Koichi Futamatata is a spatial and product designer based in Fukuoka and Tokyo. He is the director of both CASE-REAL, which focuses on spatial design, and KOICHI FUTATSUMATA STUDIO, which specializes in product design. He began his own practice in 1998 and has worked on a wide range of designs both in Japan and overseas, from interior design and architecture to furniture and products.

Koichi Futamata oversaw the design of the new MINOTAUR INST. TOKYO store following its relocation to Shibuya's RAYARD MIYASHITA PARK. Futamata, who regularly wears MINOTAUR INST. items, was wearing his own TECH KNIT BIG POLO for this interview. We spoke to Futamata about his way of thinking and why he is based in Fukuoka.

『MINOTAUR INST. x Koichi Futamata Part 1 Interview: “I want to know the background of everything, even clothes” >>』

"It's more neutral to think of it in terms of local standards."

──Mr. Futamata, you usually live in Fukuoka, but you also have an office in Tokyo, right?

It's been 20 years since we established our base in Fukuoka, and 12 or 13 years ago we established our base in Tokyo. We've never really cared about location, and before we knew it we were working on various projects all over the country and overseas. We've talked about moving our base to Tokyo before, but we never ended up doing it.

──Why is that?

I personally feel that living in Kyushu is better, and coming from the countryside allows me to have a variety of perspectives, such as a "view from the countryside," a "view from Tokyo," and a "view from overseas," and I feel that it is beneficial for me to know things from a regional perspective. Rather than thinking about things from a Tokyo-centric perspective, I want to think about things from a regional perspective and have an objective view of "Tokyo is like this."

That's because 46 of the 47 prefectures are rural areas. Tokyo is the economic hub, and it's also essential for disseminating culture and culture, but in terms of people's activities and lifestyles, I would like to think more about rural areas. Perhaps because I not only design interiors for shops and galleries, but also build houses and vacation homes, I am interested in people's movements and lifestyles as a base. In that sense, I think that thinking from a rural perspective allows me to perceive various things in a neutral way.

──Does working in a variety of places make it easier for you to accept local culture by thinking in terms of local standards?

That's right. I was born in Kagoshima, but I have a sense for each of Kagoshima, Fukuoka, and Tokyo, and that's just right. I've always looked at the three axes of Kagoshima, Fukuoka, which is somewhere between a city and a countryside, and Tokyo, the capital, in an even light. So I don't think I have any biased views.

──Even when looking at it from three perspectives, Tokyo is the only city that is very excited about the Olympics. It is currently being affected by the coronavirus, but what are your thoughts on that?

I think things are updated when fireworks like those at the Olympics are set off. For example, the architecture and design that was cutting edge at the time of the 1964 Tokyo Olympics are now commonplace. But if we hadn't updated at that time, we wouldn't be here now, so I think there are many things that need updating even with the fireworks this time. The COVID-19 issue is a big blow, but in a good way, I think Tokyo is a city that is making a powerful shift.

Conversely, it's not like that in the countryside; it feels like there are no fireworks and it's a steady, slow growth. That's why I think both have their merits. I'm a rural type by nature, so I'm not good at making big moves and I feel like doing things slowly at my own pace suits me better. They're all interesting because they're different, and I want to get the best out of them, so I've always had two bases, one in the countryside and one in Tokyo (laughs).

──I'm jealous of your "pick of the best places" (laughs). But even so, it's rare for someone to find a city that matches their own sensibilities, isn't it?

That's true. But I wasn't consciously looking for a place either. I grew up in Kagoshima, and my parents wouldn't let me go to Tokyo when I went to university, so I persuaded them to move to Fukuoka, saying, "If it's within Kyushu, it'll be fine." So that's where it all started, and Fukuoka is just the right size. I was attracted by the good balance of different scales, food, and a good mix of urban and rural areas, so in the end, I ended up staying.

"We aim to make it a simple and comfortable place."

──When I look at the houses and shops that you have designed, I feel that they are inorganic yet natural, and that even though they are different works, they have a sense of unity. Did you arrive at that naturally?

I think it's natural. Of course, things may have changed little by little over the past 20 years, but I don't think the big picture has changed much. For example, minimizing functionality and creating something beautiful with those minimal elements is a very Japanese way of thinking, and I think minimalism is beautiful.

However, I like things that are a little more real, and I basically make things that people use. People have all sorts of emotions, lives, and real families, so I think they're quite complicated and troublesome creatures. There are all these different elements, and when you honestly pile up the necessary functions, I want the result of that accumulation to be beautiful, and what I think is most important is whether the people who use it and the people who visit it feel comfortable.

For example, would it be appropriate for Izumi to be in this shop, or would it feel out of place? When I'm creating a house for a client, I wonder if it will feel right for that person. When I'm creating together with a client or someone with a specific goal, I try to look at things as if I've become somewhat one with that person, and I'm concerned about whether it feels strange or comfortable.

I try to combine everything, such as the final selection of materials, how to create gradations, how to open and close the space, and functionality, to bring it to as perfect a state as possible, while also being mindful of any sense of incongruity in the final finishing touches. Earlier, you said it was "simple, but felt natural," and I think that's because I was conscious of comfort in the final finish. That's when natural elements like texture and warmth come into play. Rather than simply simplifying, I aim to bring in the necessary elements and create a simple yet comfortable space.

──So that's how the creation of a space begins. It's true that there's nothing out of place in this shop with you, and it exudes the MINOTAUR INST. vibe.

We first take in that person's feelings, then express them in our own way, and then fine-tune them minutely to make sure that both parties' feelings match. This is a very intricate and difficult process.

──Now for the last question. Is there anything you would like to try in the future?

Hmmm... I don't think there are many. I go at my own pace and meet various people and get job offers, and of course I also go out and get work myself, but I want to create the work that I want to do properly and in a life-sized way. Because I've been doing that, my work is expanding little by little even now, and I believe it will continue to expand in the future.

Basically, our work as architects and designers is behind-the-scenes work, so we want to do the work that comes our way properly, and when we receive a request, we want to give back something twice as good.