Lighting

Cabinet

Table

Chair / High chair

Nagoya8

Lantern

14

Bombori

22

Silent cabinet

32

Silent drawer

46

Silent wardrobe

54

Moon

62

Sea of tranquility

74

The sensitive light chair82

The sensitive back chair

88

Sunset96

A chair in the forest

108

A chair outside the cage

114

Japanese chair

Liku Japanese chair

122

Stool

Stoneware sculpture

130

Bronze casting sculpture

136

Oke

142

Temple152

Imperial family

166

Moon

180

HangerBranch of the maple

188

Partition

Shoji

198

Open cabinet

Komorebi

206

Vertical layer

214

Philosophers lounge

222

Sunset

232

Low table

ArmchairFinishes246

Time & Style ēdition

Time & Style ēdition designed for Boffi | DePadova presents a contemporary evolution of
traditional Japanese wood artisanship. For over two decades, the Japanese design brandTime & Style has gone to great lengths to promote the country’s long-standing traditions andskills linked to carpentry.
In the forests of Hokkaido, the northernmost of Japan’s islands, the freezing winters slow thegrowth of trees, allowing for the production of high quality, dense timber and the development of woodworking techniques. Time & Style taps into time-honored customs practiced bycarpenters and artisans involved in the construction of Japanese shrines and temples with ahistory extending back over a millennium. This legacy is a major source of inspiration forTime & Style as it seeks to create a collection of modern furniture marked by authenticity anda deep appreciation for the past.
Time & Style ēdition furniture communicates the discreet elegance of traditional Japanesewood artisanship through a contemporary perspective that emphasizes the timeless qualityof each design. The collection, including low tables and chairs in solid wood and light fixtureswith shades made from traditional Japanese washi paper, offers an eclectic assortment ofcontemporary Japanese furniture that pairs harmoniously with the sophisticated products by
Boffi | DePadova. Individual pieces from the Time & Style ēdition complement the Boffi |DePadova range of contemporary interior solutions in a symbiotic relationship, wherein every
product maintains its own identity while enhancing the overall interior space.
The restrained beauty of the Time & Style ēdition points to the importance of Japaneseartisanship. The design process begins first and foremost with identifying the features of thematerial. The Time & Style ēdition focuses on making quality, long-lasting design that cites
the language of classical Japanese design and highlights the tactile qualities of solid wood.
The attention to detail and emphasis on artisanship is in line with the principles pursued byBoffi | DePadova in its efforts to create a well-curated and distinctive selection of refinedmodern furnishings to accommodate every corner of the home.
The philosophy of the Time & Style ēdition aligns perfectly with the interior design concepts
developed by Boffi | DePadova throughout its history. Italian and Japanese design cultures
have always shown profound respect for age-old handicrafts, sharing a vision to ensure
unparalleled quality in products through painstaking efforts and a deep commitment toexquisite artisanship. The timeless aesthetic of the collection meets the demands of contemporary living yet never loses sight of its origins.

NagoyaJapanese people have been using a traditional Japanese light fixture sincearound the 1600s (Edo period), which is normally made of washi paper
stretched over a wooden frame, and candles and oil are used to create poetic
shadows through the washi paper. They could be carried from room to room.
Today, Japan is brightly lit even at night. However, in the olden days, people
lived with the passing time, letting natural light into their rooms during the
day and living with soft lights that only illuminated their hands at night.
Nagoya attempts to bring such type of lighting, which embodies the Japanese sense of beauty and nature, into modern life.
The design of Nagoya was interpreted by a traditional rectangular lamp usedin the mid-Edo period out of careful research through many historical books
and old tools. The material chosen for the frame, Akita cedar, has a highdensity of annual rings and delicate grain as it grows slowly in the harshenvironment of the Tohoku region which is one of the coldest regions inJapan. With its linear growth, Akita cedar is suitable for making lamp as it
does not crack, warp, expand or contract, and is easy to work.
The wood used to make a single unit is made of the same timber as much as
possible, in order to create a beautiful aesthetic and a sense of unity in grain
and colour. The frame is assembled by a master artisan who specializes inwoodwork for lighting, using only elaborate joints and joinery without any
metal fittings.
Made of rare and beautiful Akita cedar and Mino handmade washi paper,
Nagoya has one of the most exquisite combinations of materials for traditional Japanese lighting. Contrary to today’s efficiency-first manufacturing,
the time and effort that goes into Nagoya’s manufacturing create a value thatcannot be compared to mass-produced products.

8

NagoyaLight
W24×D24×H47
Cedar
Japanese paper
BDTL-401

Light
W24×D24×H47- BDTL-401
Cedar
Japanese paper

10

11

12

13

Lantern

A stroll along the old streets of a Japanese town at night evokes the atmosphere of traditional Japan, with the warm glow of chochin (paper lanterns)
beneath the awnings of shops, blending into the scenery. Lanterns bearing
large lettering or elegant artwork depicting the seasons have become widelyused at rituals and festivals held at shrines and temples across Japan. Portable handheld illumination may no longer be common in daily life, but eventoday, paper lanterns are used at festivals and also in traditional Japanese
residences. The most significant characteristic of paper lanterns is the ability
to collapse them into a compact, flat form.
The lantern shade is a three-dimensional helix made of a single bamboo strip,
covered with sturdy washi paper. Today, the bamboo strip is being increasingly replaced by a flexible metal or plastic wire. To create the shade,wooden or metallic mould in the actual size is required. One of the key skillsof lantern-making is that ensuring the lantern’s finished shape is preserved
whilst extracting the mould. The mould is formed by assembling slats to
produce the lantern’s spherical shape. Grooves are carved into the slats tofacilitate the winding of the strip or wire in a helix. The washi is then cut andglued to the frame one layer at a time. Following the lantern maker’s experience and instinct, glue is applied while carefully avoiding excessive overlap
between adjacent washi segments. Gently using a blade, the maker removes
excess paper. After the shade is assembled, the mould is extracted by disassembling the slats inside the lantern and removing one piece at a timethrough the small opening. The artisan must be especially careful not todamage the washi during this process.
The paper used in Lantern is Sekishu washi, produced in Shimane Prefecture.
The paper is made entirely by the hands of artisans from mulberry tree fibers
with epidermis, which makes the paper stronger. Gifu Prefecture is a region
known for paper lantern production, where lanterns have long been used in
the Buddhist rituals of the Bon Festival held every August to honor the spiritsof ancestors. The lanterns exist in various forms, but the Ouchi lanterns ofGifu are considered to be the most distinguished with their elegant form,
gradually widening to the top. Measuring an impressive one meter in diameter, Lantern embodies tradition. The light emanating through the delicately
textured Sekishu washi of the gigantic lantern envelops us in its gentle
beauty.

1415

Pendant light
φ100×H85- BDTL-301
Japanese paper

Floor light
φ100×H115- BDTL-302
Japanese paper
Steel – Black17

Lantern

LanternPendant light

Floor light

φ100×H85

φ100×H115

Japanese paper

Japanese paper

BDTL-301

Steel – Black
BDTL-302

18

19

20

21

Bombori

Japanese traditional lights with a paper shade had been used in Japanthroughout the mid-Muromachi period to the Edo period until modern electric
lights became common. Initially, light fittings were only available for thewealthy, but by the Edo period, they had become widespread amongst theordinary as well. That traditional lamp is made of paper stretched across awooden or metal frame, covering the light source in an enclosure called
hibukuro (a bag of fire). The hibukuro was to prevent the wind from blowing
out the fire so that it could also be used outdoors. In Kyoto, they were often
round-shaped, while in Edo (now Tokyo) they were more rectangular. In fact,
there were various versions of the lamp in each area of Japan. Today, woodworking artisans continue to make it, although they are rarely used in ordinary households, but in a ryokan (traditional Japanese inn) and ryotei(traditional Japanese restaurants) where that traditional lamp with light bulbs
are used. Arriving at the entrance of a Japanese ryokan, guests would find the
traditional floor lamp, welcoming the guests with their soft and faint reddish
light shimmering through the delicate paper. The feeling of nostalgia isevoked by the traditional lamp placed beside pillows, in the corner of rooms,
or pendant lights from the ceiling in a traditional Japanese room.
The history of Japanese woodworking dates back to the Heian period, which
is when an aristocratic culture flourished. Kyo cabinetwork from Kyoto, alongside Karaki cabinetwork that was brought to Japan during the Nara period byenvoys to Tang Dynasty China, was developed with the tea ceremony and aresidential architectural model in the Azuchi-Momoyama period. The techniques were then brought to other regions such as Nagasaki and Osaka. In
Edo (now Tokyo), the Tokugawa Shogunate gathered cabinetmakers from allover the country to develop Edo cabinetwork. The tradition of exquisite
woodworking has survived until the present day, although it is shrinking. A
cabinetmaker is an artisan who has the precise woodworking skills to create
furniture, wooden fittings for a house, and daily household utensils. They joinpieces of wood together to achieve both beauty and strength. Without the fineskills, Japanese woodworking culture could not have developed.
The wooden frame of Bombori uses solid Akita cedar, and the shade is madeof handmade Mino washi paper. Apart from the electrical parts, the light onlyuses authentic traditional materials. Bringing out the essence of the material
in every detail, the artisan uses their experience and intuition to create something exquisite, something machine cannot create.

22

23

Bombori

BomboriPendant light

Pendant light

φ58×H47

φ78×H65

Cedar

Cedar

Japanese paper

Japanese paper

BDTL-111

BDTL-101

24

25

Bombori
Floor light
φ78×H85

Cedar
Japanese paper
Steel – Black
BDTL-10226

Pendant light

Pendant light

φ58×H47

φ78×H65- BDTL-111
Cedar
Japanese paper- BDTL-101
Cedar
Japanese paper

Floor light

Floor light

Floor light

φ40×H53

φ58×H90

φ78×H85- BDTL-113
Cedar
Japanese paper
Steel – Black- BDTL-112
Cedar
Japanese paper
Steel – Black- BDTL-102
Cedar
Japanese paper
Steel – Black27

Bombori

BomboriFloor light

Floor light

φ40×H53

φ58×H90

Cedar

Cedar

Japanese paper

Japanese paper

Steel – Black
BDTL-113

Steel – Black
BDTL-11228

29

Silent cabinet

Visiting the Japanese Folk Crafts Museum in Tokyo, one can explore theutensils and handicrafts that the Japanese have used since the old times.
Inside, the traditional tools and handicrafts beautifully displayed look particularly appealing in natural light. The beauty found in the lacquerware placed
in shadow and light, or the impermanence of nature, might be what theJapanese people have cultivated through generations.
Silent cabinet was created to express the sensuous Japanese beauty as amodern design free from tradition. Many modern cabinets have LED lighting
illuminating the interior brightly yet artificially. However, on the other hand,showcases without lightings is too dark on the lowered shelves and objects
become less beautiful. As a solution, the Silent cabinet is designed with fivesides made of glass, to let in light naturally and illuminate the goods inside
evenly. Sliding doors resembling fusuma and shoji sliding partitions inJapanese houses are installed for the 140 centimeters wide and 220 centimeters wide variations. As sliding doors stay on the rails inside the cabinet, it
saves space regardless of the largeness of the doors.
For one side of the cabinet, lattice doors can also be selected. The latticedoor references the traditional Japanese designs, with a pattern made fromthin and delicate wood pieces. The six millimeter width of the pieces and thespacing between are designed to find a balance that harmonizes with theJapanese tranquility and modern taste. The presence of the material can beperceived on both the front and back of the cabinet.

32

34

CabinetCabinetCabinet

W140×D48×H170

W220×D48×H120

W80×D48×H170- BDTC-003
Oak – Snow white
Glass – Grey

- BDTC-005
Oak – Snow white
Glass – Grey

- BDTC-001
Oak – Snow white
Glass – Grey

- BDTC-003CL
Oak – Snow white
Glass – Clear- BDTC-005CL
Oak – Snow white
Glass – Clear- BDTC-001CL
Oak – Snow white
Glass – Clear- BDTC-004
Oak – Charcoal grey
Glass – Grey

- BDTC-006
Oak – Charcoal grey
Glass – Grey

- BDTC-002
Oak – Charcoal grey
Glass – Grey

Cabinet with lattice door

Cabinet with lattice door

W140×D48×H170

W220×D48×H120- BDTC-011
Oak – Snow white
Glass – Grey

- BDTC-013
Oak – Snow white
Glass – Grey

- BDTC-011CL
Oak – Snow white
Glass – Clear- BDTC-013CL
Oak – Snow white
Glass – Clear- BDTC-012
Oak – Charcoal grey
Glass – Grey

- BDTC-014
Oak – Charcoal grey
Glass – Grey

35

Silent cabinet
Cabinet
W220×D48×H120
Oak – Charcoal grey
Glass – Grey
BDTC-006

36

37

Silent cabinet

Silent cabinet

CabinetCabinet

W80×D48×H170

W140×D48×H170

Oak – Charcoal grey

Oak – Charcoal grey

Glass – Grey

Glass – Grey

BDTC-002

BDTC-004

38

39

41

Silent cabinet

Silent cabinet

Cabinet with lattice door

Cabinet with lattice door

W220×D48×H120

W140×D48×H170

Oak – Charcoal grey

Oak – Charcoal grey

Glass – Grey

Glass – Grey

BDTC-014

BDTC-012

42

43

Silent drawer

Silent drawer series embodies Time & Style’s philosophy of harmonizing
pieces with the interior roomscape. Furniture items are made to be arranged
alongside a variety of designs and styles, therefore should be able to transform to match the sensibilities of the inhabitants. Time & Style believes thatcreating a sense of universality without any fancy decoration, and pursuing
simplicity and function should be essential in furniture making.
Silent drawer is designed neutrally to adapt to diverse different purposessuch as storing clothes, tableware, household articles, or documents. Like
our kitchen items, the cabinet adopts carved handles and sliding rails toshoulder the heaviest of items. As cabinets store heavy items for a long timeand are frequently opened and closed, functionality and durability are both
required. Like Silent cabinet, the surface of the solid wood frame is gently
contoured, softening the impression of the overall structure. Here they haveadapted the composition of traditional Japanese architecture into the scale offurniture. By surrounding the drawer with a frame, Time & Style aims todesign the storage of the cabinet like the living space inside a building.

46

47

48

CabinetCabinet

W160×D48×H95

W220×D48×H95- BDTC-101
Oak – Snow white- BDTC-103
Oak – Snow white- BDTC-102
Oak – Charcoal grey

- BDTC-104
Oak – Charcoal grey

CabinetCabinet

W160×D48×H170

W220×D48×H170- BDTC-105
Oak – Snow white
Glass – Grey

- BDTC-107
Oak – Snow white
Glass – Grey

- BDTC-105CL
Oak – Snow white
Glass – Clear- BDTC-107CL
Oak – Snow white
Glass – Clear- BDTC-106
Oak – Charcoal grey
Glass – Grey

- BDTC-108
Oak – Charcoal grey
Glass – Grey

49

Silent drawer

Silent drawer

CabinetCabinet

W160×D48×H95

W220×D48×H95

Oak – Charcoal grey

Oak – Charcoal grey

BDTC-102

BDTC-104

50

51

Silent drawer – cabinet

Silent drawer – cabinet

CabinetCabinet

W160×D48×H170

W220×D48×H170

Oak – Charcoal grey

Oak – Charcoal grey

Glass – Grey

Glass – Grey

BDTC-106

BDTC-10852

53

Silent wardrobe

When opening your front door and inviting friends in, their coats will be hungon hangers and placed in Silent wardrobe. The door quietly closes. His brown
coat and her yellow coat will leave only a deep grey silhouette. Made withthis image in mind, this wardrobe cabinet was designed.
The oak frame is gently contoured, and light grey smoke glass is used for all
glazing. The sliding doors have a classic and simple structure that has beenused extensively in traditional Japanese homes, such as fusuma and shoji todivide rooms. Two grooves are carved on the top and bottom of the frame tocarry the doors snugly. By utilising typical Japanese classic sliding doors intheir modern wardrobes and cabinets, Time & Style proposes the space
efficiency of sliding doors together with a contemporary feel. The drawers
below have been designed to store keys, bags and other small objects. As for
hanging coats when there are visitors, the one-door type that is of a smaller
size might be better for compact spaces like entrances. It is a cabinet thatthey would like customers to involve in their daily lives. The wardrobe can beused in various situations to store any kind of clothes with a quiet presence.

54

Cabinet

Cabinet

W65×D65×H190

W120×D65×H190- BDTC-203
Oak – Snow white
Glass – Grey

- BDTC-201
Oak – Snow white
Glass – Grey

- BDTC-203CL
Oak – Snow white
Glass – Clear- BDTC-201CL
Oak – Snow white
Glass – Clear- BDTC-204
Oak – Charcoal grey
Glass – Grey

- BDTC-202
Oak – Charcoal grey
Glass – Grey57

Silent wardrobe

Silent wardrobe

CabinetCabinet

W65×D65×H190

W120×D65×H190

Oak – Charcoal grey

Oak – Charcoal grey

Glass – Grey

Glass – Grey

BDTC-204

BDTC-202

58

59

60

61

Moon

Moon table was born from a process of shaping wood by hand, understanding its unique characteristics by touch until the form is discovered with.
Time & Style strived to create a style that could harmonize with any type ofspace, with the soft curve of the solid wood existing with the presence of
sharp modernity. Previously, all products were based on simple cuboid
shapes to create a balance following a simple and clean design ethic, which
is characteristic of Japanese design. Inevitably, this cube-based design
structure produced sharp corners where three faces of the cube met, giving
the product’s appearance a solid presence. On the other hand, furniture withsharp corners can also create stress when it is used. Although it was a difficult decision to move away from the design vocabulary, the time had
revealed its limits.
The tabletop of Moon slopes gently as it nears its perimeter, naturally flowing
to create an edge with organic curves. Even when drawing out on paper,Time & Style had a clear understanding that a product with such organic
beauty could not emerge from mechanical processing. However, theprevious cube-based design method may have guided a solution to figuring
out how to connect the surfaces to create an elegant yet intense product witha beautiful curved surface.
To design a dining table, there were limitations to constructing a wholenessin design of solid wood tabletop and four legs at corner. The properties of thematerial have a large influence on the limitations. As the tabletop made fromsolid wood would expand and contract with temperature and humidity
change, discrepancies would inevitably emerge in the joins between the top
and legs. Therefore a narrow space was inserted between the tabletop andthe frame, creating a certain floatiness. The tabletop edges curve to join withthe frame and the corners of the legs, giving a feeling of unity. Thus theyrealized in creating a solid wood table with a gentle sense of timeless presence and the feeling of unison.

62

63

Rectangular table

Rectangular table

Rectangular table

Rectangular table

Rectangular table

W180×D80×H73

W200×D80×H73

W220×D90×H73

W250×D90×H73

W300×D90×H73- BDTT-501
Oak – Snow white- BDTT-503
Oak – Snow white- BDTT-505
Oak – Snow white- BDTT-507
Oak – Snow white- BDTT-509
Oak – Snow white- BDTT-502
Oak – Charcoal grey

- BDTT-504
Oak – Charcoal grey

- BDTT-506
Oak – Charcoal grey

- BDTT-508
Oak – Charcoal grey

- BDTT-510
Oak – Charcoal grey

Square table

Square table

Square table

W110×D110×H73

W160×D160×H73

W200×D200×H73- BDTT-511
Oak – Snow white- BDTT-513
Oak – Snow white- BDTT-515
Oak – Snow white- BDTT-512
Oak – Charcoal grey

- BDTT-514
Oak – Charcoal grey

- BDTT-516
Oak – Charcoal grey

Round table

Round table

Round table

Round table

Round table

φ100×H73

φ120×H73

φ140×H73

φ160×H73

φ200×H73- BDTT-517
Oak – Snow white- BDTT-519
Oak – Snow white- BDTT-521
Oak – Snow white- BDTT-523
Oak – Snow white- BDTT-525
Oak – Snow white- BDTT-518
Oak – Charcoal grey

- BDTT-520
Oak – Charcoal grey

- BDTT-522
Oak – Charcoal grey

- BDTT-524
Oak – Charcoal grey

- BDTT-526
Oak – Charcoal grey

65

Moon
Rectangular table
W300×D90×H73
Oak – Charcoal grey
BDTT-510

66

67

Moon
Square table
W200×D200×H73
Oak – Charcoal grey
BDTT-516

68

69

Moon
Round table
φ200×H73

Oak – Charcoal grey
BDTT-526

70

71

Sea of tranquility

The structure and design of this table are inspired by the torii gates that standat the entrance of shrines. The gates symbolize the boundary between theordinary world and the holy precinct. Generally, torii gates have a simple yet
beautiful design that is durable to the strong winds, rains, and earthquakesthat occur often in Japan. The materials are primarily Japanese conifers,
hinoki cypress, or cedar, whose logs are used as columns. The larger ones
have columns wider than 60–80 centimeters in diameter, with the age of thetree ranging between 100–500 years old. The two thick columns are horizontally tied with beams called kasagi and shimaki at the top. Under the beams,
a strengthening brace called the nuki pierce connects the two columns.
Looking from the sides, it is apparent that the structure and design adoptsthat of shrine gates. All of the edges have been slimmed down so that the
thickness of the table itself does not overwhelm. The back of the tabletop has
been shaved from the center to the edges so that it gradually becomesthinner. In fact, the tabletop is made from 35 millimeters thick solid wood thatis only 10 millimeters thick at the edges, retaining its sturdiness. Resembling
the torii’s structure, a single board connects the two legs and the table,
reinforcing stability. The two legs of the table are shaped in streamlines likeplane wings, to create lightness. The cross beam, which braces the two legs,
is also shaped with a streamline. Thus the table takes on an overall unified
design and a light impression.
Sea of tranquility is named after the place where mankind first landed on themoon on July 20th, 1969. By overlapping the serenity brought about by thesimplicity of Japanese design with the image of the moon’s quiet sea, wehave created a table made of solid wood, yet light and filled with refined
tranquility.

74

75

76

Rectangular table

Rectangular table

Rectangular table

Rectangular table

W200×D110×H73

W220×D110×H73

W240×D110×H73

W300×D110×H73- BDTT-701
Oak – Snow white- BDTT-703
Oak – Snow white- BDTT-705
Oak – Snow white- BDTT-707
Oak – Snow white- BDTT-702
Oak – Charcoal grey

- BDTT-704
Oak – Charcoal grey

- BDTT-706
Oak – Charcoal grey

- BDTT-708
Oak – Charcoal grey

77

Sea of tranquility
Rectangular table
W300×D110×H73
Oak – Charcoal grey
BDTT-708

78

79

80

81

The sensitive light chair

Delicate and compact, The sensitive light chair exudes a calm and neat
presence. Conceived as a lightweight, durable, and sturdy chair, it is lightenough to carry with one hand from room to room and even to a different
floor.
Chair designs are often regarded by designers and architects as a medium toexpress themselves, and in most cases, such chairs have a strong presence.
Time & Style believes, however, that a chair should not excessively exert its
presence but express a more modest yet graceful air. For the design of The
sensitive light chair, they aimed to make all the parts as slim as possible, thus
adopting and merging the structures of traditional Japanese architecture andthe Windsor chair from the west, to ensure the chair’s overall sturdiness,despite its slender silhouette. The delicate and graceful structure wasinspired by Shinto shrines and temples. The seat frame and the four legs ofthe chair are assembled into a single piece without using corner blocks asreinforcement. By adopting Windsor chair’s construction techniques, thecrosspieces connecting the legs are directly mortised into the legs, and thenuki joints are employed to balance and distribute the load to the four slim
legs. Through careful hand finishing, the chair has a consistent smoothness
on all sides enticing for the eyes and the sense of touch.
Chairs only became a part of daily life in Japan about 50 years ago, which iswhen full-scale production of chairs started. Other parts of the world, especially Europe, have a much longer history and culture of using chairs, wherea multitude of beautiful individual chairs have been designed. Consideringthat countless chairs have already been designed and manufactured
throughout the world, it is important to ask how chairs designed in Japan
should look in the future. They believe that The sensitive light chair embodies
the Japanese sense of beauty and reinterprets traditional architectural
structures on the small scale of a chair.

82

83

84

Side chair

Chair with armrests

W45×D52×H78×SH45

W50×D52×H78×SH45×AH63- BDTI-001
Beech – Snow white
Fabric – Grey

- BDTI-005
Beech – Snow white
Fabric – Grey

- BDTI-002
Beech – Snow white
Leather – Dark brown- BDTI-006
Beech – Snow white
Leather – Dark brown- BDTI-003
Beech – Charcoal grey
Fabric – Grey

- BDTI-007
Beech – Charcoal grey
Fabric – Grey

- BDTI-004
Beech – Charcoal grey
Leather – Dark brown- BDTI-008
Beech – Charcoal grey
Leather – Dark brown

85

The sensitive light chair

The sensitive light chair

Side chair

Chair with armrests

W45×D52×H78×SH45

W50×D52×H78×SH45×AH63

Beech – Charcoal grey

Beech – Snow white

Fabric – Grey

Fabric – Grey

BDTI-003

BDTI-005

86

87

The sensitive back chair

Developed from The sensitive light chair as a new model, The sensitive backchair was designed with a more comfortable back seat while maintaining theexquisiteness and simplicity of its predecessor. The wood parts are carved to
extreme thinness and delicacy. The result is a chair retaining the lightweight,
sturdy, and durable design of The sensitive light chair, which stands quietly
while exuding a sense of dignity in space and scenes of daily life. To improve
the feel when one sits back in the chair, we renewed the backrest from thetwo rods to a curved board.
The backrest was made as thin as possible while ensuring sturdiness, and thesurface that touches the back was trimmed to highlight the pillars that extend
upwards from the back legs. The backside of the backrest has a smooth finish,with the stile and the board seamlessly connected for an elegant look. The
backside of the seating surface, which one touches when they sit down, isalso designed for comfort with a frame naturally fitting in their hands.

88

90

Side chair

Chair with armrests

W45×D52×H78×SH45

W50×D52×H78×SH45×AH63- BDTI-011
Beech – Snow white
Fabric – Grey

- BDTI-015
Beech – Snow white
Fabric – Grey

- BDTI-012
Beech – Snow white
Leather – Dark brown- BDTI-016
Beech – Snow white
Leather – Dark brown- BDTI-013
Beech – Charcoal grey
Fabric – Grey

- BDTI-017
Beech – Charcoal grey
Fabric – Grey

- BDTI-014
Beech – Charcoal grey
Leather – Dark brown- BDTI-018
Beech – Charcoal grey
Leather – Dark brown

91

The sensitive back chair

The sensitive back chair

Side chair

Chair with armrests

W45×D52×H78×SH45

W50×D52×H78×SH45×AH63

Beech – Snow white

Beech – Charcoal grey

Fabric – Grey

Fabric – Grey

BDTI-011

BDTI-017

92

93

Sunset

The seat comprises two layers of thick tanned leather stitched together toform a single sheet. This process is done in Toyooka, Hyogo Prefecture,renowned for the production of bags. As the angle and sinkage of the seatdepend solely on the tension of the leather, the hardness and comfort of theseat cannot be adjusted as easily as urethane cushions or spring-loaded
chairs. Sunset chair offers a comfortable sitting experience with the delicate
balance of optimal tension of leather. For it is a natural material, the tanned
leather seat will eventually adapt to the body over time.
The oak frame is carved out at a chair factory in Hiroshima Prefecture. The
thick tanned leather made in Himeji is cut and sewn in Toyooka, all in Hyogo
Prefecture. This product is a new type of chair that shows the potential ofJapan’s regional characteristics, created carefully by artisans featuring the
aspects of each regional industry in Japan.

96

98

Stool

Side chair

Chair with armrests

W47×D51×H90×SH65

W50×D57×H80×SH45

W63×D57×H80×SH45×AH63- BDTI-516
Oak – Snow white
Tanned leather – Dark brown- BDTI-512
Oak – Snow white
Tanned leather – Dark brown- BDTI-502
Oak – Snow white
Tanned leather – Dark brown- BDTI-518
Oak – Charcoal grey
Tanned leather – Dark brown- BDTI-514
Oak – Charcoal grey
Tanned leather – Dark brown- BDTI-504
Oak – Charcoal grey
Tanned leather – Dark brown99

SunsetStool
W47×D51×H90×SH65
Oak – Snow white
Tanned leather – Dark brown
BDTI-516

100

101

SunsetSunsetSide chair

Chair with armrests

W50×D57×H80×SH45

W63×D57×H80×SH45×AH63

Oak – Snow white

Oak – Charcoal grey

Tanned leather – Dark brown

Tanned leather – Dark brown

BDTI-512

BDTI-504

102

103

105

A chair in the forest

Jomon period, from 16,000 years ago to 3,000 years ago, was a time in Japan
when the people lived with very little influence from China or the Asian
continent. During this period, people did not cultivate rice but instead lived
on berries and nuts from primeval forests of broad-leaved trees. Their dietalso involved hunting forest animals and fish from the sea and rivers. Jomon
people were what we would call ‘forest people’ today. Although rice cultivation was introduced to Japan and rice became the staple diet, people havecontinued to have a symbiotic relationship with the forest. Many necessities
of daily life such as houses, tableware, and utensils have been all made fromwood. Forest and trees have had a significant impact on the indigenous
religion of Shintoism. At Shinto shrines, there always have been enormous
trees that are hundreds of years old, worshipped as sacred trees.
As forests and trees have always been closely tied to Japanese culture anddaily life, we aspired to create a wooden chair with the feel, the presence,and the aroma of trees in the forest. The concept is to make a solid wooden
chair that is simple, well-balanced, and comfortable to sit in. The backrest of
the chair is the bentwood from a single piece of solid wood. The HidaTakayama area, where the workshop is located, is famous for the technique ofbending wood. Generally, such bentwood is made from laminated wood,
whilst this chair uses solid material. A flat board is steamed, then pressed
into a mould until it is formed. Bending a solid wooden board in a way that
preserves and makes use of its innate characteristics requires equipment andwoodworking techniques that have been passed down for generations in thearea. Each component of this chair was carefully selected for its grain andquality, reflecting the artisanship involved in its making.

108

109

Side chair
W50×D52×H76×SH46- BDTI-101
Beech – Snow white
Fabric – Grey
- BDTI-102
Beech – Snow white
Leather – Dark brown- BDTI-103
Beech – Charcoal grey
Fabric – Grey
- BDTI-104
Beech – Charcoal grey
Leather – Dark brown

110

111

A chair in the forest
Side chair
W50×D52×H76×SH46
Beech – Charcoal grey
Leather – Dark brown
BDTI-104

112

113

A chair outside the cage

Although A chair outside the cage has the same form as A chair in the forest,
instead of a solid backrest it utilizes a lightweight rattan material. Characterized by its wide backrest and seat, the chair incorporates rattan to become
lighter in both appearance and weight. The material adds a modern twist to
the colonial style, which creates a slightly nostalgic atmosphere. The fusionof styles also illustrates the connection between Japan and Southeast Asia.
By retaining the overall form of the chair and changing only the material, thechair gains its presence and functionality. Making a light chair is one of the
major challenges pursued in many chair designs. Chairmakers have been
making attempts by thinning wooden parts, adopting simpler structures, andusing frames made of materials such as resin, plastics, and aluminum. In
addition to its strength, the chair also needs to meet functional requirements
for comfort based on ergonomics. Aspects including materials and theangles of the backrest against the seat must be considered well for people ofvarious heights and weights to sit on. Design is essential, but only after fully
meeting these basic requirements.
Across Japan, there have been countless delicate crafts passed on fromancient times. The Hida-Takayama area, where this chair is manufactured, isknown for its artisanship with many woodworkers and carpenters. Nihonshoki, known as one of the oldest books on the history of Japan, and The Taleof Genji, a novel written a thousand years ago, both indicate how Hida
artisans were hard-working, skilled technicians. It is not only found in thefurniture industry, but also in the intricate skills of ittobori (angular carvings
with a single knife) and Hida Shunkei lacquerwares that have been passed
down the generations in the area until today. The passionate craftsmanshipnever disappears in Hida-Takayama.

114

115

Side chair
W50×D52×H76×SH46- BDTI-105
Beech – Snow white
Fabric – Grey
Rattan- BDTI-106
Beech – Snow white
Leather – Dark brown
Rattan- BDTI-107
Beech – Charcoal grey
Fabric – Grey
Rattan- BDTI-108
Beech – Charcoal grey
Leather – Dark brown
Rattan116

117

A chair outside the cage
Side chair
W50×D52×H76×SH46
Beech – Snow white
Fabric – Grey
RattanBDTI-105

118

119

Liku Japanese chair

Originally, chairs were not used in Japanese homes. The floors inside houses
were covered with tatami mats woven from rushes, where Japanese people
used to sit directly. Furniture was introduced around 150 years ago when
Western-style chairs and tables began to be used in public buildings during
the cultural shift that accompanied the Meiji Restoration. For the next few
decades until the early Showa period, items like chairs and tables were notused in ordinary homes. However, as flooring materials transitioned fromtatami to hardwood during the rapid economic growth following World War
II, the Western lifestyle with chairs and tables became more widespread.
Although the number of tatami rooms in Japanese houses has decreased, thetradition remains. Even now, the Japanese custom of removing one’s shoesat the entrance of a home and sitting on the floor continues.
Zaisu is a legless chair with the seat sitting directly on the floor, which is
unique to Japan. It incorporates some of the modern comforts of the chairwhilst staying true to the traditional custom of sitting on the floor. Very few
zaisu have a design that harmonizes with traditional-style spaces. Many arebasic, consisting of a single piece of formed plywood that acts as both a seat
and a backrest. Time & Style has created a zaisu that blends tradition withmodernity and refinement. Comfort and strength have been increased byraising the seat above that of a normal zaisu. Crossbeams have been added
to the sides to support the short legs and chair frame at three points. The
structure and design of these side struts are new elements unprecedented
for a zaisu, creating a certain lightness. The square edges of the vertical bars
in the back are sanded down individually by hand to give them slightly
rounded edges for extra comfort.
For the future of Japanese culture, Time & Style believe it is essential to not
only pass on traditional culture but also to create new products by breathing
life into traditional forms.

122

124

Legless chair

Legless chair with 1 right armrest

Legless chair with 1 left armrest

W60×D58×H51×SH12×AH30

W56×D58×H51×SH12×AH30

W56×D58×H51×SH12×AH30- BDTI-089
Beech – Snow white
Leather – Dark brown- BDTI-091
Beech – Snow white
Leather – Dark brown- BDTI-093
Beech – Snow white
Leather – Dark brown- BDTI-090
Beech – Charcoal grey
Leather – Dark brown- BDTI-092
Beech – Charcoal grey
Leather – Dark brown- BDTI-094
Beech – Charcoal grey
Leather – Dark brown

125

Liku Japanese chair

Liku Japanese chair

Legless chair

Legless chair with 1 left armrest

W60×D58×H51×SH12×AH30

W56×D58×H51×SH12×AH30

Beech – Charcoal grey

Beech – Charcoal grey

Leather – Dark brown

Leather – Dark brown

BDTI-090

BDTI-094

126

127

128

129

Stoneware sculpture

Stoneware sculpture was created using the techniques of Iwami-yaki pottery
from the Iwami region of Shimane Prefecture. Iwami region is renowned forthe production of durable pottery. The local clay used for the pottery is
resistant to moisture and salt, making it suitable for tiles, water jars, andpickle jars. In its heyday, the area was bustling with more than a hundred
pottery producers. However, with the spread of chemically manufactured
and metal products, demand for Iwami tiles and pottery has decreased, andnow there are only a few kilns that maintain the traditional methods.
The potteries are produced by artisans who handcraft every step of theprocess, from making the clay to moulding and firing. The experienced potter
can make large items such as jars and water jars, and those largest in size
can be over two meters high and one meter in diameter.
Using Shinozukuri, a unique pottery technique of Iwami-yaki famous for the
scale of products, a clay stretched into a string rope is piled up in circles, andis formed by artisan using their whole body while rotating the potter’s wheel.
It requires great strength and skill to swiftly shape the clay without hesitation.
Each Stoneware sculpture gives a different expression and has a uniquecharacter and presence that of pottery. The transparent glaze, which shows
the colour of the original clay, reveals the simplicity and texture of the material and blends silently into versatile spaces. The clay is semi-porcelain,
which has both the characteristics of porcelain and ceramic. It is hard andmoisture-proof, suitable for outdoor use such as in gardens and terraces.
Stoneware sculpture utilizes pottery techniques while Bronze casting sculpture incorporates casting techniques, and they share the same form.
Together they express the uniqueness of products born from different materials with traditional Japanese manufacturing techniques.

130

131

Stoneware sculpture
Stool
φ36×H42

Ceramic
BDTI-601

Stool
φ36×H42- BDTI-601
Ceramic

132

133

134

135

Bronze casting sculpture

The beginning of the casting technique in Takaoka, Toyama Prefecture, dates
back to approximately 400 years ago. It started with the production of agricultural tools such as hoes and sickles. It later came to be used to makeBuddhist statues and fittings. Thus, the casting technique is still used tomake art objects and monuments today.
Bronze casting sculpture is a product that uses Japanese casting techniques,
which is unprecedented in the furniture world. The product fully utilizes theworkability which is characteristic of casting. Bronze has higher specificgravity compared to light metals such as aluminum, which makes it heavier
even in small size. By casting bronze without gloss and fully expressing theheaviness of the material, Time & Style realized the strength, sharpness, anddelicacy to coexist in the sculpture.
The bronze is melted at 1,200 to 1,300 degrees Celsius and poured into amould made of sand for natural cooling. When the temperature drops andthe bronze hardens, the sand mould is broken with a hammer, and the castmetal is taken out to be carefully polished. This entire process is done byhand, just like that of a sculpture.
The bronze oxidizes, darkens, and is verdigrised, changing its expression
with time. The product reflects the sensibility of finding beauty and value inthe ephemeral nature of decay and transition. Not only does it function as aside table or stool, but it also has an independent presence as an object.

136

Bronze casting sculpture
Stool
φ36×H42Bronze
BDTI-701

Stool
φ36×H42- BDTI-701
Bronze

138

139

140

141

Oke

Richly endowed with a humid environment, the Yoshino forests of Nara
Prefecture are home to Yoshino cedars with straight, dense grains. Traditionally used as building materials for castles and temples, Yoshino cedar has
been a part of people’s lives for hundreds of years.
Oke (bucket) and taru (barrel), ranging from small ones to draw and holdwater to larger ones to brew sake and soy sauce, have been deeply rooted in
the Japanese culture until today. The oke buckets are made by a craftsperson
who makes the materials and an okeyuishi who uses the materials to makethe buckets and barrels. After the characteristic of wood is carefully identified and hand shaved to maximize its beauty, the wood panels are handed
over to the next process done by okeyuishi, who then assembles them
together to make the side panels, then builds them up, wraps a taga (hoop)
around to tighten them. Inserting the bottom panel tightens the taga andcompletes the process. Its sensibly designed structure allows the tool to be
repaired and used for a long time.
Whereas furniture is generally made of hard, durable hardwoods such as oak,Time & Style transformed Japanese cedar, a softwood found throughout
Japan, into Oke, a modern everyday product, using traditional Japanesetechniques. While the product adopts traditional techniques, its uniqueconstruction, with the lid covered at the top and bottom with clasps, is acharacteristic different from traditional ones, and requires a very high degreeof precision and skilled wood planing techniques. The panels are precisely
hand-assembled by craftspeople with no gaps between them.

142

143

Stool

Stool

Stool

Stool

φ38×H50

φ41×H43

φ45×H37

φ60×H35- BDTT-771
Cedar – Natural white- BDTT-772
Cedar – Natural white- BDTT-773
Cedar – Natural white- BDTT-774
Cedar – Natural white

145

Oke

Oke

Stool

Stool

φ38×H50

φ41×H43

Cedar – Natural white
BDTT-771

Cedar – Natural white
BDTT-772

146

147

Oke

Oke

Stool

Stool

φ45×H37

φ60×H35

Cedar – Natural white
BDTT-773

Cedar – Natural white
BDTT-774

148

149

150

151

TempleJapan has more than 70,000 Buddhist temples. Buddhism originated in India
and blossomed in China and Korea before making its way to Japan 1,500
years ago. Japan sent many envoys to China to learn its culture and philosophies, who later returned to the country and propagated Chinese architecture,art, crafts, and other technologies. Much of the Buddhist architecture built
during the era remains admired even to this day. Of particular importance arean array of temples and halls of the Mitokusan Sanbutsuji Temple complex in
the Touhaku District in Shimane Prefecture, built from 706 to 849 AD. At the
deepest recesses of the temple grounds lies Nageiredo Hall, clinging to asheer cliff, which is built using kakezukuri, a construction method that forms
a latticed frame by combining pillars and beams for the platform of thebuilding. One can imagine how dangerous and difficult it must have been tobuild in such an inaccessible place. Two other temples on the site, Jizodo andMonjudo, have pillars supporting their main buildings. These verticalsupports are connected by horizontal tie beams with mortice and tenon
joints, which give them a structural aesthetic. Inspired by these temples of
Mt. Mitoku built among the beautiful natural surroundings and sheer cliffs,
Time & Style crafted this collection of six differently-sized low tables.
The basic structure of the low tables alludes to classical Japanese woodenarchitecture, with its four long, thin legs supporting a tabletop. After careful
investigation, the width of the legs and tie beams is decided to 27 millimeters.
The legs are jointed with horizontal tie beams by adopting the mortise andtenon joinery technique to echo the temple framework. Hand finishing is
crucial to make the joints fit precisely and achieve durability. This form ofassembly is many times more time-consuming than the dowel assembly
process widely used in most everyday furniture. The edge of the tabletop hasa slightly rounded raised edge reminiscent of a lily pad, formed by carving
away the solid piece of wood and giving the tables a unique look. The tabletops come in a variety of sizes, from large to small. The heights are also
varied, allowing the tabletops to be layered on top of each other. Various
interior landscapes can be created by arranging the tables. Time & Style
believe that incorporating the architectural features of classical Buddhist
temples into these low tables lends them an exquisite structural beauty.

152

153

Square low table

Square low table

Square low table

W60×D60×H42

W60×D60×H60

W100×D100×H36- BDTT-901
Oak – Snow white- BDTT-903
Oak – Snow white- BDTT-905
Oak – Snow white- BDTT-902
Oak – Charcoal grey

- BDTT-904
Oak – Charcoal grey

- BDTT-906
Oak – Charcoal grey

Rectangular low table

Rectangular low table

Rectangular low table

W120×D60×H42

W150×D75×H36

W180×D90×H30- BDTT-907
Oak – Snow white- BDTT-909
Oak – Snow white- BDTT-911
Oak – Snow white- BDTT-908
Oak – Charcoal grey

- BDTT-910
Oak – Charcoal grey

- BDTT-912
Oak – Charcoal grey

155

156

157

TempleTempleSquare low table

Square low table

W60×D60×H42

W60×D60×H60

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-902

BDTT-904

158

159

TempleTempleSquare low table

Rectangular low table

W100×D100×H36

W120×D60×H42

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-906

BDTT-908160

161

TempleTempleRectangular low table

Rectangular low table

W150×D75×H36

W180×D90×H30

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-910

BDTT-912

162

163

Imperial family

The Japanese Imperial family has been continuing for 126 generations,spanning over 2,700 years. The imperial line is said to be unbroken from
Emperor Jimmu in the mythical age, to the present-day monarch. It could bestated that the Emperor of Japan represents both the history of the country
and the origin of its people, and that the unbroken 2,700 years royalty is thecontext in which much of modern Japanese culture and craftsmanship exists.
As each table differs in size and height, the placement of a series of roundtables creates beautiful, orderly connections in an otherwise disorderly
space. The different heights allow the tables to overlap when placed in agroup, with each table becoming part of a greater flow much like generationsof Emperors comprises a much larger lineage. Whilst each piece can be usedon its own as a side table or coffee table, it can also create a diverse range ofconfigurations when it is used together. All parts of the tables are made ofsolid wood. It is important to minimize the potential expansion and contraction of the timber due to temperature and humidity changes. The edge of thetabletop is sharpened to form a fine, tableware-like rim and to help containspills while resembling a sacred lotus leaf.

166

167

Imperial family
Round low table
φ45×H42

Oak – Charcoal grey
BDTT-402

168

Round low table

Round low table

Round low table

Round low table

φ45×H42

φ45×H60

φ60×H36

φ60×H60- BDTT-401
Oak – Snow white- BDTT-403
Oak – Snow white- BDTT-405
Oak – Snow white- BDTT-407
Oak – Snow white- BDTT-402
Oak – Charcoal grey

- BDTT-404
Oak – Charcoal grey

- BDTT-406
Oak – Charcoal grey

- BDTT-408
Oak – Charcoal grey

Round low table

Round low table

Round low table

φ75×H42

φ90×H36

φ110×H30- BDTT-409
Oak – Snow white- BDTT-411
Oak – Snow white- BDTT-413
Oak – Snow white- BDTT-410
Oak – Charcoal grey

- BDTT-412
Oak – Charcoal grey

- BDTT-414
Oak – Charcoal grey

169

170

171

Imperial family

Imperial family

Round low table

Round low table

φ45×H60

φ60×H36

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-404

BDTT-406

172

173

Imperial family

Imperial family

Round low table

Round low table

φ60×H60

φ75×H42

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-408

BDTT-410

174

175

Imperial family

Imperial family

Round low table

Round low table

φ90×H36

φ110×H30

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-412

BDTT-414

176

177

MoonPerhaps the most widely used piece of furniture in modern Japanese households is the zataku, a traditional low table. It has been an indispensable partof Japanese culture, where one would sit directly on a tatami floor to use it.
Many zataku designs came to Japan from Ming Dynasty China, in which
furniture for displaying bonsai and flower arrangements also originated.
Bonsai itself also has its roots in China, whilst a uniquely Japanese bonsai
culture subsequently took shape here. Many aspects of Chinese culture madetheir way to Japan to be evolved into new forms that we would call our own.
Japanese-style houses have a large room with tatami flooring called a zashiki
for entertaining guests, and a zataku would usually be placed in the center ofthis room. There typically is also a small, raised space known as the
tokonoma, which did not serve any practical purpose but to display a beautiful flower arrangement or perhaps a hanging scroll for guests to admire. It
has been a unique element of traditional Japanese architecture that showcases the host’s taste and embodies a message to the guest, whilst following
the traditions of cherishing the season. The choice of scroll, flowers, orbonsai provided a window on the host’s character and sensitivity. Today,
most of the zataku have given way to Western dining tables and chairs, andthe role of the zashiki has shifted towards living rooms with sofas. Some
Japanese homes still have one traditional tatami room, often solely forentertaining guests.
Moon is a low table where one can find within its modern presence thegentle appearance and feel of wood. The soft yet modern look is suitableeven as a zataku in a traditional house.

180

181

182

Square low table

Square low table

Square low table

W110×D110×H35

W130×D130×H35

W160×D160×H35- BDTT-201
Oak – Snow white- BDTT-203
Oak – Snow white- BDTT-205
Oak – Snow white- BDTT-202
Oak – Charcoal grey

- BDTT-204
Oak – Charcoal grey

- BDTT-206
Oak – Charcoal grey

Round low table

Round low table

φ120×H35

φ160×H35- BDTT-207
Oak – Snow white- BDTT-209
Oak – Snow white- BDTT-208
Oak – Charcoal grey

- BDTT-210
Oak – Charcoal grey

183

Moon

Moon

Square low table

Round low table

W160×D160×H35

φ160×H35

Oak – Charcoal grey

Oak – Charcoal grey

BDTT-206

BDTT-210

184

185

186

187

Branch of the maple

In designing a supplemental product to an interior, like a hanger, the naturalappearance in a space is as important as its functionality. To ensure that eachproduct is used for a long time, the design emphasizes its original beauty ofeach material, without over-decorating.
Branch of the maple hanger is made of carefully cut out solid maple wood.
The smooth texture of the maple and the tanned leather strap will give anadditional charm as it ages. Its lightweight nature ensures a high level ofstorability, as it can be easily folded and propped against a wall when not inuse, and taken out only when in use, while its portability makes it versatile
enough to be easily carried to the bathroom, bedroom, living room, entryway,
and other locations. The frame is rounded at the ends, including the leg tips,
for a soft and comfortable touch against the skin.

188

189

190

Coat hanger

Towel hanger

W70×D47×H155

W70×D39×H80- BDTH-001
Maple – Snow white
Tanned leather- BDTH-003
Maple – Snow white
Tanned leather- BDTH-002
Maple – Charcoal grey
Tanned leather- BDTH-004
Maple – Charcoal grey
Tanned leather

191

Branch of the maple
Towel hanger
W70×D39×H80
Maple – Snow white
Tanned leather
BDTH-003

192

193

Branch of the maple
Coat hanger
W70×D47×H155
Maple – Charcoal grey
Tanned leather
BDTH-002

194

195

196

197

Shoji

In traditional Japanese wooden houses from medieval to modern times,
spaces were created with mobile partitions, shoji or fusuma screens, situatedbetween pillars. Byobu (folding screen) is also a daily tool used to separate asingle interior space according to the lifestyle or purpose, and over time, it
has developed as decorative elements in a large interior space, with beautiful
natural landscapes and scenes from Japanese stories painted on its surface,
many of which have become masterpieces of Japanese art.
Shoji is assembled into a fine lattice using Akita cedar with straight grain andfinished without painting to bring out the original texture and aroma of cedar.
It is covered with Fukui Prefecture’s Echizen washi paper, one of Japan’s top
three traditional papers, on one side. With a history of about 1,500 years,
Echizen washi is a durable paper generally used in large sheets that can beapplied seamlessly to large fittings such as fusuma (sliding doors) and byobu(folding screens). The three panels are joined together by paper hinges glued
with washi paper. Using a traditional Japanese process, these partitions are
made solely from Akita cedar and Echizen washi paper, without any metal
fixings.
The height of the partition is 135 centimeters, slightly lower than typical ones,
just high enough to hide one’s eyes when seated on a chair. The soft light
filtering through the washi paper creates a rich depth to the space, despite its
modest size. Available with Japanese paper or only with a frame made of
Akita cedar, the elegant tension of Shoji’s latticework creates a rhythm in thespace.

198

Partition– washi paper on one side

200

Partition– lattice frame

W235×D2.5×H135

W235×D2.5×H135- BDTP-001
Cedar
Japanese paper- BDTP-002
Cedar
Japanese paper (only hinges)

201

Shoji

Shoji

Partition – washi paper on one side

Partition – lattice frame

W235×D2.5×H135

W235×D2.5×H135

Cedar

Cedar

Japanese paper

Japanese paper (only hinges)

BDTP-001

BDTP-002

202

203

Komorebi

Japan is known for its humidity and rain, and the roofs are generally
extended to create deep eaves to protect buildings from the severe winds
and rains. Wooden shrines and temples, which were built using techniques
imported from the Asian Continent, have roofs with even longer eaves thanthe original, as they adapted to the harsher climate in Japan. Such components have become the characteristics of Japanese architecture.
Until recently, Japanese homes had a garden no matter how small the homeor plot was. Trees were planted, large and small rocks were arranged, andponds were placed for koi carp to swim. They were not solely to provide
scenery. In fact, Japanese people preferred to avoid inviting direct sunlightinto the room. Homes were built to draw in indirect light reflected off of thegarden. Inside the home, shoji screens, sliding partitions made of thin Japanese paper pasted onto delicate latticed wooden frames, were commonlyused to divide rooms. When the weather is mild, only one layer of shoji wasneeded to separate the interior space from the exterior. Sunlight reflected offof the garden is filtered through the paper screens, and gently diffused lightis drawn in, whilst sunlight passing through the trees in the garden flickers as
it shines on the shoji, creating a dream-like scene inside the room. Shoji’s
wooden framework is made using coniferous trees with delicate grain suchas cedar and cypress. Various types of design were made across the era,
ranging from those with decorative wooden latticework to plain designs.
They can be found in historical buildings as well as residential homes all overJapan.
Komorebi was created imagining the tranquil image of sunlight filtering
through the washi paper and playfully bringing light and shadows inside theroom. The lattice of this shelf, reminiscent of a traditional shoji screen, brings
the Japanese beauty of simplicity into your space.

206

207

Komorebi
Open cabinet
W60×D42×H182
Oak – Charcoal grey
BDTC-302

208

Open cabinet

Open cabinet

W60×D42×H182

W97×D42×H182

W134×D42×H182- BDTC-301
Oak – Snow white- BDTC-303
Oak – Snow white- BDTC-305
Oak – Snow white- BDTC-302
Oak – Charcoal grey

- BDTC-304
Oak – Charcoal grey

- BDTC-306
Oak – Charcoal grey

Open cabinet

209

Komorebi

Komorebi

Open cabinet

Open cabinet

W97×D42×H182

W134×D42×H182

Oak – Charcoal grey

Oak – Charcoal grey

BDTC-304

BDTC-306

210

211

Vertical layer

The regular sequence of pillars, beams and other structural elements inbuildings often exudes a sense of grace and power. In what we find beautiful,
we can find a certain order in the assemblage of forms and colours. Such iscalled the ‘elements of compositional beauty’ which include symmetry,
repetition, rhythm, balance, and proportion. Based on these elements, theVertical layer cabinet is carefully constructed by combining vertical andhorizontal panels.
Time & Style determined the shelf dimensions using shakkan-ho, an ancientJapanese measuring system based on body measurement. Every culture has
its own standards for length and weight that suit their body shapes andlifestyles, originating in the long history. In Japan, the shakkan-ho system
has been handed down for centuries but has been replaced by the metricsystem for most things. However, curiously, the shakkan-ho system is stillwidely used in Japan for units related to architecture and a few other aspectsof daily life, including the ‘sun’ and ‘shaku’ units for length, and the ‘tsubo’and ‘chou’ units for area. In the structure based on these ancient ideas, thiscabinet has subtle appearances of the Japanese consciousness and emotion.
The open shelf undergoes a different production process than ordinary
furniture making, requiring the components to be painted before assembly.
Assembling the finished parts requires precise work and a deft sense of
speed. The vertical and horizontal panels are processed to be as thin as
possible to give a delicate impression, while the unique assembly techniqueensures the strength of the shelf.
Inspired by a graceful high-rise building, Vertical layer quite literally emphasizes its vertical panels by setting back the horizontal shelf boards. When thebooks are placed, this open cabinet with an elusive presence disappears andreappears depending on the viewing angle.

214Open cabinet

Open cabinet

W103×D45×H181

W144×D45×H181- BDTC-403
Oak – Snow white- BDTC-401
Oak – Snow white- BDTC-404
Oak – Charcoal grey

- BDTC-402
Oak – Charcoal grey

217

Vertical layer

Vertical layer

Open cabinet

Open cabinet

W103×D45×H181

W144×D45×H181

Oak – Charcoal grey

Oak – Snow white

BDTC-404

BDTC-401

218

219

Philosophers lounge

Philosophers lounge is a lounge chair with a solid wood frame shaped toelliptical cylinder, wide arms and cushions. Compared to a one-seat sofa, it
can be easily moved because of its lightness in weight. Time & Style aimed
to create the comfort of the seat for relaxation and using long hours.
The arms are wide and have a slight hump in the hand resting area, and the
sharp outline leads smoothly to the leg frame, where all the parts intersect
seamlessly. The frame composition created by the intersection of the backcolumn and the seat frame, and the contact point between the rear legs andthe crosspierce that supports it, shows structural beauty. The ellipticalcylinder shape of the wooden frame gives the overall appearance of softness
and a sense of dignified tension.
The cushions attached to the delicately carved wooden frame are made ofurethane that firmly supports the body, and feather bags wrap around thecushions to ensure a moderate loose feeling and seating comfort. The
gusseted cushions create a classical impression and give the entire chair anelegant look. The flat louvers that support the cushions are carefully chamfered one by one for a high-quality finish. The louver also has the role of
ensuring breathability and wrapping the belt attached to the cushion to fix it.
The personal comfort of the lounge chair offers a richer time in a variety ofways in the living room.

222

223

Lowback armchair

Highback armchair

W83×D86×H82×SH43×AH59

W83×D91×H106×SH43×AH59- BDTI-111
Beech – Snow white- BDTI-113
Beech – Snow white- BDTI-112
Beech – Charcoal grey

- BDTI-114
Beech – Charcoal grey

225

Philosophers lounge
Highback armchair
W83×D91×H106×SH43×AH59
Beech – Charcoal grey
BDTI-114

226

227

Philosophers lounge
Lowback armchair
W83×D86×H82×SH43×AH59
Beech – Snow white
BDTI-111

228

229

230

231

SunsetDesigned by Danish designer Børge Mogensen in 1959, Spanish Chair is oneof the masterpieces created with a solid wood frame and thick tanned leather.
It was named so for it was modeled after the chairs that use a single leather
piece common among the Spanish aristocrats. Just like Hans J. Wegner
paved a path for the modern chair design by modeling the China Chair andthe Wishbone Chair after Ming Dynasty chairs, chair-makers have always
taken inspiration from the classics. Passing on this legacy, Time & Style
decided to take Mogensen’s Spanish Chair as a motif to create a new chair
design that occurs naturally to the Japanese mind. The chair is composed
simply of two materials: a wooden frame and thick tanned leather. The oakframe is processed at a chair factory in Hiroshima Prefecture, and the thicktanned leather produced in Himeji, Hyogo Prefecture, is cut and sewn in
Toyooka, Hyogo Prefecture. By taking advantage of the characteristics of
local industries in Japan and combining the materials tailored in each region,
we designed a new chair made possible only in Japan.
The wide arms, which appear flat at first glance, have a slight bulge to givethem a gentle touch. The seat comprises two layers of thick leather sewn
together to form a single surface. From cutting the leather to sewing, thewhole process is done at a bag factory in Toyooka that manufactures flightcases for pilots. The bag manufacturing industry originated from willow
basketry that emerged about 1,200 years ago. It is now a significant industry
in the region, with more than 300 bag-related companies operating side byside. The seat, which uses a single piece of leather from the backrest to theseating surface, has been repeatedly modified to find a balance between theaesthetics and comfortable seating experience. Time & Style aimed to createa chair with an effortless air of elegance that can be cherished for a long time.

232Armchair
W85×D75×H78×SH41×AH58- BDTI-506
Oak – Snow white
Tanned leather – Dark brown- BDTI-508
Oak – Charcoal grey
Tanned leather – Dark brown

234

235

SunsetArmchair
W85×D75×H78×SH41×AH58
Oak – Charcoal grey
Tanned leather – Dark brown
BDTI-508

236

237

238

239

241

Time & Style Factory

Japan is one of the most forested place among developed countries around theThere were significant obstacles in the opening of the factory. However, as aworld. Since ancient times, there have been several professions related to wood-complete newcomer to manufacturing, they also had no preconceived notions ofwork, including carpenter specializing in temple and shrine, cabinetmaker, joiner,

how a manufacturer should be, nor did they incline to put efficiency above alllacquerer, and furniture maker. They have existed for so long that Japaneseelse. That was why they were able to prioritize quality from the start. Opening theculture is often described as a culture of wood. Although it has been almost 150

factory has allowed them not only to develop skills and techniques but also toyears since furniture became a common feature for ordinary homes, the memo-

take on the challenge of rebuilding the production process from the ground up.

ries of the ancestors living with the forest still live on within the hearts of modern

Beginning with the development of new materials, they have thus realized prod-

Japanese people. Extraordinary skills of furniture making were developed inucts that were once deemed impossible to manufacture without compromises.

many regions across Japan, and today they are found in Hida-Takayama,

Although Time & Style is now able to source and process wood materials

Shizuoka, Tokushima, Fuchu in Hiroshima, Okawa in Fukuoka, and Asahikawa in

in-house, they are building even stronger relationships with their partner factories

Hokkaido which is where Time & Style Factory is located.

through sharing the knowledge.

Situated in the far north of Japan, Asahikawa is blanketed with snow for nearly

Wood is processed from the start to finish at the factory: from the sourcing of logs

half of the year. Despite the harsh climate with temperatures as low as minus 20

to sawing, seasoning, converting, joining, sanding, and finishing. When logs aredegrees Celcius in the coldest winter, the area is rich in forest resources. The

delivered from the mountains, they carefully count the rings of each tree andmajority of the land in Asahikawa has never been cultivated during the develop-

record the area it came from. Accumulating such information, they source high-ment of Hokkaido, and a large area of primeval forest remains untouched. Thus

quality materials with confidence. Most commercially available timber is sold inaround 130 years ago, people started to make use of the land by making furniture.

standardized lengths and thicknesses. Processing wood themselves allows them

Hokkaido is located at 43-45 degrees north latitude within the global temperate

to cut logs into precise dimensions they need with minimum waste. It is an essen-

broadleaf forest belt, where magnificent broadleaf trees grow worldwide. As welltial factor for both humans and the environment today.

as regions within the belt in Europe, North America, China, and Russia, northern
Hokkaido is abundant with such resources. In the needleleaf-broadleaf mixed

At Time & Style Factory, team members work together, ranging from youngforest, there are many different ages and species of trees, including the Mongo-

apprentices in their teens to seasoned artisans in their 60s, learning from thelian oak, Japanese white birch, wild cherry, Japanese larch, and Sakhalin fir. The

traditional craft techniques. Combining artisanship and the newest equipment,

forest has an ecosystem of diversity.

they strive to manufacture high-quality products from the finest materials.

In 2008, Time & Style Factory was established amid the ample nature in
Asahikawa, Hokkaido, to renew the production system that relied on partner
factories scattered all over Japan. Although they were accumulating experience indesign and product development, they had not been able to accumulate experience in manufacturing themselves as it was commissioned entirely to eachfactory. To create products that they could truly call their own, Time & Styleneeded a factory where manufacturing is done themselves.

242

243

244

245

Finishes

246

Beech
Snow white

Beech
Charcoal grey

FabricGrey

OakSnow white

Oak
Charcoal grey

Leather
Dark brown

Maple
Snow white

Maple
Charcoal grey

Tanned leather
Dark brown247

www.timeandstyleedition.com

Distributor

Worldwide (Japan not included)
De Padova Srl
Via Santa Cecilia, 720122 Milan, Italy
Tel +39 02 27 43 971
info@depadova.it
www.depadova.com
Exclusive Japan
Time & Style
Prestige Japan Inc.
5610 Ban-kan 2F, 5-6-10 Minamiaoyama
Minato-ku, Tokyo 107-0062 Japan
Tel +81 3 5464 3208
info@timeandstyle.com
www.timeandstyle.com

All rights reserved. No part of this catalogue
may be reproduced or transmitted in any
form or by any means, electronic or mechanical,
including printing, photocopying, recording,or any information storage and retrieval
system without prior permission in writingfrom Time & Style ēdition, excepting reproduction
intended to support the sale of Time & Style ēdition
products privately.
This catalogue is available free of charge
subject to the condition that it shall not,by way of trade or otherwise, be soldor hired out totally or partly.

Art direction

Time & Style
Photography

Shinji Hosono
Masatoshi Mori
Printed in Japan