Set of four zaisu rocking chairs
Manufactured by Tendo Mokko
Japan, 1962
Zelkova plywood, fabric
Measurements
57 × 68 × 50h cm (seat height 9 cm)
22,5 × 26,8 × 20h in (seat height 3,5 in)
Provenance
Private collection, Tokyo
Literature
Japanese Wooden Chairs, Shotenkenchiku-Sha, Tokyo, 1995, pp. 74–75
Tendo in Japanese Modern. Eight Decades of Masterful Designs, Tendo Mokko, Tokyo, 2020, p. 170
Details
Awarded the Gold Prize, Tendo Mokko Furniture Design Competition, 1962
Notes
The Rocking Lounge Chair for Tendo Mokko, designed by Kenzo Tarumi, is a remarkable example of Japanese modern design that seamlessly blends tradition with contemporary aesthetics. Crafted with meticulous attention to detail at the renowned Tendo Mokko studio, the chair reflects Tarumi’s philosophy of simplicity, functionality, and elegance. The chair’s design draws inspiration from traditional tatami mats, using natural materials and soft, organic lines that promote comfort and relaxation. Its gentle rocking motion offers a calming, meditative experience, echoing the tranquil spaces of Japanese interiors. Despite its traditional references, the chair’s form is sleek and modern, making it equally suitable for contemporary homes and minimalist interiors.
Every curve and angle of the Tendo Tatami Rocking Lounge Chair is thoughtfully considered, balancing ergonomics with aesthetic harmony. The piece exemplifies Tarumi’s skill in fusing craftsmanship with innovation: the joinery is precise, the proportions are perfect, and the overall design invites both visual appreciation and physical comfort.
Celebrated in exhibitions and museums, this chair is more than just furniture—it is a statement of Japanese design philosophy, a timeless piece that captures the spirit of tradition while embracing modern living. Through this iconic creation, Kenzo Tarumi has left a lasting imprint on the world of furniture design, showing that even a single object can embody cultural heritage, artistry, and innovation.
Kenzo Tarumi in his own words
“This zaisu chair won the gold prize at the second Tendo Mokko Furniture Design Competition in 1963. During my two years at Q Designers, I entered five designs in competitions, hoping to find my own design breakthrough. At the time, cheap steel zaisu chairs were commonplace, and it was an item in a genre where no one thought about design, but I decided to take on the challenge of making one out of wood. This was the last design I came up with out of the five I entered.
It makes use of Tendo Mokko's molded plywood technology and racket structure at the time. This technology was developed from tennis rackets. I am truly pleased that it is still being made today without any changes from the drawings made at the time of the competition.
The reason why we added a "sled" to the base of the zaisu chair is that it rocks to a certain extent, which provides cushioning and functionality. It also gives the impression of floating slightly above the floor, which creates a light and airy design.
Not only is it a design, but it is also a good product made of only four parts: the back, the seat, and the left and right frames. The reason it has been a long-selling product for over 30 years is probably due to the comprehensive fusion of production, technology, sales and design.
I guess it's because of that when I interact with young design students today, I sense a difference in their design approaches. I feel they rely too much on technological advances. They think that technology can "do anything." In today's world, anything is possible, if we're talking about technology alone, but I hope they will adopt a holistic perspective that includes the invisible aspects, the internal details, materials, and production. I want them to approach design with a perspective that looks to the times, rather than taking a simple design approach that focuses only on appearance.
I participated in an editing project called "Tearing Down Furniture," which was serialized in "Shirainai" 20 years ago. I learned a lot from it. I also built a good network. There was information about furniture making that I could share.
From now on, I would like to try coordinating the production process, understanding the feelings of the maker and the various professional functions of each part. In furniture making, where the technology is fully mature, is it possible to develop through partnerships, rather than relying mainly on manufacturers or technology.”
Biography
Kenzo Tarumi was born in 1933 in Japan, a country steeped in centuries of design tradition and craftsmanship. From an early age, he was drawn to the elegance of form and the quiet beauty of everyday objects. Unlike many who follow conventional paths, Tarumi was captivated by the idea that furniture could be more than functional—it could tell a story, reflect culture, and connect people with their surroundings.
After completing his studies in industrial design, he joined Tendo Mokko, a prestigious Japanese furniture studio renowned for its meticulous craftsmanship. It was here that Tarumi began to refine his vision. He was fascinated by the harmony of simplicity and elegance, blending traditional Japanese aesthetics—natural materials, clean lines, and thoughtful proportions—with modern sensibilities. Every piece he designed carried a balance of tradition and innovation, a quiet dialogue between past and present.
One of his most celebrated creations, the Rocking Lounge Chair for Tendo Mokko, perfectly embodies his philosophy. It combines the comfort and serenity of Japanese tatami with the modern need for functionality and fluid form. The piece has been celebrated in exhibitions and auctions, a testament to Tarumi’s lasting influence in the world of design.
Throughout his career, Tarumi remained a quiet force in Japanese modern design. He inspired generations of designers, not through loud statements but by demonstrating that simplicity, respect for tradition, and attention to detail could create objects of timeless beauty. While much of his personal life remains private, his legacy is evident in the works he left behind—furniture that continues to inspire and enrich spaces around the world.
Kenzo Tarumi’s life is a story of dedication, subtle innovation, and the enduring power of design to transform everyday experiences into something meaningful.
About Tendo Mokko
In northwest Japan, in Yamagata Prefecture, a group of carpenters and joiners created a cooperative that primarily produced wooden objects, ammunition and supply crates for the army. Incorporated in 1942, the cooperative worked with the Sendai Institute of Industrial Arts and used the new molded plywood technology to make decoy aircraft. After the war, Tendo opened an office in Tokyo (1947). It produced furniture for the occupying troops, then turned, in the early 1950s, to furniture for the domestic market One of his first commissions came from the architect Kenzo Tange, who designed plywood seats for the Ehime Prefecture, built in 1953. Plywood was then a new material for designers, and Tendo was one of the first manufacturers to use it for its furniture, notably for the Butterfly stool, created in 1956 by Sori Yanagi. Tendo's policy of paying royalties for design projects attracted many other designers, so much so that, in the sixties, Tendo could boast among its ranks the leading furniture designers Isamu Kenmochi, Daisaku Choh, Riki Watanabe, whose creations are still produced. In addition, Tendo encouraged young designers by funding an annual competition from 1960 to 1967 and by manufacturing some of the winning designs itself, such as Reiko Tanabe's plywood chair. In 1964, Tendo received the Mainichi Prize for Industrial Design for its pivotal role in furniture manufacturing.
