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DAISAKU CHŌ: A RETROSPECTIVE
INTERNATIONAL DESIGN CENTER NAGOYA (IdcN), NAGOYA
2 AUGUST – 18 AUGUST 2002
The exhibition Daisaku Chō: A Retrospective, held at the International Design Centre in Nagoya from 2 to 18 August 2002, offered a comprehensive overview of the work of one of Japan’s most celebrated furniture designers and architects. Spanning Chō’s long career from the 1950s onward, the exhibition brought together a wide selection of his furniture, architectural projects, and design experiments, highlighting his enduring influence both in Japan and abroad. Visitors could explore the unique interplay between functional design and sculptural form that characterizes Chō’s work, as well as his continued relevance in contemporary European markets, where some of his pieces had recently been revived.
A central component of the exhibition was the opportunity to experience Chō’s designs firsthand, with many works presented as fully functional objects. This tactile approach was complemented by an onsite talk event, where Chō discussed his approach to chairs and other furniture pieces while allowing visitors to sit on and engage with the works. The exhibition not only celebrated Chō’s technical mastery and aesthetic sensibilities but also offered students, designers, and enthusiasts a rare chance to study the practical and philosophical aspects of his creations up close.
Organized by the International Design Centre, in collaboration with multiple cultural and design institutions, the exhibition included support from renowned manufacturers and design studios. From modular seating and elegant wooden furniture to experimental forms, the show underscored Chō’s commitment to material integrity, spatial harmony, and the lasting dialogue between Japanese tradition and modern design.
A notable feature of the exhibition was the talk show held on 2 August 2002, where Chō shared his thoughts on furniture design and his own creative process directly with visitors. Attendees were encouraged to sit on the pieces and interact with them, gaining insight into both their construction and the philosophy behind each design. This approach reinforced the idea that Chō’s work bridges artistry and everyday functionality, allowing the audience to experience the tactile and visual qualities that have made his chairs, tables, and other furniture enduring icons.
The exhibition also highlighted collaborations with prominent manufacturers and design studios, including Tendo Mokko, Idée, and Itoki, emphasizing Chō’s commitment to quality craftsmanship and material innovation. From streamlined chairs and benches to more experimental forms, visitors were able to trace the evolution of his practice over decades, gaining a holistic understanding of his impact on Japanese furniture and architectural design.
Ultimately, Daisaku Chō: A Retrospective offered an immersive journey into the designer’s work, reaffirming his status as a central figure in postwar Japanese design and providing a unique opportunity to engage with his enduring legacy.
Daisaku Cho 長 大作 was born in the former Manchuria on September 16th, 1921, as the eldest of six siblings. After graduating from Kaisei Junior High School in Tokyo, he was accepted into the Faculty of Economics at Waseda University, but his father opposed his decision, saying, "If you're going to such a boring place, go to the military academy instead," so he re-applied for art school. The following year, he entered the Department of Architecture at the Tokyo School of Fine Arts (now Tokyo University of the Arts). He was an artistic family, with three of his six siblings also studying at the same art school and his father was a doctor.
He then joined the design department of a construction company, but was encouraged by a senior at school to join the Sakakura Junzo Architectural Institute. Sakakura Junzo studied under the famous architect Le Corbusier and worked in Paris, where he was in charge of the Japan Pavilion at the Paris World's Fair and won the Grand Prix in the architecture category. He then returned to Japan and opened the Sakakura Junzo Architectural Institute in 1940. After joining the institute, Cho's main work was overwhelmingly furniture design.
He designed the chairs and tables for the International House of Japan (the architecture was jointly designed by Kunio Maekawa, Junzo Sakakura, and Junzo Yoshimura), which was established in 1952 with the aim of international exchange and intellectual cooperation. He was also involved in the chairs and tables for the Tea Lounge of the International House of Japan, which reopened in 2006 after being retrofitted with earthquake-resistant structures. Cho has been working with this famous building for over 50 years.
In 1957, he was involved in the architecture and furniture design of the Fujiyama Aiichiro residence, and in 1958 he was in charge of the architecture and furniture design of the residence of his predecessor, Matsumoto Koshiro. It was at this time that his masterpiece (the Low Seat Chair) was born. It is well known that the prototype for this was the Bamboo Basket Low Seat Chair designed by Junzo Sakakura. It is characterized by a relatively large surface area to prevent damage to Japanese tatami mats. It can be seen placed on the verandas of inns and old houses. It is a beautiful chair that exudes emotion. Naga redesigned the back and seat to a fabric-covered structure made of quadratic curved plywood, and the masterpiece Low Seat Chair was born. Further improvements were made thereafter, and the Low Seat Chair was exhibited at the 12th Milan Triennale in 1960.
Regarding design, Cho wrote, "My designs are always in development, and there is no such thing as a completely finished product. In particular, when it comes to chairs, I pursue comfort and make repeated improvements." It is speculated that Cho was influenced by his surroundings, such as Junzo Sakakura and the wife of Koshiro Matsumoto, which deepened his more modern way of thinking.
Through this work, he was in charge of the architecture and design of "Terrace Ray" and "Karuizawa Mountain Villa", and it seems that he still maintains a close relationship with the Matsumoto Koshiro family. In particular, Mrs. Masako is said to be a great benefactor to Mr. Naga, who said, "Masako was one of the people who had a great influence on my subsequent work, and I consider her my greatest benefactor, second only to Professor Junzo Sakakura. She provided me with a lot of support, both professionally and financially. Masako had a great aesthetic sense and was very critical of design."
In 1960, Sakakura Junzo Architectural Institute was in charge of the Japanese section of the 12th Milan Triennale. Kitamura Shuichi was in charge of the venue layout, and Cho was in charge of the furniture design, and the two won the Gold Award. This was a remarkable achievement, as they had won the Gold Award at the previous 11th Triennale for Watanabe Riki's Trii Stool.
He wrote about that time, "I stayed in Milan for half a year until the withdrawal. However, unlike now, it was a time when people could not travel abroad freely, so during my stay I was able to travel here and there and visit architectural works, which were very valuable experiences. At that time, there was no high-quality, well-designed furniture in Japan, and imported products were rare and expensive, so it was common for architects who designed buildings to also design all the furniture inside."