In the decades following World War II, Japan underwent a profound transformation. The rapid economic growth of the 1960s—often called the “Japanese Economic Miracle”—brought modernization, urbanization, and a growing middle class eager to embrace new ways of living. This period was marked by a national effort to rebuild not only the economy and infrastructure but also Japan’s cultural and aesthetic identity within a modern, global context. Design became a vital expression of this renewal, balancing technological progress with a deep respect for craft and tradition.

In this era, furniture design was not merely about functionality or style—it represented a broader cultural project. Japanese designers sought to reconcile the nation’s ancient traditions of woodcraft, minimalism, and spatial harmony with the forward-looking optimism of an industrial society. Through this process, they articulated a modern identity that was uniquely Japanese yet globally resonant, expressing the idea that modernity need not abandon tradition, but rather evolve from it.

Within this dynamic environment, Japanese furniture design flourished as a bridge between the old and the new. Designers such as Isamu Kenmochi, Junzo Sakakura, Daisaku Choh, Riki Watanabe, Ubunji Kidokoro, or Katsuo Matsumura redefined the domestic landscape through objects that reflected both modern sensibilities and Japanese cultural values. Their work was shaped by the encounter between Western modernism ideas—introduced through contact with European and American design movements—and the principles of mingei, or folk craft, which celebrated the beauty of everyday, handcrafted objects. This synthesis generated a distinctly Japanese form of modernism: one that valued structure over ornament, simplicity over decoration, tactility over spectacle, and the poetic balance between nature and technology.