Coichi Wada

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Coichi Wada ("CW") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

CW : I graduated from Kyushu Institute of Design in 1988, majoring in product design. I then spent five years as an in-house designer, designing various residential components, including entrance doors, interior doors, windows, built-in kitchen systems, and modular bathrooms. In 1993, I worked at a design firm, where I designed 15 bespoke kitchens and one residential home. I then founded STUDIO KAZ in 1994.

DL: What motivates you to design in general, why did you become a designer?

CW : I mainly work in interior design and bespoke kitchen design. To me, interior design is a way of self-expression and a way of connecting with society. Projecting my own ideas into space and sharing my feelings and philosophy with others is what motivates me.

DL: Did you choose to become a designer, or you were forced to become one?

CW : At first, I wanted to work in music. When I was 17, I saw the design of the Renault Super 5, designed by Marcello Gandini, and became interested in design for the first time. After that, I started to look at various designs and decided that I wanted to design furniture and interiors.

DL: What do you design, what type of designs do you wish to design more of?

CW : I usually work on interior design for living spaces, especially bespoke kitchens. I always try to create designs that are close to the people who will use them. I don't think that will change in the future.

DL: What should young designers do to become a design legend like you?

CW : I think it's important to be interested in everything and observe things from a broad perspective.

DL: What distinguishes between a good designer and a great designer?

CW : A good designer is someone who can create beautiful and perfect designs. A great designer is someone who creates designs that change values and have some kind of influence on other designers.

DL: What makes a good design a really good design, how do you evaluate good design?

CW : There are always new discoveries to be made. Allowing space for users to freely interact with it. Not being consumed by the times. Always changing and running alongside the times. Providing a rich experience for users. Creating a new culture.

DL: What is the value of good design? Why should everyone invest in good design?

CW : I believe that great design is not something you choose because it's beautiful, but because it's honest. I also believe that great design creates new culture. In other words, investing in great design is also investing in the future.

DL: What would you design and who would you design for if you had the time?

CW : I would like to design a grave for myself and my wife.

DL: What is the dream project you haven’t yet had time to realize?

CW : I've always wanted to have a small house by the sea where I could relax with my wife, but that hasn't happened yet.

DL: What is your secret recipe of success in design, what is your secret ingredient?

CW : Observational skills and a spirit of inquiry

DL: Who are some other design masters and legends you get inspired from?

CW : Ettore Sottsass Shiro Kuramata Aldo Rossi George Sowden

DL: What are your favorite designs by other designers, why do you like them?

CW : The Wassily Chair, designed by Marcel Breuer, strikes a perfect balance between innovative design and aesthetic sense, while also being highly practical and comfortable.

DL: What is your greatest design, which aspects of that design makes you think it is great?

CW : This is a kitchen I designed in 2021 called "Ro-gu." All of the components are made from Japanese cypress. It uses an "external L-shape" layout that I came up with, and is a square measuring 150cm on each side. Although it is very compact, it can be used in the same way as a larger kitchen, and even if two people use it at the same time, it won't get in the way and they can cook while looking at each other's faces. In 2023, I also created a kitchen called "kitchen EO" with the same shape but made entirely of stainless steel. This was created by small factories in Higashiosaka City, Osaka Prefecture, bringing together the expertise of each factory. In 2024, we exhibited "Ro-gu" and "kitchen EO" side by side.

DL: How could people improve themselves to be better designers, what did you do?

CW : Be true to your core, don't be afraid of change, and always take on challenges.

DL: If you hadn’t become a designer, what would you have done?

CW : Music-related work or chef or doctor

DL: How do you define design, what is design for you?

CW : Design is a conduct and experience that reconstructs relationships with society and the local community. Designed products and spaces are the result of this.

DL: Who helped you to reach these heights, who was your biggest supporter?

CW : That's my wife

DL: What helped you to become a great designer?

CW : I don't think of myself as a great designer. However, I believe that the reason I am here today doing this interview is entirely thanks to the support of the people around me. I listened to what they had to say, trusted their skills, and worked with them to create objects and spaces. The award-winning "THE CHAKAI" would not have been possible without Tokumoto from Kyoto Prefecture, who developed the smart textile and interactive system used in the fabric, and Kawase and Chikahiro of swag, who produced the video.

DL: What were the obstacles you faced before becoming a design master?

CW : I have designed over 1,000 kitchens over the course of more than 30 years, but in Japan, kitchens are often seen as "equipment," "function," and "behind-the-scenes," and are the most neglected aspect of architecture. However, I believe that the kitchen is the center of communication between family and friends, and must be designed with individuality in mind.

DL: How do you think designers should present their work?

CW : Most of my work is for clients, so I don't like to call it "work," but I need to communicate my philosophy through various media. I always keep in mind that by doing each job carefully and sincerely, the work itself will become my portfolio.

DL: What’s your next design project, what should we expect from you in future?

CW : We currently have over 20 projects underway. They vary in scale, content, and client requests, including renovations, homes, exhibition facilities with attached cafes, exhibitions, bespoke kitchens, and product design. I'm looking forward to each one.

DL: What’s your ultimate goal as a designer?

CW : Although it is not my goal as a designer, I would like to see the Japanese kitchen industry break away from its current closed-off situation and become more free and user-oriented.

DL: What people expect from an esteemed designer such as yourself?

CW : I don't consider myself a designer that people can respect, and I certainly don't want people to have excessive expectations of me. I never try to surprise people, and for each project I try to face the problems and challenges at hand with sincerity and honesty. By doing so, I believe I can meet my client's requests 120%.

DL: How does design help create a better society?

CW : There are many social issues around us. Environmental issues, in particular, are a fact that cannot be ignored. There are many challenges, such as global warming, marine debris, sustainability, and responses to conflicts. I believe that what we can do in these circumstances is very small and fleeting. This is why I believe that we must carry out each and every task sincerely and honestly. I want to confront various issues without resisting society or the environment, but with a strong will.

DL: What are you currently working on that you are especially excited about?

CW : It's a revolution in Japan's kitchen market. It's an exaggeration, but... In Japan, 90% of homes use the same packaged kitchen. I think that's an extremely abnormal sight. A kitchen is a space and piece of furniture that must be highly individualized to suit each individual's lifestyle. Of course, there are people who aren't interested in cooking, so I'm not saying that all kitchens need to be bespoke, but I would like to see the proportion of bespoke kitchens increase even a little. To achieve this, a change in user awareness is necessary, but even before that, I believe there needs to be a change in awareness not only on the supply side, kitchen manufacturers, but also on the construction side, such as builders and home builders.

DL: Which design projects gave you the most satisfaction, why?

CW : I can't mention his name, but I once designed a kitchen for the villa of a famous Japanese artist. During that project, he taught me the importance of rigor in work and strictness in detail. There were times along the way when he criticized my work to the point that I nearly gave up, but I persisted and in the end, he was satisfied with the project. Since then, I have met with him from time to time to receive his advice, and we have maintained a good relationship. This project was extremely satisfying in the sense that it determined the attitude I have taken towards my work since then, and I have been able to maintain it.

DL: What would you like to see changed in design industry in the coming years?

CW : I believe that going forward, both products and spaces will need to possess distinctive individuality. Thanks to technologies such as 3D printers, it is now possible to produce a wide variety of products in small quantities, and the days when everyone used the same mass-produced items are already over. Meanwhile, AI technology is advancing at an incredible pace. However, I believe our lives are an area that cannot even be compensated for by AI or patterned UI. While AI and UI collect, organize, and average information, in human life we should place emphasis on narrative, take a bespoke approach, and aim for more individual products and spaces. I believe that this is what will be necessary for interior design in the future. Designers who can do this will be the ones who survive. I hope to be one of them.

DL: Where do you think the design field is headed next?

CW : Narrative and Bespoke

DL: How long does it take you to finalize a design project?

CW : It depends on the project. I have not yet been involved in a large-scale architectural project, so the projects I am usually involved in can last as little as six months or as long as two to three years.

DL: When you have a new design project, where do you start?

CW : This also varies depending on the content of the project. In the case of a home renovation, we start by understanding the current situation, extracting the problems, and then understanding the client's requests. In the case of product design, we organize the current market, trends, and the flow of the times, and predict the market of the future.

DL: What is your life motto as a designer?

CW : Be honest. Be ambitious. Be innovative.

DL: Do you think design sets the trends or trends set the designs?

CW : 01.Do you think design sets the trends or trends set the designs? デザインとは、何かを作るときの所作を指すものであり、その結果「デザインされたもの」が生まれます。そこにはトレンドとリンクする部分はないでしょう。つまりデザインとトレンドは無関係であると言えます。しかし、デザインという行為は、時代や社会問題などを背景としており、その結果の「デザインされたもの」はトレンドとなり得る可能性はあると思います。 Design refers to the conduct of creating something, and the result is a "designed thing." There is no link to trends. In other words, it can be said that design and trends are unrelated. However, the conduct of design is based on the times and social issues, and I think that the resulting "designed thing" has the potential to become a trend.

DL: What is the role of technology when you design?

CW : I believe that by utilizing technology such as AI, we can dramatically increase the speed of imagination and verification. However, it will never replace the designer's hands; rather, it will be a tool that enables us to reach areas that were previously unreachable, and it will serve as an opportunity to redefine what design is. The award-winning "THE CHAKAI" uses technology to redefine the relationship between space and people. By quantifying the uncalculatable phenomenon of air movement, we were able to create a new, unpredictable experience.

DL: What kind of design software and equipment do you use in your work?

CW : I use a MacBook for equipment. The software I use is Vectorworks, Photoshop, and Illustrator.

DL: What is the role of the color, materials and ambient in design?

CW : Colors control emotions. Materials control time, experiences, and physicality. Ambient is comprehensive, controlling consciousness and emotions, giving a story to a space, and affecting memory.

DL: What do you wish people to ask about your design?

CW : "Why is this atmosphere being created?" "What is this space trying to say to whom?" When people approach a design with these kinds of "questions that allow them to notice the atmosphere," it becomes more than just a spatial composition; it becomes a medium for empathy and dialogue.

DL: When you see a new great design or product what comes into your mind?

CW : I think we look at the scenes and backgrounds in which it is used and imagine the process by which that design was born. We may also be searching for the reason behind its beauty, but when we see something truly beautifully designed, we may just stand there, gazing at it without any thought.

DL: Who is your ideal design partner? Do you believe in co-design?

CW : My wife is my best design partner and we often collaborate on designs. The award-winning "THE CHAKAI" was also designed in collaboration with her.

DL: Which people you interacted had the most influence on your design?

CW : When I was working for a company, I had the opportunity to work on several projects with famous external designers. Perhaps it was because I was young at the time, but working with them was very stimulating, and their comments and ideas still inspire me today.

DL: Which books you read had the most effect on your design?

CW : Koda Aya's "Kitchen Sounds." This short piece was written in 1956, and the title "Kitchen Sounds" refers to the delicate, rhythmic sounds of kitchen work: chopping vegetables, bubbling in a pot, washing rice, etc. These sounds are like quiet music that determine the atmosphere of the home. A husband who is sick and bedridden is sensitive to changes in the sounds his wife makes while working in the kitchen, and is able to tell from these changes in sound that his own illness is progressing. Koda Aya depicts the kitchen not simply as a place to cook, but as a space filled with discipline, tradition, and deeply rooted family wisdom.

DL: How did you develop your skills as a master designer?

CW : I didn't set out to become a "master," and I still don't think I've become one. I learned my skills not at a desk in an office, but through conversations with craftsmen on dusty job sites and in factories. They were born from an accumulation of small things like that. That's why it's taken so many years. It's not just the job site, but also things I encounter by chance in places I visit, like the forest silhouette cast by sunlight filtering through the trees, the worn floor of an old church where many people must have walked, or leftover materials discarded in the corner of the factory. It's a cycle of observing various things and experiences, trying things, failing, and thinking again. And this process is still ongoing. That means my learning isn't over yet.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

CW : I enjoy talking with young, inexperienced designers, or aspiring designers. They innocently propose designs that I unconsciously reject based on my own experiences. I need to carefully explain why I can't do that suggestion. Is it a matter of technology, money, or time? Some of these problems can be solved by changing your approach, which can lead to new details and design ideas. These ideas have the potential to give birth to new designs. So by talking to them, I am always able to keep my thinking fresh and young.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

CW : It's certainly an honor to receive awards and recognition, and I'm grateful that it means my work has reached someone. However, that's not the reason I continue designing. The truly happiest moments are when the spaces, kitchens, and objects I've designed become so integrated that they no longer even seem to be "designed." I feel the deepest joy when I feel as if the space has become one with the client, as if it had always been there. I don't particularly think about being "famous." Rather, I believe that my work should speak for itself, rather than my name. The more attention I receive, the more my attitude is questioned. Being honest, remaining curious, and being faithful to my work. These are my unchanging core values.

DL: What is your favorite color, place, food, season, thing and brand?

CW : My favorite color is ink black. It has the tolerance to accept a variety of colors and the greatness of showing different expressions depending on the light. My favorite places are places where you can't see people but you can feel their presence. For example, small alleys in the city, or factories after work hours. My favorite food is pasta. My favorite season is autumn. The atmosphere after the harsh summer is over, filled with transience, melancholy, and gentleness. The shadows that begin to grow a little in the sunlight that is slightly lower in the sky. My favorite things are things that show careful handiwork. Furniture, tools, or materials don't matter. Whether it's wood, metal, or stone, I love the moment when the skill of treating the materials with care is added. My favorite brand is Yohji Yamamoto. I feel like I can always maintain a challenging spirit there.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

CW : For some reason, I often design homes for women my age who live alone, and this is the story of one of those women. I spent over a year designing a space where she would live alone. Finally, I completed a plan that satisfied her, and construction began. Then, just before construction was to be completed, she showed up on site and said, "I'm getting married," not having thought about where her future husband would live. When I asked her, "What are you going to do?" she replied, "It's not a problem, he hardly has any luggage." In fact, I have another project where a similar marriage was decided midway through construction. Of course, marriage is a happy occasion and something to be celebrated. Perhaps I am a designer who brings happiness !! lol.

DL: What makes your day great as a designer, how do you motivate yourself?

CW : The moment I taste a delicious wine at the end of the day, I know that what I did that day was right. Also, when I manage to cook my favorite pasta deliciously, I feel a happiness that is hard to replace. " Tagliatelle di alghe al peperoncino yuzu" is my specialty dish.

DL: When you were a little child, was it obvious that you would become a great designer?

CW : Not at all. I remember saying I wanted to be a doctor when I was a little child.

DL: What do you think about future; what do you see will happen in thousand years from now?

CW : 1000 years from now... perhaps humanity will no longer exist. Even if we survive, I think we will have completely different values than we do now. We will no longer be dependent on material things. I think we will value non-material things such as consciousness and memory more. Naturally, the role of the material designer will be transferred to AI, and designers with the "empathy" to determine what to keep and what to eliminate will be required.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

CW : Most Japanese kitchens are not cool at all, but I would like people to know that there are a few designers who can design cool kitchens.