The Residential house of Hachirouemon Mitsui, located inside the Edo Tokyo Tatemono-en, in Koganei City, Tokyo, was originally built in Kougai Town (now Nishi Azabu 3 Chome, Minato-ku), in 1952.
The house has a guest room, dining room, kitchen and service room on the first floor and a bedroom, bath room and butsuma room, the room where the family Buddhist altar is placed, on the second floor.
The house, in its original location was burned down during the war. To restore it, many rooms, building materials and stones were transferred from other Mitsui family houses located around Japan. The guest room, transferred from Kyoto, was built in 1897 and kitchen and warehouse were from Meiji period.
The guest room has a carpet with a table and chairs rather than the Japanese style tatami mattress, and its ceiling is decorated with craftwork called “sensai” which is made with colored threads and silk. Above the stairway is a luxurious and rare Czech glass chandelier. The handles of the sliding doors of the butsuma room are made of turquoise colored Shippou-yaki or Cloisonné ware.
The house is filled with a harmonious blend of Western and Japanese styles and visitors can enjoy the quintessence of the Mitsui family’s opulent life-style from the Edo, Meiji and Showa periods.
Carna was named after the Roman goddess who had power over entrances and exits and was considered a guardian angel of daily life.
Carna folding wheelchair, which was completed after eights years of prototyping, has a jaunty and stylish design giving it a feeling more like the newest pair of sneakers. With light weight titanium being utilized for the frame, the Carna can be folded down into a compact size. It is designed to be finely adjustable to fit different needs and body sizes. Above all, a user will be comfortable using the chair for extended periods of time. It can be said that this wheelchair becomes the legs of the user.
Carna folding wheelchair is the permanent collection of Museum of Modern Art (MoMA).
The Carna will become like a trusted guardian and it plays an important role to support the user’s everyday life, just as the word means.
・H86 x W61 x D90 cm
・9.5kg (seat 3kg)
A representative ethical notion in East Asian thought widely spread in China, Vietnam, Korea, and Japan Confucius’ teaching and Confucianism [the teaching of the person Confucius and what people have made out of it later are different things]. In Kanji science, however, the process before this character became a completely abstract notion is the main focus of interest. Actually, at the time of Confucius correct knowledge about the origin of Chinese characters had already been lost. In this sense, it was a character that could easily be manipulated or exploited. One can often hear the popular belief that it is the combination of the person-classifier at the left side and the number two at the right side. There also is the view that it was developed as a generalization of the notion ‘between two human beings,’ becoming one of the five basic tenets of Confucianism 仁 ‘Nin, Jin: humaneness,’ 儀 ‘Gi: rightness,’ 礼（禮） ‘Rei: propriety,’ 智 ‘Chi: wisdom,’ and 信 ‘Shin: trustworthiness.’ Certainly, the classifier is the person-classifier; here, however, the focus is on the interpretation of the right part.
Actually, from the standpoint of correct Kanji science, apart from the original number characters there is not even one case among Kanji with an element standing for an abstract number. It may look like this in the form of the present Common Use Kanji, which differs from the old character forms, but the idea that something abstract is incorporated as an element in Kanji always is characteristic for vulgar belief.
The part 五 appearing in 悟, for example, has no relation to the number 五 ‘five,’ but shows a double wooden lid firmly closing a ‘norito,’ i.e. ritual prayer receptacle. As a character that really shows two human beings there is the character 比 and others.
Basically, the elements appearing in Kanji are human beings and things. As they are things extant in ancient society, the person-classifier shows the form of a person who is about to sit down and the left part is the cushion at the sitting place. As this is the Orient, it is not a chair, but a cushion or mat. Thus a rather different way from there to the abstract ethical notion of humaneness becomes evident. In other words, it is the heart or mental attitude of offering a seating cushion to somebody. It means the mental attitude of consideration and feeling of hospitality towards guests or visitors. Originally, it is a notion for expressing such a warm feeling or attitude.
The chair on the left shows a carpentry technique of shaving bark, while the chair on the right shows a technique in which leather is attached to a chair.
A wooden chair with a single-leg is unique. The leg is made using a technique in which bark is shaved by turning a piece of wood on a potter’s wheel. Its shape is generated by a rotary motion that looks as if the chair has started rolling,
As for the other chair, its candy-colored leather is modern and elegant. It was designed for an apparel retail store. Thick leather is wrapped around steel bars. The leather wrapping and sewing requires great skill.
■ Single-leg chair（left）
*Mahogany with oil finish
*Ｗ×Ｄ×Ｈ×ＳＨ （ｍｍ） ５４０×４４０×７１０×４５０
*steel flat bar/leather
*Ｗ×Ｄ×Ｈ×ＳＨ （ｍｍ） ６２２×６７０×７５０×４２０
*Both items are designed by Intentionallies
■produced by Ubushina, Yudai Tachikawa