glass and ceramic, height 2.5–15.5cm. Made by small manufacturer Sarasa Co., in Gokuji, Tokyo. Conceived and proposed by Claesson Koivisto Rune when architects for the Hotel Skeppsholmen in Stockholm as in-room water glass. Stacking so that the plate can be put on top of the glass to make a dust lid. Prototypes, never put into production. Estimate: SEK 3 000 / EUR 300 Lot No: 1329194

Claesson Koivisto Rune, ‘Wireframe’, porcelain bowls (7), prototypes, Sarasa, Japan, 2007. Porcelain, 4 salad bowls, diameter 27.5–31 cm, height 7–7.5 cm. Large plate, diameter 33 cm. Soup bowl with plate, diameter 21 cm, height 7 cm. Made by small manufacturer Sarasa Co., in Gokuji, Tokyo. Inspired by the CAD-programmes of the time, where three-dimensional models would be viewed as joined segments or facets – as a preview to the more complex computing of smooth renderings. But also referencing some tableware from the Edo period (15th to 19th century Japan). Prototypes, never put into production. Estimate: SEK 3 000 / EUR 300 Lot No: 1329073

Claesson Koivisto Rune, ‘Wireframe’, cups and plates (12), prototypes, Sarasa, Japan, 2007. Porcelain, 2 café au lait bowls, diameter 15 cm, height 5 cm. 2 coffee cups with large plate, diameter 21 cm, height of cups 6–6.5 cm. 3 coffee cups with small plate, diameter 10.5–11.5, height of cups 6–6.5 cm. Made by small manufacturer Sarasa Co., in Gokuji, Tokyo. Inspired by the CAD-programmes of the time, where three-dimensional models would be viewed as joined segments or facets – as a preview to the more complex computing of smooth renderings. But also referencing some tableware from the Edo period (15th to 19th century Japan). Prototypes, never put into production. Estimate: SEK 3 000 / EUR 300 Lot No: 1329347

K5 Hotel, Tokyo.

TE RU O KU ROSAKI Tokyo-based cultural luminary. Founder of Tokyo Designers Block, Idée brand and Media Surf Co. As a design impresario and talent-spotter Kurosaki has helped a string of designers – including Philippe Starck, Marc Newson and Shin Kuramoto – gain international recognition.

In 1999, we created a new standard of design events in Tokyo named ‘Tokyo Designers Block’ and ‘Swedish Style’. Tokyo Designers Block involved local galleries all around the city and opened up the Tokyo design scenes to the world. At the same time, the Swedish Style exhibitions, organised with Ms Ewa Kumlin from the Swedish Embassy, brought a great many Nordic designers to Tokyo. As many as 500 000 people came for the exhibitions. At that time, Claesson, Koivisto and Rune were architects still fresh out of university, coming to Tokyo for inspiration from Japanese culture and lifestyle. They met many famous designers and joined the same parties. I remember how these three young architects would walk up and down the back alleys of Tokyo and Kyoto every day to see how to handle the minimal elements and materials in traditional Japanese design, in search of the hidden organic perspective. There were no borders nor no boundaries. The back streets of Tokyo and Kyoto are unique, seemingly cluttered. There are famous stores and precious places, there are many bonsai trees and plants outside. And even though the boundaries between neighbouring lots are not clear, all plants are well-cared for and wellwatered by the community. I have been paying attention to this behavioural phenomenon from an early stage, and referred to this and the ‘design’ of the community when I instigated a hotel in an old bank building in the Nihonbashi Kabutocho neighborhood, its original structure still standing in what is actually the back alley of the Japanese stock exchange. Thinking of their understanding of Japanese back alley gardening customs, we invited Claesson Koivisto Rune to renovate what was to be known as ‘K5’. For the hotel K5, their essentially Swedish design melded with the theme of green gardening and traditional Japanese minimalist ideals. Claesson Koivisto Rune proved an ideal creative team, working well with our Japanese staff. They played with traditions and new ways of approaching good designs. And I think what’s unique is how these architects went beyond the normal expectations and held true to their convictions. A new but universal design emerged, a new design that can be called a classic. This hotel, built last year in Japan, is said to be the best design.

1999年、Swedish StyleというイベントをTokyo Designers Block という東京のデザインムーブメントを作ったデザイン展と同時頃に,スエーデン大使館を中心にEwa Kumlin女史が始めた。当時は東京中のギャラリーや公園や各種の Cafeや町中で世界中のデザイナーがこの一連のデザインイベントに参加するために来日した。その数は日本中からの参加者とともに、50万人くらいにもなった。その頃Claesson Koivisto Rune の３人も建築家の学生だった。そして身近に有名デザイナーと触れあったばかりでなく、この全く異なった文化を持つ日本でのデザイン展で色々なことを経験した。彼らは毎日歩き回り日本の伝統的なデザインの中に、ミニマルな要素や素材の扱い方を見て取った。一見雑然とした東京の町並みに潜むミニマルでオーガニックな視点などを求めて、彼らは裏通りも歩き回った。東京や京都の裏通りは独特で名店や、貴重な場所があり、盆栽や植木がたくさん有って、隣地との境界もはっきりしないけれど、掃除がゆき届き、水やりがよくされた植物が植わっている。ここを早くから注目していてその関係性とコミュニティーのデザインを参考にして日本橋兜町という日本の金融や商品取引所の発祥の地に残されていた兜町第五ビルという古い銀行のビルをホテル K 5 に改装するというプロジェクトに招待された建築チームとして、この裏路地のグリーンというのをテーマにスエーデンのデザインの粋を利かしてリノベーションした。まず家族で来日して、細かく裏路地ガーデニングを観察してその裏にある日本の伝統の習慣を理解する事から始め、スエーデンの現代デザインを発揮して新しく古いホテルをリノベーションする。ただその仕事ぶりも素晴らしく、日本のスタツフやチームとも上手くやりながら自分のデザインを貫き３人の力をあわせるという奇跡的なことをしてきた。そして、日本の裏路地にあるガーデニングの考え方を取り入れ、日本の伝統的なミニマルな思想をも採用したホテルに仕上げてくれた。 Claesson Koivisto Runeは理想のクリエイティブチームで、一人の建築家がやれることを超えてかつ個人の趣味性にこだわっているてんがあたらしいと思います。あたらしいけど普遍的なデザイン、クラシックと言えるくらいな新しいデザイン。日本で去年できたホテルでは一番いいデザインと言はれている。

K5 Hotel, Tokyo.

Lot No: 1319494

Claesson Koivisto Rune, a ‘Maluma’ sofa/love seat, Time & Style, Japan, 2018. Upholstered in Kvadrat ‘Tonica’ melange red wool fabric, lacquered steel legs, length 140 cm, depth 75–100 cm, height 75 cm, seat height 40 cm. Designed as one of a contrasting pair for the guestrooms of the Hotel K5 Tokyo. Two custom-designed seating pieces were each other’s contrast – like masculine and feminine, yin and yang, or ‘takete’ and ‘maluma’ (terms from the psychology of shape association). ‘Maluma’ being a curvaceous bright red ‘love seat’; a small sofa for two. And ‘Takete’ a harshly angular (yet comfortable) black easy chair. Estimate: SEK 40 000 / EUR 3 940 Lot No: 1319494

Claesson Koivisto Rune, a ‘Takete’ recliner, Time & Style, Japan, 2018. Upholstered in black leather, black painted steel legs, height 91 cm, width 109 cm, depth circa 106 cm. Designed as one of a contrasting pair for the guestrooms of the Hotel K5 Tokyo. Two custom-designed seating pieces were each other’s contrast – like masculine and feminine, yin and yang, or ‘takete’ and ‘maluma’ (terms from the psychology of shape association). ‘Maluma’ being a curvaceous bright red ‘love seat’; a small sofa for two. And ‘Takete’ a harshly angular (yet comfortable) black easy chair. Estimate: SEK 20 000 / EUR 1 970 Lot No: 1319510

Claesson Koivisto Rune, a ‘K5 Bamboo Sofa’, Time & Style, Japan, 2018. Upholstered in Kvadrat ‘Canvas’ Nr 794 worsted wool fabric, edges with fringes, bamboo legs, length 220 cm, depth 84 cm, height 70 cm, seat height 42 cm. The Bamboo sofa was designed for hotel suites at the K5 Tokyo. Its design was deliberately minimal to make the fine workmanship more visible. Two details stand out: The legs made out of carefully selected large gauge natural bamboo and the ‘frayed’ stand-out seams of the upholstery. Estimate: SEK 40 000 / EUR 3 940 Lot No: 1319481

Lot No: 1319510

Lot No: 1319945

Claesson Koivisto Rune, a ‘K5 Low Three-legged Stool’, ADX, Japan, 2020. Ash, marked Claesson Koivisto Rune K5 2020, diameter 22 cm, height 24 cm. The three-legged stool was designed for the hotel K5 Tokyo and its basement beer hall by Brooklyn Brewery. In three heights – small (very low), medium (normal), high (bar). In the basement beer hall are Shaker-inspired peg racks to hang jackets or the three-legged stools, hence two of the legs were connected with a foot-rest bar to hang upside down over the pegs. The medium stool is used throughout the floor of the beer hall and the high stool along its 19-metre long bar counter. The small stool equals the size used at traditional Japanese Onsen baths to sit while washing and scrubbing yourself before entering the bathtubs. At the hotel K5 a pair of the small stools are used in each guestroom as bedside tables. Estimate: SEK 2 500 / EUR 250 Lot No: 1319940

Claesson Koivisto Rune, a ‘K5 Medium Three-legged Stool’, ADX, Japan, 2020. Ash, marked Claesson Koivisto Rune K5 2020, diameter 34 cm, height 46 cm. The three-legged stool was designed for the hotel K5 Tokyo and its basement beer hall by Brooklyn Brewery. In three heights – small (very low), medium (normal), high (bar). In the basement beer hall are Shaker-inspired peg racks to hang jackets or the three-legged stools, hence two of the legs were connected with a foot-rest bar to hang upside down over the pegs. The medium stool is used throughout the floor of the beer hall and the high stool along its 19-metre long bar counter. The small stool equals the size used at traditional Japanese Onsen baths to sit while washing and scrubbing yourself before entering the bathtubs. At the hotel K5 a pair of the small stools are used in each guestroom as bedside tables. Estimate: SEK 3 000 / EUR 300 Lot No: 1319945

Claesson Koivisto Rune, a ‘K5 High Three-legged Stool’, ADX, Japan, 2020. Ash, marked Claesson Koivisto Rune K5 2020, diameter 34 cm, height 65 cm. The three-legged stool was designed for the hotel K5 Tokyo and its basement beer hall by Brooklyn Brewery. In three heights – small (very low), medium (normal), high (bar). In the basement beer hall are Shaker-inspired peg racks to hang jackets or the three-legged stools, hence two of the legs were connected with a foot-rest bar to hang upside down over the pegs. The medium stool is used throughout the floor of the beer hall and the high stool along its 19-metre long bar counter. The small stool equals the size used at traditional Japanese Onsen baths to sit while washing and scrubbing yourself before entering the bathtubs. At the hotel K5 a pair of the small stools are used in each guestroom as bedside tables. Estimate: SEK 4 000 / EUR 400 Lot No: 1319946

Ceramika showroom, Matsumoto.

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 1’, ADX, Japan, 2020. Ash wood 130 x 130 x 33 cm. This wooden shelf was designed for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. This wall shelf was made as an offspring to the K5 shelves. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324672

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 3’, ADX, Japan, 2020. Ash wood 130 x 130 x 33 cm. This wooden shelf was designed for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. This wall shelf was made as an offspring to the K5 shelves. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324670

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 2’, ADX, Japan, 2020. Ash wood 130 x 130 x 33 cm. This wooden shelf was designed for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. This wall shelf was made as an offspring to the K5 shelves. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324674

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 1’, Alloy Inc., Japan, 2020. Galvanized steel, 130 x 130 x 33 cm. Wall consoles included. These galvanized shelves are identical to the wooden shelves made for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. The wall shelf in galvanised steel was made as an offspring to the K5 freestanding shelf. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324630

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 3’, Alloy Inc., Japan, 2020. Galvanized steel, 130 x 130 x 33 cm. Wall consoles included. These galvanized shelves are identical to the wooden shelves made for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. The wall shelf in galvanised steel was made as an offspring to the K5 freestanding shelf. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324627

Claesson Koivisto Rune, a ‘K5 Wall Shelf Type 2’, Alloy Inc., Japan, 2020. Galvanized steel, 130 x 130 x 33 cm. Wall consoles included. These galvanized shelves are identical to the wooden shelves made for the German Design Award winning Ceramika flagship store in Matsumoto, designed by Claesson Koivisto Rune in 2013. A system with the same proportions in galvanized steel, was later developed for freestanding room-dividing shelves separating the communal functions of the entrance floor at hotel K5 in 2020. The wall shelf in galvanised steel was made as an offspring to the K5 freestanding shelf. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1324633

K5 Hotel, Tokyo.

Claesson Koivisto Rune, a ‘Tatami’ carpet in four pieces, Kasthall, Sweden, 2020. ‘Amazing grey’ wool with green linings, marked with label Kasthall Tatami and signed by Claesson Koivisto Rune, 180 x 360 cm. The Tatami carpet was custom-designed for the hotel suites at the K5 Tokyo in a ‘Tatami concept’, where larger carpets consist of single units sewn together. A Tatami is a type of mat used as flooring material in traditional Japanese rooms. Made of a semi-hard core, covered by woven straw. Standardised at 90 x 180 cm its numbers would act as a measurement of the size of the room. While principally steering away from direct Japanese archetypes for their K5 Tokyo project, Claesson Koivisto Rune made an exception with this carpet, woven in Sweden, with traditional Swedish methods and materials, then ‘repatriated’ to Japan. Estimate: SEK 20 000 / EUR 1 970 Lot No: 1324695

Claesson Koivisto Rune, a ‘Tatami’ carpet in six pieces, Kasthall, Sweden, 2020. ‘Sunset red’ wool with purple linings, marked with label Kasthall Tatami and signed by Claesson Koivisto Rune, 270 x 360 cm. The Tatami carpet was custom-designed for the hotel suites at the K5 Tokyo in a ‘Tatami concept’, where larger carpets consist of single units sewn together. A Tatami is a type of mat used as flooring material in traditional Japanese rooms. Made of a semi-hard core, covered by woven straw. Standardised at 90 x 180 cm its numbers would act as a measurement of the size of the room. While principally steering away from direct Japanese archetypes for their K5 Tokyo project, Claesson Koivisto Rune made an exception with this carpet, woven in Sweden, with traditional Swedish methods and materials, then ‘repatriated’ to Japan. Estimate: SEK 30 000 / EUR 2 950 Lot No: 1324699

Claesson Koivisto Rune, ‘K5 Cement Tiles’, Marrakech Design, Sweden, 2020. Blue and white cement tiles, handmade in Vietnam, 7.5 / 15 / 22.5 x 30 cm, total area 30m2. The corridors of the hotel K5 Tokyo have floor tiles of set modules that allow a very large variety of laying patterns. The principle being that the corridor is segmented in a progression of patterns, one for each corresponding guest room and never repeated. Each pattern is continued into the guest room’s entrance so that the particular section of corridor can be perceived as a part of the room; as a semi-private hallway. The colours were chosen the same ‘imperial’ blue and white as found in the famous Katsura Imperial Villa in Kyoto. Estimate: SEK 30 000 / EUR 2 950 Lot No: 1324708

Claesson Koivisto Rune, a ‘K5 Tokyo Paper Lantern’, Time & Style, Japan, 2018. Washi paper on bamboo hoops, diameter 80 cm, height 75 cm. Handmade hanging lamps of washi paper is a very old East Asian tradition and the finest today are made in Japan. This lamp was designed in the shape of a pendant droplet or a wasp nest. This large size lantern is found above the beds of the guestrooms of the Hotel K5 Tokyo. Hand made by master craftsmen. Estimate: SEK 12 000 / EUR 1 180 Lot No: 1319506

Claesson Koivisto Rune, a ‘K5 Tokyo Paper Lantern’, Time & Style, Japan, 2018. Washi paper on bamboo hoops, diameter 120 cm, height 115 cm. Handmade hanging lamps of washi paper is a very old East Asian tradition and the finest today are made in Japan. This lamp was designed in the shape of a pendant droplet or a wasp nest. This extra-large size lantern is found in two places at K5 Tokyo; over the reception and over the king-size bed of the grand suite ‘K5 Loft’. Hand made by master craftsmen in the maximum (120 cm) size possible. Estimate: SEK 15 000 / EUR 1 480 Lot No: 1319501

Lot No: 1324573

Claesson Koivisto Rune, ‘K5 Pencil’, a set of pencils, K5 Tokyo, Japan, 2020. Wood, one side planed and painted vermillion orange. Designed by Claesson Koivisto Rune as a hotel pencil for the rooms at K5 Tokyo. With one side planed and painted vermillion orange. The one facet prevents the pencil from rolling off the table top. Estimate: SEK 1 500 / EUR 150 Lot No: 1325007

Claesson Koivisto Rune, a ‘K5 Tokyo Planter’, ADX, Japan, 2020. Terracotta, height 17 cm. The neighbourhood’s relative lack of greenery inspired the creation of a ‘green oasis’ in the hotel K5 Tokyo. A multitude of potted plants spread out the interiors. The hotel employed a gardener without having a garden. The planter, which was made in six different sizes, was designed to be a synthesis of the strictest geometry and the softness of the handmade. Estimate: SEK 2 000 / EUR 200 Lot No: 1324573

Claesson Koivisto Rune, a ‘K5 City Bike’, Tokyo Bike, Japan, 2020. Satin steel frame with leather details, Brooks saddle, Tokyo Bike frame size medium, wheel size 650 x 25c. Made in a total edition of 4. The bike was designed by Claesson Koivisto Rune as a bike-for-loan for the K5 Tokyo’s hotel customers. Estimate: SEK 20 000 / EUR 1 970 Lot No: 1325004

Lot No: 1325004

K5 Hotel, Tokyo, reception.

? K5 Hotel, Tokyo, lounge/coffee shop.

RYU KO KI DA

Brand Director for Elle Decor Japan, previously Editor-in-Chief for nine years. Kida has an extensive coverage experience and international network beside Japan in the most prominent design scenes – including Milan, Paris, Shanghai, Miami and Scandinavia.

APRIL 6, 2019. On a Saturday night just before Milan Design Week, I had been invited to a dinner at Living Divani headquarters. It was then that I heard from Mr. Ola Rune that Claesson Koivisto Rune was going to do the interior design for a hotel in Tokyo, and this was something that remained a clear outline in my mind even after the stormy Milano Salone had passed.

完成した途端にパンデミックとなり、世界の人にお披露目ができないままでいるk５について、書いてみたい。このホテルができていく過程を、私はクラーソン・コイヴィスト・ルーネとともにジャーナリストの立場で体験した。楽しく忘れたがたい時間の連続だった。最初にこの話を聞いたのは～ 2 0 1 9 年 4月6日ミラノデザインウィーク直前の土曜日の夜に、私はリビングディバーニ本社のディナーに招かれていた。その時ウーラ・ルーネから「東京のホテルのインテリアをやるよ」聞き、そのことは嵐のようなミラノサローネが過ぎ去った後も、私の中でくっきりとした輪郭を残したのだった。

JULY 2, 2019.

JULY 2, 2019. When summer was about to start, Ola contacted me: ‘Since I'm in Tokyo, why don't you come and see the skeletonised building?’ He asked me to come to a former bank building behind the Tokyo Stock Exchange in Nihonbashi Kabuto-cho, which is the financial centre of Japan. He was in a bright red shirt and waiting for me at the entrance. As soon as we entered, I found that the inside of the massive building, which was built in 1923 and even survived the Great Kanto Earthquake, had been completely demolished. Ola walked rhythmically through the empty space as if he was following an invisible blueprint. ‘From here to here will be a restaurant, and this room with a vault will be a bar.’ he explained. Everything is already done in Ola's mind. I thought this was like a virtual walk through an architect's head and it was truly fun. The second and third floors were also bare. ‘We’re going to build a special suite on the third floor, right around here!’ said Ola as he walked further and further into the empty space. I followed him and we took a picture with our hands outstretched letting my imagination run wild in this rich space, so naturally my body and mind expanded into the space. The next day I traveled to Barcelona for my summer vacation. Of course, Ola, a minimalist didn't forget to advise me that I should definitely see Mies van der Rohe's ‘Barcelona Pavilion’. DECEMBER 20, 2019. I heard from Ola again. It was in winter. I was back from Design Miami and very busy waiting for Christmas. He said, ‘Why don't you come and have a look? We’ve made a lot of progress’. When we got there, the space was already divided into rooms, the restaurant had a long counter, and the floor was covered with original tiles. We explored the building, jumping over construction tools and sneaking past furniture to be brought in. We checked out the bathroom design in the ‘K5 Loft’ suite, which was still in the process of being wired for lighting. Then we went back to the same spot to take before and after photos, and finally even managed to grab a beer at the nearly finished Brooklyn Brewery in the basement. Skål!

DECEMBER 20, 2019.

JANUARY 30, 2020

2019年7月2日夏が始まろうとしていた頃、ウーラから連絡があった。「東京にいるから、スケルトンになったビルを見にこないか？」というものだった。待ち合わせ場所は、日本橋兜町。日本の金融の中心を担う東京証券取引所の裏手にある、元銀行のビルなのだという。訪ねていくと、真っ赤なシャツを着たウーラは、玄関で待っていてくれた。早速なかへ入ると、1923年に建てられ、関東大震災も生きのびた重厚なビルの内側は完全に取り払われていた。ウーラはその何もない空間の中を、まるで見えない設計図に沿ってステップをふむようにリズミカルに歩く。「ここからここまではレストランに、そしてほら、こちらの金庫室はバーになるんだよ」と説明してくれる。ウーラの頭の中では全てが出来上がっているのだ。これは建築家の頭のなかを探検するバーチャルな空間散歩なんだな、なんて楽しいんだろう。２階、３階もむき出しの状態だが「３階には特別なスイートを、そうだな、このあたりに作る予定！」とウーラは何もない空間をどんどん歩いていく。私も一緒にいて、どういう心境か、ふたりで両手を広げて写真をとった。この豊かな空間で湧き出る妄想に身を任せていると、自然と身も心も空間の中に広がっていく。次の日私は夏休みのため、バルセロナに旅だった。ミニマリストのウーラはもちろん、ミース・ファン・デル・ローエの『バルセロナ・パヴィリオン』は絶対みるべき、というアドバイスを忘れなかった。 2019年12月20日またウーラから連絡があった。季節は冬。私はデザイン・マイアミから戻り、クリスマスを待つばかりの忙しい日々、「ちょっと見にこない？だいぶん進んだよ」という。行ってみると、空間はすでに部屋ごとに区切られ、レストランには長いカウンターができ、床にはオリジナルタイルが貼られていた。私たちは、工事道具を飛び越えたり、搬入予定の家具の横をすり抜けたりしながら、建物を探検した。まだ照明の配線をしてる途中のスイートルーム『k５ロフト』で、バスルームのデザインを確認し、もう一度同じ場所でビフォーアフターのような写真を取り、ついには地下にある完成間近のブルックリンブルワリーで、ビールを一杯飲むことさえできるようになったていた。スコール！

JANUARY 30, 2020. Shortly after I returned from my business trip from Paris, K5 finally celebrated its opening. I rushed over to the hotel, Mårten Claesson, Eero Koivisto and Ola Rune were all there to give me a private tour. I became speechless by the beautifully completed suite. The space was neither Scandinavian nor Japanese, but had design genes from both, making it a truly beyond-boundary space. ‘These Japanese paper lanterns, and the rug inspired by the scale of tatami mats, and the indigo-dyed linen curtains around the bed were all custom-made in Japan. The elevators and doors are made of solid Japanese copper, and the cedar sliding doors were also inspired by Japan’ the three explained. There were other original items including everything from furniture to flower pots. In addition, designs by Jasper Morrison and Barber & Osgerby were used, and the space was filled with a warm and relaxing global feeling, created by architects who know Japanese materials and craftsmanship well, spinning it into a modern architectural vessel. When I asked where this feeling of relaxation came from, they explained that it was based on the Japanese sense of ‘Aimai’ [ambiguity]. ‘By not settling on one answer, we can create a variety of different perspectives. ‘Aimai’ is a vague concept, but I think it's a bright, positive feeling that makes you feel happy, like you're in a dream.’ As I listened to them, I decided that Elle Decor Japan would nominate Claesson Koivisto Rune for the EDIDA (Elle Decor International Design Award) Interior Designer of the Year. This would be an award given to the designer who created the most amazing interior in the world. I guess they knew that what we need now is such a warm space, where everyone is free to spend their time without any boundary. The concept of space touched my heartstrings especially when I thought about the division of the world after. The comfort that is possible only through the careful selection of materials and the power of design shows the highest level of professional work.

* Immediately after the completion of the K5, the world was hit by a pandemic, and free interactions were limited. But K5 is still open today, waiting for guests from all over the world. Particularly for those who love design, K5 will be the base for their next trip to Tokyo. When the world is real again, of course I will be the first one to dream of having another photo session with the three of you here. Thank you, Mårten, Eero and Ola for your wonderful designs.

2020年1月30日私がパリからの出張から戻ってすぐに、 k５はついにオープニングを迎えた。早速駆けつけると、モーテン・クラーソン、エーロ・コイヴィスト、ウーラ・ルーネの３人が全員集合でプライベートツアーをしてくれる。すっかり仕上がったスイートルームに入ると、感無量だった。そこには北欧とも日本とも言えない、しかし両者のデザイン遺伝子を受け継いだ、なんともヴィヨンド・バウンダリーな空間が広がっていたのだ。「この部屋の和紙のランタンや、畳のスケール感に影響を受けたラグ、ベッド周りの藍染の麻のカーテンなどは、日本で特注したもの。エレベータやドアには日本製の無垢の銅を使い、杉材の引き戸も日本からのインスピレーションなんだ」と３人が説明してくれる。他にも家具から植木鉢までオリジナルアイテムの連続。加えて、ジャスパー・モリソンや、バーバー＆オズガービーのデザインも採用されていて、その空間は、日本の素材や職人の技をよく知る建築家が、モダン建築の器の中に紡ぎ出した、暖かくてリラックスできるグローバルな感覚に満たされていた。この、リラックス感はどこからきているんだろうと聞くと、考え方の基本には、日本の「あいまい」な感覚があるという。「答えを一つに決めないことで、多様な視点が生まれる。『あいまい』はぼんやりしているけれど、明るくてポジティブで夢の中にいるような幸せな気分にさせてくれる感覚だと思う」という。話を聞きながら私は、エル・デコジャパンとして、クラーソン・コイヴィスト・ルーネをEDIDA（エル・デコインターナショナルデザインアワード）のインテリア・オブ・ザ・イヤーにノミネートしようと決めていた。これは、世界で一番素晴らしいインテリアを作ったデザイナーに与えられる賞となる。彼らは、いま必要なのは、境界線を越えても誰もが自由に想い想いの時を過ごせる、そんな暖かい空間だと知っているのだろう。その後の世界の分断を思うと、琴線に触れる空間コンセプトだ。行き届いた素材選びとデザインの力によってのみ可能になる心地よさは、プロの仕事の最高レベルを見せてくれる。

* K5が完成した直後から、世界はパンデックに見舞われ、自由な交流ができなくなってしまった。でもk５は今日も営業をしていて、世界からのゲストを待っている。特にデザインが好きな人にとっては、次の東京への旅の拠点はk５ということになることだろう。世界が再びリアルにつながれたら、もちろん真っ先に３人とここでまた一緒にフォトセッションができること夢見ています。モーテン、エーロ、ウーラ、素晴らしいデザインを、ありがとう。

AI MAI

We’ve always found our focus in three fields of human creation – architecture, design and art. And while the former two have been, and continue to be, our main output, we’ve occasionally embarked on an art project. Related to architecture or design in so many ways, but different in the fact that its sole function is to be an experience in its own right. For artistic inspiration everything in life is of course valid. But if we must name one particular source for us, our best answer would be the unique culture of Japan. After three decades of annual visits to Japan, we were only recently introduced to the Japanese word ‘Aimai’ – meaning vague, obscure or ambiguous, which in Japanese is often used in a positive, poetic sense. The term also denotes the benefits of erasing borders. It was a revelation! Suddenly there was an explanation to a great deal in Japan that ever felt ‘Lost in Translation’ to the western self. The answer: It’s not lost, it’s meant to be; it’s Aimai. When Bukowskis in Stockholm collected together the vast majority of the items that we have conceived, designed or manufactured in Japan for the ‘Claesson Koivisto Rune in Japan’ auction – more than 100 designs over three decades (and a first time for us and others to see them gathered together) – we gave ourselves an art brief to commemorate this: Aimai. From a large number of sketches, trials, discussions and cul-de-sacs, a portfolio of seven motifs emerged. We view them as abstract expressions of colours, shapes, size and vagueness. But there was a starting point: They each are derived from one specific Japanese object that we have designed, or rather a detail or feature of the same. But more than symbolising this real object the print seeks to leave its conception behind, to become an abstraction, and only that, no matter how vague. Mårten Claesson, Eero Koivisto and Ola Rune, 2021

Lot No: 1331504

Lot No: 1331496

Claesson Koivisto Rune, ‘Aimai No 1’ C-print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1329196

Claesson Koivisto Rune, ‘Aimai No 2’ C-print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331496

Claesson Koivisto Rune, ‘Aimai No 3’ C–print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331498

Claesson Koivisto Rune, ‘Aimai No 4’ C-print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331493

Claesson Koivisto Rune, ‘Aimai No 5’ C–print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331504

Claesson Koivisto Rune, ‘Aimai No 6’ C–print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331582

Lot No: 1331493

Lot No: 1331582

Claesson Koivisto Rune, ‘Aimai No 7’ C–print, edition 2/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs motifs in an edition of 5, signed on back. Framed. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 18 000 / EUR 1 770 Lot No: 1331584

Claesson Koivisto Rune, ‘Aimai’ portfolio of 7 C-prints, edition 3/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs in an edition of 5, signed on back. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 60 000 / EUR 5 900 Lot No: 1331515

Claesson Koivisto Rune, ‘Aimai’ portfolio of 7 C-prints, edition 4/5, 2021. C-print on acid free 100% cotton paper, 83 x 85 cm, portfolio of seven motifs in an edition of 5, signed on back. Art print series conceived in conjunction with the exhibition and auction at Bukowskis in August 2021. Obscured shapes based on selected objects designed by Claesson Koivisto Rune in Japan. With colours reminding of the artists’ perception of Japan. The Japanese word ‘Aimai’ means vague, obscure or ambiguous, which in Japan is often used in a positive, poetic sense. The term denotes the benefits of erasing borders. (d) Estimate: SEK 60 000 / EUR 5 900 Lot No: 1331514

Lot No: 1331498

THANK YOU

With thanks to the following individuals for their invaluable help in making Claesson Koivisto Rune in Japan happen: Ryutaro Yoshida, Ryuko Kida, Shigeo Mashiro, Teruo Kurosaki, Astrid Klein, Mark Dytham, Anders Byriel, Akihiro Matsui, Yuta Ota, Takahiro Homma, Yuji Takahashi, Yoichi Nakamuta, Atsushi Kyugo, Maria Olofsson, Johan Bergh, Inga–Lill Ovin, Per–Anders Ovin, Boel Lindbergh, all staff at Claesson Koivisto Rune Architects.

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