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The ‘Glass CMPT Table’ furniture piece from the brand ‘CMPT by Lichen’, launched in Japan on August 13, 2025.
In October 2024, Karimoku Furniture Inc. launched a new project titled “KARIMOKU RESEARCH.” The Survey at the core of the project takes up four themes a year, and is conducted in partnership with creators, designers, artists, companies, and other parties, both inside and outside Japan, on each theme. The insights obtained from the Survey provide the basis for the display and development of new solutions that are not confined to furniture.
The theme of the second Survey is “NEW TRADITION.” In addition to the design studio WAKA WAKA, Lichen, a design incubator and design studio, is participating in this installment of the Survey as a researcher. Lichen was founded by Jared Blake and Ed Be in New York in 2017. The members of its staff come from various fields, and include designers, artisans, problem-solvers, and carpenters. Its activities are on a global scale and center around furniture & spatial design, and exploration of the past and present involvement with the related elements.
An exhibition titled Karimoku Re:issue by Lichen was held on the B1F level of the KARIMOKU RESEARCH CENTER from January 11 to April 18, 2025. We interviewed Jared and Ed about their approaches to the Survey in the process leading up to the commercialization of the sofas that Lichen was involved in and were shown at this exhibition.
This article, which constitutes the first half, proceeds from the acquaintance of Lichen and Karimoku Furniture to the question of what they learned through factory tours and on-site experience, and their impressions of the “high tech, high touch” thought and skills of the artisans. It also introduces the value of the work site created by divisions of labor, automation, and handwork, and how the lessons in patience learned at Karimoku Furniture influenced the shape of Lichen’s creation and teamwork.
Lichen first became acquainted with Karimoku Furniture a few years ago, during their first visit as a team to Japan. They told us this acquaintance was occasioned by their visit to Karimoku Commons Tokyo. They said that they connected with the furniture team in a very natural way, but also that no ideas for specific collaboration immediately arose.
Nevertheless, Jared and Ed stated that, upon seeing the items displayed in the showroom, they found both points in common and complementary differences between Lichen and Karimoku Furniture, and felt anticipations for the possibility of collaboration in the future.
“I would say we have always been long admirers of Japanese craftsmanship and the simplicity. And there's a lot of ways of how we design and how we think that are represented in Japanese craftsmanship and furniture design. Even though we saw a lot of similarities, we also saw differences. We saw some complementary elements that we could offer and (elements) that we also are not as skilled in.” (Jared, Lichen)
“Also you guys have a good knack of working with global designers and that's something that we strive to do as well in the future. Going just beyond home is important to us. How these different cultures combine is very important to us as well.” (Ed, Lichen)
Collaboration between Karimoku Furniture and Lichen became a reality with the start of the new KARIMOKU RESEARCH project in October 2024. Jared and Ed again came to Japan in January 2025, and visited the offices and factory facilities of Karimoku Furniture in Aichi Prefecture.
At the time, Lichen had just installed a computer numerical control (CNC) lathe, which was their biggest investment up to then. Even so, they exclaimed how they were bowled over by the big scale of the facilities owned by Karimoku Furniture.
During the visit, there was an opportunity for conversation with Hiroshi Kato (Vice-President of Karimoku Furniture), and the two said he told them about the concept of “high-tech”and “high-touch.” The basic idea is to leave work that can be done by machines to the machines, which are used in a supplementary way and allow artisans to concentrate on “high-touch” work that requires human sensitivity.
“And that's something that we are approaching as a brand: how to implement technology to help us ‘high-touch.’ So all of our furniture now, most of it has some degree of CNC manufacturing (as) part of the process, which is something that we're still in the early stages of, but Karimoku has many machines and far more equipment that even furthers the production process. So that was definitely something inspiring for us.” (Jared, Lichen)
In addition to the “high-tech” and “high-touch” concept cherished by Karimoku Furniture, Ed added that he was also moved by its efforts for sustainability.
“Also, the sustainability aspect of Karimoku, you know, it's great to have all these machines, but to also have these machines that can help you reduce your waste and reduce the carbon footprint in furniture making, which is obviously a very big deal. Yeah, we're continuing to learn from that process of working with you guys as well; like how we can reduce our waste and reuse as much materials as possible.” (Ed, Lichen)
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During the visit to Karimoku Furniture facilities, Jared said he was particularly impressed by the power of team concentration and the high level of expertise.
“I think we were very small so each of us do(es) many things. But we all have one particular thing that we're the most skilled at and it's better for us to be operating, doing the thing we're most skilled at. I think that's like going back to “high tech, high touch.” Like if I had technology to help me with the things that I'm not skilled at, so I could focus on my best efforts.” (Jared, Lichen)
When he visited Karimoku Furniture, Jared immediately noticed the existence of the packaging team. He said he was amazed that there was a single work station just for the process of making cardboard and boxing products. He also commented that they learned how overall efficiency and quality rise when certain staff are assigned exclusively to each process.
Ed remarked that what impressed him the most in the research process was the wide range of the business which Karimoku Furniture had built up so far.
“Just the range, the range that Karimoku has been able to accomplish over the years. Everything from the older era, traditional style Japanese furniture to today's (like Karimoku New Standard) is really impressive. Just how much ground they can cover. And that's attributed to, you know, working with international designers and such.” (Ed, Lichen)
The KNS that Ed mentioned is a brand we established in 2009 by fusing advanced ideas and superlative manufacturing technology. It brings together the unique perspectives cultivated by Karimoku Furniture’s artisans and select leading designers from inside and outside Japan. It is aspiring to set the new standard in Japanese furniture design.
Among its products, Jared said he was especially struck by the Karimoku Case’s dining chair using paper cord. He added that it was the sole product which he believed machines could not make.
“I mean, there were machines that can cut out the imperfections in the leather and that can cut out the imperfections in the wood and things that were incredible and did things I've never seen a machine do. But something as simple as like weavinga paper cord chair is something that is the most human. (…) So (for) one part, there was one person doing all the paper cord chairs, which is incredible. I think that was the biggest takeaway from one of our trips. I mean where the touch comes into play, especially as we approach the future, becoming more reliant on technology. It's interesting to see what things are going to be the last things that we hold on to.” (Jared, Lichen)
As technology continues to evolve, the question of where intervention by human hands will be required is assuming increasing importance. What is the last work that human beings will not let go of and continue to perform? When things are viewed in this light, Jared pointed out that the chair is a symbolic existence.
After the tour of Karimoku Furniture’s facilities, an activity like a workshop was actually held between Karimoku Furniture and Lichen. The product Recon AA emerged from joint production in this activity. It was made by re-contextualizing AA Stool, one of the main products of Ishinomaki Laboratory. It took shape at our factory in Aichi Prefecture through a concerted effort by our designers, technicians, engineers, and carpenters.
Subsequently as well, Lichen visited Karimoku Furniture’s facilities several times and said they deepened their understanding of our corporate culture and technology.
“I think what we're really trying to also do is understand the culture and the KNS, which is very different from the ones that we're used to in the States. So like the (Karimoku Group Industrial Standard (KGIS), certain proportions, certain things. What we didn't want to do is create Japanese-inspired furniture for a Japanese person or consumer, so we want to better understand. The only way to truly understand is to kind of be immersed in certain perspectives and areas. I think the last time we were there we got a chance to visit Aichi and Gifu, and we had soba noodles that are different, you know what I mean?” (Jared, Lichen)
Jared left open the question of the kind of impact which the knowledge and technical know-how gained through research with Karimoku Furniture would have on the business of Lichen as a whole, saying he could not yet tell. Nevertheless, he said that he made the skills he learned at the company part of his own individual skills, and first incorporated them into his own individual work. With the advice of the artisan at Karimoku Furniture who showed him the paper cord chair, he repaired a chair at his home himself. He commented that it was a very special experience.
Looking back on the visit, Jared asserted that the biggest takeaway from the interaction with Karimoku Furniture was the importance of patience.
“Even though we're moving very quickly, there are certain processes that you can't skip over. You know, we've selected every material, every metal connection piece, every wood species, every proportion, change proportion. So I think if you could sum it up in one word, it would be ‘patience.’” (Jared, Lichen)
While running a store in New York, Lichen is also engaged in both the sale of vintage furniture and production of new furniture. For this reason, they said they were always looking for ways to combine and re-contextualize vintage and new furniture. From this perspective too, Ed recalled that the research with Karimoku Furniture was rich in suggestions.
“And so when we went to the, was it a, I don't know if you can call it a showroom, but it was almost like a Karimoku museum. All the different lines that you guys have ever created. And, you know, what we do often is just, see what things from the past can work with today's standards of living, you know, today's trends. And, you know, furniture is a little – it's sort of like clothing. Some things go out of style, but they also come back into style. And we're always trying to keep an eye on that.” (Ed, Lichen)
The second half of this article considers why, out of the many pieces of vintage furniture offered by Karimoku Furniture, Lichen selected the ZE Sofa and resurrected it in the contemporary age. It also probes the outlook on values and the design philosophy of “timelessness” behind this selection. Furthermore, it digs into the particulars of the birth of the CMPT by Lichen collection of new furniture that is compact and flexibly adapts to the living space; Lichen’s particularity about modularity and storage; and the story of development to meet the real wants and needs of urbanites.
Lastly, we asked Lichen about their outlook for coming projects revolving around “new tradition” as a key word and the theme of Survey 01.