三河発、新技法の超極薄漆器
日本を象徴する工芸技法のひとつ、漆工芸。
美しさに加え、耐久性や耐水性などの効能に、日本文化の智恵が生きている。
その美しい風合いを、さらなる高みへと導く、ひとつのアイデア。“漆だけの薄さ” で美しく、しなやかな強さを表現したい──。
漆の特長は、木、金属、革など、塗る素材を選ばないこと。しかし、平滑度の高いプラスチックなどは、そのままでは塗ることはできなかった。
この弱点に注目したのが、愛知県・三河地方で代々、仏壇を手がけてきた塗師たち。
素地に漆を塗り重ねる伝統的な技法とは逆に、塗った漆をシリコンの型から剥がすことで、漆だけでカタチを作り出す方法を発明した。
One of the craft techniques that stands as a symbol for Japan is lacquer work.
In addition to its beauty, lacquer's durability and water resistance stand as a testament to the ingenuity of Japanese culture.
One idea has taken that beautiful texture to new heights.
The desire to express the thinness of lacquer alone, beautifully, through one supple, strong surface.
Lacquer is most easily applied to materials such as wood, metal, and leather. However, it could not be applied to materials such as smooth plastics. This drawback caught the attention of lacquer workers involved in the production of butsudan (Buddhist altars for use in the home) in Mikawa, Aichi prefecture. They were able to invert the traditional technique of applying lacquer to a material by applying the lacquer to a silicon mold, then, peeling the lacquer away from the mold to create shapes made entirely from lacquer.
漆器の多くが同心円や多角面体なのは、漆を塗る素地があるから。ろくろ挽きの木地なら、形も限られ、そのぶん厚さが必要になる。
その木地が不要になったことで、造形の自由度が飛躍的に高まった。
それは、従来のような “塗り” でもなく、厚く塗った漆を削り出す “彫漆（ちょうしつ）” でもない、まったく新しい工芸技法の誕生だった。
The reason why most lacquer ware takes a circular or multi-sided shape is that the lacquer is applied to a material.
The shape of sculpted wood grain is limited, and a certain thickness is needed.
By eliminating the need to apply the lacquer to wood, the range of shapes that could be produced was greatly expanded.
This marked the birth of a completely new technique, distinct from the existing techniques of lacquering and lacquer carving, in which a thick coating of lacquer was engraved.
塗りの常識を超えて極限まで薄く、滴（しずく）を思わせる3次元曲面。
そして、どっしりと存在感を放つ高台との、印象的なコントラスト。
“漆を剥がす” という逆転の発想に、3Dプリンタなどの最新技術とデザインを掛け合わせ、漆本来の強さと美しさが際立つ、超極薄の漆器が完成した。
The result is a thinness beyond the limits of what had previously been thought possible - a curved, three-dimensional surface reminiscent of a droplet of water. This creates a striking contrast with its firmly grounded base.
The inverted concept of “peeling away the lacquer,” used in combination with cutting-edge technology and design such as 3D printing, serves to accentuate the lacquer's innate strength and beauty, allowing the creation this ultra-thin lacquer ware.
角田陽太
仙台生まれ。2003年渡英し様々なデザイン事務所で経験を積む。
2007年ロイヤル・カレッジ・オブ・アート（RCA）デザインプロダクツ学科を修了。
2008年に帰国後、無印良品のプロダクトデザイナーを経て、2011年YOTA KAKUDA DESIGNを設立。
多岐にわたり国内外でデザインを発表している。
Yota Kakuda
Born in Sendai, Japan, he moved to the UK in 2003 and gained experience in various design firms.
He graduated from the Royal College of Art (RCA) in 2007 with a degree in product design.
After returning to Japan in 2008, he worked as a product designer for MUJI before establishing YOTA KAKUDA DESIGN in 2011.
He has presented a wide variety of designs in Japan and abroad.
YOTA KAKUDA DESIGN
SHIZUKU
各型は限定50個のみの販売となります。
We will limit sales to only fifty of each model.
Size
Size (mm)：H67 x W153 x D160
Price
盃の部分に漆のみで成形する新技法を用いた、極薄の漆器。
一番薄い箇所は約0.6mmと、これまでにない口当たりを実現した。
An ultra-thin lacquerware made using a new technique where the sake cup is molded entirely out of lacquer. It is about 0.6mm at its thinnest, achieving a mouthfeel like never before.
No.1／¥192,500-（税込み）
Size : H67×W153×D160(mm)
No.2／¥192,500-（税込み）
Size : H67×W170×D135(mm)
No.3／¥192,500-（税込み）
Size : H67×W160×D145(mm)
SHIZUKU
(税込み)
