コンテンツ種別写真動画複数枚｢#PR｣つき投稿 関連投稿国 指定なしアメリカ合衆国 関連都道府県 指定なし 並び替え投稿日順 ライク数順 コメント数順 エンゲージメント率順AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0%SURPLUS is a new series of RECLAIMED FURNITURE by AtMa inc, that utilise the accidental forms of materials left over or broken during manufacturing, connecting them with minimal stainless steel parts to give them new functions as furniture. In the interior construction work that we are involved in, due to various risk factors such as damaged materials, quantity errors, incorrect deliveries, as well as quality of the joint finish on the site and the complexity of and design, materials are ordered "required amount + a few percent." This is done to avoid the worst-case scenario where the project cannot be completed according to the client’s desired schedule. These materials are prepared to address the aforementioned risks, so they are not necessarily used up entirely. As a result, a few percent of the materials typically remain after construction is completed. These materials represent the necessary quantity to ensure smooth project progress, but at the same time, they become surplus and are often referred to as waste or loss generated on-site. Additionally, in some cases, a certain amount of materials is kept at the factory for a specified period to address any defects that may arise after completion. Once this period has passed, these materials are disposed of. Not only tiles and marbles, but also carpets, wallpaper, and wood are subject to the same situation. Despite the efforts of each contractor and improvements in construction accuracy, this issue occurs at almost every interior construction site. Therefore, in the projects we design ourselves, we considered collecting surplus materials after construction, with the understanding and cooperation of the client and contractor, and using them to create furniture. As professionals involved in the interior industry, while it is of course important to reduce on-site waste, we also believe that finding ways to make use of surplus materials is another effective solution. Photo @kentahasegawa2025/05/02に公開- 指定なし0.38%160AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。 Photo @kentahasegawa2025/05/02に公開- 指定なし0.52%220AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0%SURPLUS is a new series of RECLAIMED FURNITURE by AtMa inc, that utilise the accidental forms of materials left over or broken during manufacturing, connecting them with minimal stainless steel parts to give them new functions as furniture. In the interior construction work that we are involved in, due to various risk factors such as damaged materials, quantity errors, incorrect deliveries, as well as quality of the joint finish on the site and the complexity of and design, materials are ordered "required amount + a few percent." This is done to avoid the worst-case scenario where the project cannot be completed according to the client’s desired schedule. These materials are prepared to address the aforementioned risks, so they are not necessarily used up entirely. As a result, a few percent of the materials typically remain after construction is completed. These materials represent the necessary quantity to ensure smooth project progress, but at the same time, they become surplus and are often referred to as waste or loss generated on-site. Additionally, in some cases, a certain amount of materials is kept at the factory for a specified period to address any defects that may arise after completion. Once this period has passed, these materials are disposed of. Not only tiles and marbles, but also carpets, wallpaper, and wood are subject to the same situation. Despite the efforts of each contractor and improvements in construction accuracy, this issue occurs at almost every interior construction site. Therefore, in the projects we design ourselves, we considered collecting surplus materials after construction, with the understanding and cooperation of the client and contractor, and using them to create furniture. As professionals involved in the interior industry, while it is of course important to reduce on-site waste, we also believe that finding ways to make use of surplus materials is another effective solution. Photo @kentahasegawa2025/05/02に公開- 指定なし0.99%420AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。 Photo @kentahasegawa2025/05/02に公開- 指定なし0.28%120AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0%SURPLUS is a new series of RECLAIMED FURNITURE by AtMa inc, that utilise the accidental forms of materials left over or broken during manufacturing, connecting them with minimal stainless steel parts to give them new functions as furniture. In the interior construction work that we are involved in, due to various risk factors such as damaged materials, quantity errors, incorrect deliveries, as well as quality of the joint finish on the site and the complexity of and design, materials are ordered "required amount + a few percent." This is done to avoid the worst-case scenario where the project cannot be completed according to the client’s desired schedule. These materials are prepared to address the aforementioned risks, so they are not necessarily used up entirely. As a result, a few percent of the materials typically remain after construction is completed. These materials represent the necessary quantity to ensure smooth project progress, but at the same time, they become surplus and are often referred to as waste or loss generated on-site. Additionally, in some cases, a certain amount of materials is kept at the factory for a specified period to address any defects that may arise after completion. Once this period has passed, these materials are disposed of. Not only tiles and marbles, but also carpets, wallpaper, and wood are subject to the same situation. Despite the efforts of each contractor and improvements in construction accuracy, this issue occurs at almost every interior construction site. Therefore, in the projects we design ourselves, we considered collecting surplus materials after construction, with the understanding and cooperation of the client and contractor, and using them to create furniture. As professionals involved in the interior industry, while it is of course important to reduce on-site waste, we also believe that finding ways to make use of surplus materials is another effective solution. Photo @kentahasegawa2025/05/02に公開- 指定なし0.68%290AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。 Photo @kentahasegawa2025/05/02に公開- 指定なし0.38%160AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0%SURPLUS is a new series of RECLAIMED FURNITURE by AtMa inc, that utilise the accidental forms of materials left over or broken during manufacturing, connecting them with minimal stainless steel parts to give them new functions as furniture. In the interior construction work that we are involved in, due to various risk factors such as damaged materials, quantity errors, incorrect deliveries, as well as quality of the joint finish on the site and the complexity of and design, materials are ordered "required amount + a few percent." This is done to avoid the worst-case scenario where the project cannot be completed according to the client’s desired schedule. These materials are prepared to address the aforementioned risks, so they are not necessarily used up entirely. As a result, a few percent of the materials typically remain after construction is completed. These materials represent the necessary quantity to ensure smooth project progress, but at the same time, they become surplus and are often referred to as waste or loss generated on-site. Additionally, in some cases, a certain amount of materials is kept at the factory for a specified period to address any defects that may arise after completion. Once this period has passed, these materials are disposed of. Not only tiles and marbles, but also carpets, wallpaper, and wood are subject to the same situation. Despite the efforts of each contractor and improvements in construction accuracy, this issue occurs at almost every interior construction site. Therefore, in the projects we design ourselves, we considered collecting surplus materials after construction, with the understanding and cooperation of the client and contractor, and using them to create furniture. As professionals involved in the interior industry, while it is of course important to reduce on-site waste, we also believe that finding ways to make use of surplus materials is another effective solution. Photo @kentahasegawa2025/05/02に公開- 指定なし0.35%150AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。 Photo @kentahasegawa2025/05/02に公開- 指定なし0.16%70AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0%SURPLUS is a new series of RECLAIMED FURNITURE by AtMa inc, that utilise the accidental forms of materials left over or broken during manufacturing, connecting them with minimal stainless steel parts to give them new functions as furniture. In the interior construction work that we are involved in, due to various risk factors such as damaged materials, quantity errors, incorrect deliveries, as well as quality of the joint finish on the site and the complexity of and design, materials are ordered "required amount + a few percent." This is done to avoid the worst-case scenario where the project cannot be completed according to the client’s desired schedule. These materials are prepared to address the aforementioned risks, so they are not necessarily used up entirely. As a result, a few percent of the materials typically remain after construction is completed. These materials represent the necessary quantity to ensure smooth project progress, but at the same time, they become surplus and are often referred to as waste or loss generated on-site. Additionally, in some cases, a certain amount of materials is kept at the factory for a specified period to address any defects that may arise after completion. Once this period has passed, these materials are disposed of. Not only tiles and marbles, but also carpets, wallpaper, and wood are subject to the same situation. Despite the efforts of each contractor and improvements in construction accuracy, this issue occurs at almost every interior construction site. Therefore, in the projects we design ourselves, we considered collecting surplus materials after construction, with the understanding and cooperation of the client and contractor, and using them to create furniture. As professionals involved in the interior industry, while it is of course important to reduce on-site waste, we also believe that finding ways to make use of surplus materials is another effective solution. Photo @kentahasegawa2025/05/02に公開- 指定なし0.35%150AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" at @gallery_topso 0% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。 Photo @kentahasegawa2025/05/02に公開- 指定なし0.24%100AtMa inc. Exhibition 清澄白河の gallery topso では、topsoの内装設計を手掛けた鈴木良と小山あゆみによるクリエイティブユニット「AtMa inc. ( @atma_inc )」のエキシビジョンを開催。端材・廃材を再構築したコンテンポラリー家具シリーズ「RECLAIMED FURNITURE」の新作「0% SURPLUS」の発表を行います。 時代や社会的背景により、進化していくモノづくりを念頭に AtMa inc.が継続的に取り組んでいるアップサイクルプロジェクト。発表されるのは、内装設計の現場で必ず生まれる端材・余剰材を、磨かれた最小限のステンレス製パーツによって連結し、椅子としての新たな機能を持たせた新作のプロダクト群。 これらを中心に、新旧の作品を交え展示・販売を行います。 - AtMa inc. @atma_inc 鈴木良と小山あゆみにより2013年に設立されたクリエイティブユニット。 リテールショップやレストランなどの空間のデザイン、インスタレーションやウィンドウディスプレイ、プロダクトデザインなどのクライアントワークに加え、社会課題などを取り上げた自主制作への取り組み、また自身の作品やアーティストとのコラボレーションを展示し考えを共有できるスペース（COM）の運営と3つの軸を持ち、活動の幅を広げている。それらの軸を行き来することで多角的な視点や素材への理解を深め、さまざまな表現を探求している。 2025年のミラノデザインウィークでは、ALCOVA Milan , Villa Borsani で展示。海外メディアなどからも高い注目を集める。 武蔵野美術大学非常勤講師、主な受賞歴に、FRAME AWARDS (Emerging Designer of the Year)、PARIS DESIGN AWARDS(PRODUCT DESIGN / Experimental Design 、Interior Design Retails)、Design Anthology Awards (Product /furniture)、DEZEEN AWARD LONGLISTEDなど。 - AtMa Exhibition "RECLAIMED FURNITURE｜0% SURPLUS" 会 期：2025年 4月26日（土）〜 5月25日（日） 営業時間：12:00 - 19:00 定 休：月・火 会 場：gallery topso @gallery_topso 住 所：東京都 江東区 扇橋 1-2-3 清澄白河B2出口より 徒歩11分 東京都現代美術館より 徒歩6分 @gallery_stoop より 徒歩10分 お問い合わせ：03 6783 01892025/04/25に公開- 指定なし2.87%12200% SURPLUS 予備材で出来上がる家具 AtMa inc.が継続的に取り組んでいるReclaimed Furnitureの新しいシリーズです。 製造業や在庫管理業などでは、必要数量に対して数％の予備を含んだ数量の発注または在庫確保を行っています。内装工事においては欠損、数量間違い、誤納などのさまざまなリスク要因や現場納まりやデザインの複雑さなどから、施主の希望スケジュールに工事が終わらないという最悪のケースを回避するために「必要数量+数%」の資材発注が行われています。 数%多く発注された資材は上述したようなリスクのために用意された資材のため、必ずしも使い切るわけでなく、施工後には数%の資材が残ります。工事を滞りなく進めるための必要数量であり、余剰でもあり、ロスとも呼ばれる現場ゴミが生まれている現状があります。また、工事完了後の不具合などに対応するために一定期間、一定数だけ工場で保管するケースもあり、期間を過ぎればそれらは処分されます。タイルや大理石に限らず、カーペットやクロス、木材などの資材も同様となります。これらは、各施工業者が努力を行い、施工精度が向上している現在でもほぼ全ての現場で発生している事実となります。そこで私たちは自ら設計を行ったプロジェクトにおいて、施主及び施工会社の理解と協力を頂き、施工後に残った資材を引き取り、家具を製作することを考えました。内装に関わっている者として、現場ゴミを減らす努力ももちろん必要ですが、活用するという方向もまた一つの解決法だと考えています。 0% SURPLUSは、現場や工場でカット加工されて残った資材や割れてしまっている資材などの偶発的なフォルムを活かし、最小限のステンレスパーツによって連結し、家具としての新たな機能を持たせたプロダクトになります。2025/04/25に公開- 指定なし1.74%740J39.5 | AtMa inc. Villa Borsani Via Umberto 1, 148, 20814 Varedo, MB, Italy 7 - 13 April 2025, 10 - 19h J39.5 J39.5 is a series of chairs made up of reassembled parts of the J39 chair designed by Borge Mogensen. It all started when we came across a J39 with a missing leg and a cracked backrest at a vintage furniture warehouse. There were some damaged J39s that were difficult to repair because of cost, time, and effort. We decided to take them back to create new value for them as well as a circular relationship with furniture. 1. Circular Design With respect to Mogensen who redesigned the Shaker chair to create J39, we redesigned it to reflect times, not adding new materials but reassembling only the remaining parts and adding 0.5 design as a change of mindset. Even if it is damaged in use, the circularity of the design will continue as the parts are reassembled. 2. Circular Material Aiming for a more sustainable approach, we are working on material circulation. The broken leg or back are crushed into wood chips, pulped, and strained into original paper which is then twisted into paper cord. The legs are turned into the seat - material changed the form, but still make up the same chair. 3. Circular Culture The chair designed in Europe was imported to Japan, then redesigned and returned to Europe. By repeating the design approach across regions and cultures, this may provide an opportunity to deepen understanding of each other. Through the new ideas gained from three approaches and circular relationship with furniture, we would like to continue to explore mutual understanding among people, objects, materials, culture, environment, and times. Photographer : Shunsuke Watanabe #salonedelmobile2025 #fuorisalone2025 #milandesignweek2025 #milandesignweek #mdw2025 #alcova #alcovamilano #alcova20252025/04/13に公開- 指定なしhttps://www.instagram.com/explore/tags/salonedelmobile2025#salonedelmobile2025https://www.instagram.com/explore/tags/fuorisalone2025#fuorisalone2025https://www.instagram.com/explore/tags/milandesignweek2025#milandesignweek2025https://www.instagram.com/explore/tags/milandesignweek#milandesignweekhttps://www.instagram.com/explore/tags/mdw2025#mdw2025https://www.instagram.com/explore/tags/alcova#alcovahttps://www.instagram.com/explore/tags/alcovamilano#alcovamilanohttps://www.instagram.com/explore/tags/alcova2025#alcova20252.56%1090J39.5 | AtMa inc. Villa Borsani Via Umberto 1, 148, 20814 Varedo, MB, Italy 7 - 13 April 2025, 10 - 19h J39.5 J39.5 is a series of chairs made up of reassembled parts of the J39 chair designed by Borge Mogensen. It all started when we came across a J39 with a missing leg and a cracked backrest at a vintage furniture warehouse. There were some damaged J39s that were difficult to repair because of cost, time, and effort. We decided to take them back to create new value for them as well as a circular relationship with furniture. 1. Circular Design With respect to Mogensen who redesigned the Shaker chair to create J39, we redesigned it to reflect times, not adding new materials but reassembling only the remaining parts and adding 0.5 design as a change of mindset. Even if it is damaged in use, the circularity of the design will continue as the parts are reassembled. 2. Circular Material Aiming for a more sustainable approach, we are working on material circulation. The broken leg or back are crushed into wood chips, pulped, and strained into original paper which is then twisted into paper cord. The legs are turned into the seat - material changed the form, but still make up the same chair. 3. Circular Culture The chair designed in Europe was imported to Japan, then redesigned and returned to Europe. By repeating the design approach across regions and cultures, this may provide an opportunity to deepen understanding of each other. Through the new ideas gained from three approaches and circular relationship with furniture, we would like to continue to explore mutual understanding among people, objects, materials, culture, environment, and times. Photographer : Shunsuke Watanabe #salonedelmobile2025 #fuorisalone2025 #milandesignweek2025 #milandesignweek #mdw2025 #alcova #alcovamilano #alcova20252025/04/13に公開- 指定なしhttps://www.instagram.com/explore/tags/salonedelmobile2025#salonedelmobile2025https://www.instagram.com/explore/tags/fuorisalone2025#fuorisalone2025https://www.instagram.com/explore/tags/milandesignweek2025#milandesignweek2025https://www.instagram.com/explore/tags/milandesignweek#milandesignweekhttps://www.instagram.com/explore/tags/mdw2025#mdw2025https://www.instagram.com/explore/tags/alcova#alcovahttps://www.instagram.com/explore/tags/alcovamilano#alcovamilanohttps://www.instagram.com/explore/tags/alcova2025#alcova20253.06%1300AtMa inc. | J39.5 at Milan Design Week 2025 Villa Borsani Via Umberto 1, 148, 20814 Varedo, MB, Italy 7 - 13 April 2025, 10 - 19h J39.5 J39.5 is a series of chairs made up of reassembled parts of the J39 chair designed by Borge Mogensen. It all started when we came across a J39 with a missing leg and a cracked backrest at a vintage furniture warehouse. There were some damaged J39s that were difficult to repair because of cost, time, and effort. We decided to take them back to create new value for them as well as a circular relationship with furniture. 1. Circular Design With respect to Mogensen who redesigned the Shaker chair to create J39, we redesigned it to reflect times, not adding new materials but reassembling only the remaining parts and adding 0.5 design as a change of mindset. Even if it is damaged in use, the circularity of the design will continue as the parts are reassembled. 2. Circular Material Aiming for a more sustainable approach, we are working on material circulation. The broken leg or back are crushed into wood chips, pulped, and strained into original paper which is then twisted into paper cord. The legs are turned into the seat - material changed the form, but still make up the same chair. 3. Circular Culture The chair designed in Europe was imported to Japan, then redesigned and returned to Europe. By repeating the design approach across regions and cultures, this may provide an opportunity to deepen understanding of each other. Through the new ideas gained from three approaches and circular relationship with furniture, we would like to continue to explore mutual understanding among people, objects, materials, culture, environment, and times. #salonedelmobile2025 #fuorisalone2025 #milandesignweek2025 #milandesignweek #mdw2025 #alcova #alcovamilano #alcova20252025/04/06に公開- 指定なしhttps://www.instagram.com/explore/tags/salonedelmobile2025#salonedelmobile2025https://www.instagram.com/explore/tags/fuorisalone2025#fuorisalone2025https://www.instagram.com/explore/tags/milandesignweek2025#milandesignweek2025https://www.instagram.com/explore/tags/milandesignweek#milandesignweekhttps://www.instagram.com/explore/tags/mdw2025#mdw2025https://www.instagram.com/explore/tags/alcova#alcovahttps://www.instagram.com/explore/tags/alcovamilano#alcovamilanohttps://www.instagram.com/explore/tags/alcova2025#alcova20250.94%391AtMa inc. | J39.5 at Milan Design Week 2025 Villa Borsani Via Umberto 1, 148, 20814 Varedo, MB, Italy 7 - 13 April 2025, 10 - 19h J39.5 J39.5 is a series of chairs made up of reassembled parts of the J39 chair designed by Borge Mogensen. It all started when we came across a J39 with a missing leg and a cracked backrest at a vintage furniture warehouse. There were some damaged J39s that were difficult to repair because of cost, time, and effort. We decided to take them back to create new value for them as well as a circular relationship with furniture. 1. Circular Design With respect to Mogensen who redesigned the Shaker chair to create J39, we redesigned it to reflect times, not adding new materials but reassembling only the remaining parts and adding 0.5 design as a change of mindset. Even if it is damaged in use, the circularity of the design will continue as the parts are reassembled. 2. Circular Material Aiming for a more sustainable approach, we are working on material circulation. The broken leg or back are crushed into wood chips, pulped, and strained into original paper which is then twisted into paper cord. The legs are turned into the seat - material changed the form, but still make up the same chair. 3. Circular Culture The chair designed in Europe was imported to Japan, then redesigned and returned to Europe. By repeating the design approach across regions and cultures, this may provide an opportunity to deepen understanding of each other. Through the new ideas gained from three approaches and circular relationship with furniture, we would like to continue to explore mutual understanding among people, objects, materials, culture, environment, and times. #salonedelmobile2025 #fuorisalone2025 #milandesignweek2025 #milandesignweek #mdw2025 #alcova #alcovamilano #alcova20252025/04/06に公開- 指定なしhttps://www.instagram.com/explore/tags/salonedelmobile2025#salonedelmobile2025https://www.instagram.com/explore/tags/fuorisalone2025#fuorisalone2025https://www.instagram.com/explore/tags/milandesignweek2025#milandesignweek2025https://www.instagram.com/explore/tags/milandesignweek#milandesignweekhttps://www.instagram.com/explore/tags/mdw2025#mdw2025https://www.instagram.com/explore/tags/alcova#alcovahttps://www.instagram.com/explore/tags/alcovamilano#alcovamilanohttps://www.instagram.com/explore/tags/alcova2025#alcova20254.4%1861AtMa inc. | J39.5 at Milan Design Week 2025 Villa Borsani Via Umberto 1, 148, 20814 Varedo, MB, Italy 7 - 13 April 2025, 10 - 19h We are delighted to announce that AtMa inc. is showing 39.5 series at Milan design week 2025. The location is one of ALCOVA sites, Villa Borsani. We are looking forward to seeing you there! デザインスタジオ AtMa inc. はミラノデザインウィーク2025（4月7日 - 4月13日）にて39.5シリーズ発表します。場所はALCOVA Milanの４つの会場のうちの1つ、Villa Borsaniです。 現地に行かれる方はぜひ足をお運びいただけたら幸いです。 @alcova.milano @atma_inc #salonedelmobile2025 #fuorisalone2025 #milandesignweek2025 #milandesignweek #mdw2025 #alcova #alcovamilano #alcova20252025/04/05に公開- 指定なしhttps://www.instagram.com/explore/tags/salonedelmobile2025#salonedelmobile2025https://www.instagram.com/explore/tags/fuorisalone2025#fuorisalone2025https://www.instagram.com/explore/tags/milandesignweek2025#milandesignweek2025https://www.instagram.com/explore/tags/milandesignweek#milandesignweekhttps://www.instagram.com/explore/tags/mdw2025#mdw2025https://www.instagram.com/explore/tags/alcova#alcovahttps://www.instagram.com/explore/tags/alcovamilano#alcovamilanohttps://www.instagram.com/explore/tags/alcova2025#alcova20252.54%1053Ăn Đi @andivietnamese GAIENMAE Space：65.10㎡ Completion:2024 Ăn Đi dares to select and utilise seasonal ingredients from Japan, and many different spices, herbs and seasonings are used to provide Vietnamese cuisine that can only be expressed in Japan using unique techniques. In the interior space, matching the cuisine with the interior materials, we created a Vietnamese restaurant that could only be expressed in Japan by adding Japanese and Vietnamese craft techniques and common elements in a unique way to Japan sourced materials. -bánh mì motif entrance fence -Natural stone or mushroom shape brass handle -Dyed black Japanese ash table with an iron mordant made from iron rust and vinegar -Original pattern/ unique layout of tiles -Vietnamese sculpture -Tea-dyed Japanese thinned wood stools -Earthen soil walls with straw, by-product of rice -Straw artwork by STRAFT Based on the research and inspiration we received in Vietnam, we applied various techniques to each of the materials that make up the space, as if we were adding spices and seasonings, and proceeded with the design as if we were cooking the space. The materials that adorn the space, the ingredients of the dishes, the different cultures and unique techniques, each narratives suffer into the space. We would be happy if, from the moment you step into the restaurant, you feel gradually lifted, immersed in the atmosphere of the space and, as you eat, a scene of Vietnam that you can only experience here comes to life. Photo @kentahasegawa2025/03/31に公開- 指定なし1.2%510Ăn Đi @andivietnamese GAIENMAE Space：65.10㎡ Completion:2024 Ăn Đi dares to select and utilise seasonal ingredients from Japan, and many different spices, herbs and seasonings are used to provide Vietnamese cuisine that can only be expressed in Japan using unique techniques. In the interior space, matching the cuisine with the interior materials, we created a Vietnamese restaurant that could only be expressed in Japan by adding Japanese and Vietnamese craft techniques and common elements in a unique way to Japan sourced materials. -bánh mì motif entrance fence -Natural stone or mushroom shape brass handle -Dyed black Japanese ash table with an iron mordant made from iron rust and vinegar -Original pattern/ unique layout of tiles -Vietnamese sculpture -Tea-dyed Japanese thinned wood stools -Earthen soil walls with straw, by-product of rice -Straw artwork by STRAFT Based on the research and inspiration we received in Vietnam, we applied various techniques to each of the materials that make up the space, as if we were adding spices and seasonings, and proceeded with the design as if we were cooking the space. The materials that adorn the space, the ingredients of the dishes, the different cultures and unique techniques, each narratives suffer into the space. We would be happy if, from the moment you step into the restaurant, you feel gradually lifted, immersed in the atmosphere of the space and, as you eat, a scene of Vietnam that you can only experience here comes to life. Photo @kentahasegawa2025/03/31に公開- 指定なし1.06%450Ăn Đi @andivietnamese GAIENMAE Space：65.10㎡ Completion:2024 Ăn Đi dares to select and utilise seasonal ingredients from Japan, and many different spices, herbs and seasonings are used to provide Vietnamese cuisine that can only be expressed in Japan using unique techniques. In the interior space, matching the cuisine with the interior materials, we created a Vietnamese restaurant that could only be expressed in Japan by adding Japanese and Vietnamese craft techniques and common elements in a unique way to Japan sourced materials. -bánh mì motif entrance fence -Natural stone or mushroom shape brass handle -Dyed black Japanese ash table with an iron mordant made from iron rust and vinegar -Original pattern/ unique layout of tiles -Vietnamese sculpture -Tea-dyed Japanese thinned wood stools -Earthen soil walls with straw, by-product of rice -Straw artwork by STRAFT Based on the research and inspiration we received in Vietnam, we applied various techniques to each of the materials that make up the space, as if we were adding spices and seasonings, and proceeded with the design as if we were cooking the space. The materials that adorn the space, the ingredients of the dishes, the different cultures and unique techniques, each narratives suffer into the space. We would be happy if, from the moment you step into the restaurant, you feel gradually lifted, immersed in the atmosphere of the space and, as you eat, a scene of Vietnam that you can only experience here comes to life. Photo @kentahasegawa2025/03/31に公開- 指定なし1.13%4801234>次へ×インフルエンサーコンテンツCSVダウンロードフォロワー総数、フォロワー増減数、エンゲージメント数、エンゲージメント率ダウンロード※ データには投稿ID, キャプション, LIKE数, コメント数の他、投稿日, 投稿URL, Reel再生数, Reel動画尺, スクリーンネーム, 名前, 自己紹介, フォロワー数, ユーザーURLが含まれます。 コンテンツをCSVでダウンロード
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