For over 400 years in Uji, Kyoto, the Asahiyaki kiln has been crafting vessels for the Japanese tea ceremonies of *chanoyu* and *sencha*. However, the new 'osaa' collection they unveiled at Copenhagen's 3daysofdesign event was not tea ware, but tableware designed for the modern dining table.

Born from a dialogue with a Scandinavian design studio and three restaurants, this collection embodies Asahiyaki's philosophy: to preserve tradition while creating pieces that evolve with their users. Through the words of Brand Director Toshiyuki Matsubayashi, we explore the future of tableware as it expands beyond the confines of traditional tea culture.

A 'Small Staircase' to Overcome the Barriers of Tea Culture

How could they integrate Japanese tea ware into European daily life? For Asahiyaki—one of the Enshu Seven Kilns and among Japan's oldest potteries—approaching the international market has been a long series of trials. Their history of cross-cultural dialogue is extensive, including an exchange with British potter Bernard Leach during the era of the 12th-generation master. In recent years, they have continued their steady efforts to share Japanese tea culture by hosting tea ceremonies and giving presentations on *kyusu* (teapots) across Europe.

However, they repeatedly faced the challenge of encouraging daily use of tea ware in regions that lack Japan's cultural context for *chanoyu* and *sencha*. The very act of brewing tea was disconnected from local lifestyles. Toshiyuki Matsubayashi reflects that overcoming this barrier required a completely new approach.

“We're a kiln that primarily makes tools for tea, but we were repeatedly discouraged by how difficult it was to get Europeans to embrace our tea ware and use it in their establishments. We had to ask ourselves, 'What's the right way forward?' I realized that one solution was to build a 'smaller staircase'—to venture into tableware as an introductory step to get people interested in our tea ware.”

Rather than pitching tea ware directly, they adopted a strategy to first create opportunities for people to experience Asahiyaki's creations through tableware used in everyday dining. This became the starting point that led to the development of the new 'osaa' collection.

Discovering Modern Forms Through Dialogue with Restaurants

The 'osaa' collection was born from a collaboration with the Helsinki-based design studio Kaksikko. The designs were further refined into forms perfect for the modern dining table through conversations with three pioneering restaurants: Admiralgade 26 in Copenhagen, Grön in Helsinki, and so/s/KAWAHIGASHI in Kyoto.

The process went beyond merely designing shapes; it was a continuous series of trials and refinements to adapt Asahiyaki's techniques and the creators' philosophy to contemporary uses. Every piece is thrown on a potter's wheel by an artisan, and the surfaces feature signature Asahiyaki expressions like the *hanshi* (dappled) pattern.

“This time, the goal was to create a vessel for a *hassun*—an assorted appetizer dish. The initial request was for a square plate, but since our kiln specializes in wheel-thrown pottery, we suggested that a round shape would also work. By designing the rim to rise straight up instead of curving, we created a piece that looks stunning when plated with ingredients from both the mountains and the sea.”

What makes the collection unique is that the purpose of each piece is intentionally left undefined. For instance, a bowl designed with *chawanmushi* (savory egg custard) or miso soup in mind is also crafted to function as a side plate. Similarly, the *tsutsu-mukozuke*, a traditional Japanese cylindrical vessel, was re-envisioned through the lens of Scandinavian design forms.

“By intentionally not defining a specific use, we empower each restaurant to use the pieces freely according to their own culinary style. Through extensive discussions with the designer, we infused the vessels with elements that would free them from being tied to a single purpose.”

This design philosophy, as Matsubayashi explains, culminated in the name 'osaa,' a Finnish word meaning 'a part or a fragment that doesn't form a whole.' These pieces don't offer a single, fixed solution; instead, their role flexibly changes depending on the user and the cuisine.

The Resonance of Imperfect Beauty and Nordic Design

The exhibition in Copenhagen also hosted a special dinner event with Chef Atsushi Nakahigashi of "so/s/KAWAHIGASHI," giving participants the chance to enjoy a meal served on the "osaa" vessels. The venue went beyond a simple pottery display by also incorporating arrangements of seasonal flowers, much like the "chabana" in Japanese tea ceremonies. The aim was to express the Japanese way of enjoying tea through the entire space.

Copenhagen and Japan share a long history of mutual influence in their design and craft sectors. Through his ongoing dialogue with the local community, Matsubayashi has felt a powerful sense of acceptance in the Nordic region.

"While preserving the values we hold dear, we embraced contemporary challenges and incorporated feedback on how the pieces could be used in a restaurant. Copenhagen itself has long engaged in a creative back-and-forth with Japanese design and crafts, so they have a real knack for artfully integrating Japanese elements."

The philosophy of Asahiyaki lies at the heart of this resonance. Harnessing the unique absorbent properties of Uji's clay, the core idea is that "a piece is 80% complete when it leaves the kiln; the user cultivates the remaining 20%." A vessel isn't finished the moment it's fired. It only begins to approach its true form as it is handled and used by people. Guided by a sense of time encapsulated in the saying, "The clay we dig today is for our grandchildren's generation," the clay is aged for over 50 years after being excavated. These vessels, shaped over a long period, are designed to evolve with their user over an even longer time.

This philosophy deeply connects with the Nordic design ethos, which centers on functionality and harmony with daily life. The "osaa" collection is set to forge a new path at the intersection of Kaksikko's serene, functional designs and the traditional techniques of Asahiyaki's artisans.

Exhibiting at "3daysofdesign" marks the first step onto a new "stairway" for Asahiyaki as it moves into the European market. By breaking free from the traditional framework of tea ceremony ware and creating everyday touchpoints on the restaurant table, their vessels will begin to transcend cultural barriers and reach a new audience.

Instead of aiming for a static point of completion, the "osaa" vessels are designed to continually evolve through the relationship with their user. This 400-year-old kiln is not about cementing tradition; instead, it flexibly adapts its form through dialogue, advancing into the everyday life of the next era.