Meet Takahiro, Kumiko Craftsman
“When I make something by hand, I can never make it perfect. There are always tiny inconsistencies, but I think that’s exactly what gives it character and beauty. I believe those slight imperfections speak to people’s hearts.”
With intricate, interlocking pieces of wood emboding Japan’s woodworking heritage, Edo kumiko elevates interior design with its lattice-work elegance.
From the towering, nail-free beams of Kyoto’s Kiyomizudera Temple to the intricate, multicolored patterns of Hakone wood mosaic, Japanese woodworking has captivated for more than a millennium. Among Japan’s many woodworking traditions, kumiko stands out for its mesmerizing balance of simplicity and sophistication.
This lattice technique involves fitting slender pieces of wood together without nails, forming delicate geometric patterns inspired by nature and the seasons. Precision down to the millimeter is required, as even the smallest error can compromise the entire design. The artistry of kumiko can be found in everything from traditional shoji sliding doors and folding screens to lanterns, high-end sushi counters, and modern luxury interiors.
Step into the Tokyo studio of a second-generation kumiko artisan, Takahiro-san, where centuries of tradition meet contemporary design, and hear firsthand the patience, precision, and beauty that define his woodworking craft.
Q: To start, could you briefly explain what kind of studio you’re operating here in Tokyo?
A: I’m the second generation, taking over from my father, who was originally from Niigata (Prefecture). He had a difficult upbringing and never even met his own father. He told me he didn’t even remember being held or hugged by his father.
After finishing middle school, he moved to Tokyo alone to work as an apprentice. That’s how he trained and eventually started his own business—what later became this Edo Kumiko woodcrafting workshop.
I’ve now been running it for over twenty years as his successor.
Originally, our business was focused on traditional joinery (tatami sliding doors, woodwork), but as demand for those has decreased, we've been exploring different things—experimenting with interior design pieces and trying to see how our traditional kumiko woodwork can be adapted to other areas.
Q. As you just mentioned, your father was the one who originally started this work. Now, as for you stepping into this world—maybe you were already involved from a young age and it just felt natural—but was there ever a moment when you made a clear decision like, “Okay, I’m going to do this”? Was there any sort of turning point or connection that led you here?
A: Well, my father’s workshop was literally part of our home. Our living space and his workspace were connected. So after school, I’d always see him working. That was just the daily routine. Also, my father would often say things like, “You’re going to take over after me.” So I guess I was kind of brainwashed into it from a young age, in a way (laughs).
I did go to university, and I didn’t jump straight into the family business afterward. I worked elsewhere for about three and a half years. But that was during a pretty bad economic downturn, and they were talking about layoffs. So I figured, well, maybe this is a good opportunity, and I decided to take over from my father. That was around twenty some years ago.
Q: Now that you've stepped into this line of work, can you tell us more about what you’re particular about or what direction you want to take things in? What are you aiming to create?
A: Our biggest feature is that almost everything is handmade.
These days, in most traditional crafts, a lot can be done by machines. Even kumiko can now be almost entirely made using computer-controlled machines.
But we’re based here in Tokyo, and space is limited—we don’t really have room to bring in large machines. Also, they’re expensive, and we don’t have that kind of budget. So partly out of necessity, but also out of principle, we’ve continued to stick with doing everything by hand. And I think we’ll continue to value that handcrafting approach moving forward.
As for what I want to create—I’m not an artist or a designer. I don’t consider myself a creator in that sense. I’m a craftsman. So I want to make things that my clients love.
Artists make what they want to make. But as a craftsman, I want to make things that customers are happy with.
Q: Are there any specific messages or impressions you hope to leave with your international visitors?
A: Since COVID has eased, the number of international visitors has really increased. Even though we’re just a small workshop in a residential neighborhood, we’ve had a surprising number of people stop by. To be honest, I sometimes wonder what they’re hoping to see. From my perspective, I think, “Wouldn’t it be better to go to a department store or gallery where everything is beautifully displayed?”
But after talking to various international guests, I’ve learned that’s not the case. They say, “We want to see where the work is actually done—even if it’s a messy, cramped workshop.” And there are quite a few people who feel that way.
So even though it’s not a large or fancy workspace, it makes me happy that people are interested in visiting. As for what I want them to see—I think I’d like them to feel the difference between something handmade and something machine-made. We don’t actually keep machine-made samples here, but I hope they can sense the difference.
I saw something on TV the other day—someone said, “Humans find beauty in imperfection.” That really resonated with me. When I make something by hand, I can never make it perfect. There are always tiny inconsistencies, but I think that’s exactly what gives it character and beauty. I believe those slight imperfections speak to people’s hearts.
If visitors can recognize and appreciate that, I’d be very happy.
Takahiro-san warmly welcomes all guests interested in experiencing Japanese woodworking to his studio in Tokyo for a private Edo kumiko workshop. With overwhelming hospitality and a wealth of woodcrafting expertise, learn the foundations of this ancient craft straight from a master.
Step into Takahiro’s kumiko studio and experience an authentic taste of traditional craftsmanship, where intricate cuts of wood meet to create stunning masterpieces.
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