Collecting and organizing, forgetting and re-discovering.

To put things in a box is to maintain a good psychological distance from them. When you put things in a box and look into the box again when their existence has faded from your consciousness, your view of things changes and you discover something you hadn't noticed before. Storage and organisation, forgetting and rediscovering are the themes of the box.

The size of the box is A4, which is large enough to hold A4 paper, a common type of document, and still have room in the top, bottom, left and right sides. The 'format' of A4 is suitable for organising, thinking, discovering and conceiving. Deep enough to hold documents and accompanying materials together. The size is just right for storing miscellaneous items that you want to keep together, or for organising project-based materials.

Box material. Although I admire heavy materials such as wood and leather, I want something easier to use without any fuss. Sturdy paperboard boxes, like the storage boxes that line the shelves of hardware and button shops. If the surface is made of the core material without any pasting, the pasting will not peel off, even if it gets fluffed up after use. They are durable and have a good texture that can be used for a long time.

I originally used boxes made of rigid fibreboard at home. It is strong, can adapt to slight changes in shape and is lightweight. It also has a good texture made from pulp and used paper, and we wondered if we could make boxes from this material. Rigid fibreboard is often coated on the surface to enhance its durability and design, but we dared not to do so and decided to utilise the colour and texture of the base material itself. The slight irregularities on the surface and the roughness of the fibres. Although not as resistant to water or stains as coated materials, the change in texture is easily felt and the material can be loved for a long time.

The rivets that hold the board in place are gilded in matt black. Compared to ordinary gilding colours, it is characterised by a deep black colour, and the slight individual differences that it produces are deeply tasty. The box is firmly fixed with three rivets on each side and 24 rivets in total on the body and lid, so that the box as a whole does not flex easily.

In making the box, we wanted to emphasise its box-like appearance as an industrial product. Mass-produced products with traces of human presence, which were commonplace until a few decades ago. They decided to consult Takeuchi Shiki Seisakusho, a paper box professional who knew how manufacturing was done back then and continues to meet the demands of various customers today. There was no precedent for processing board materials, and some adjustments were difficult, but they were able to devise a solution based on their long-accumulated experience and the tactfulness that comes from it. The factory is staffed by skilled, mid-career and young workers, who are constantly accumulating technology and incorporating new ideas. With the help of such a technical group, we are very proud that we were able to give actual shape to the ideas we had imagined.

In this project, Takeuchi Shiki Seisakusho is responsible for the die-cutting and streak-stamping process, while FROME is responsible for the assembly process.

FROME's advocacy of 'handcraft' is broader than generally thought, and includes industrial products that show traces of the human presence that was commonplace about half a century ago. In the period when the Bauhaus opened its doors, industrial products were made on the basis of mass production, but traces of hands could be felt, which could be seen as modern handcrafts. Traces of human presence, skill and work. I hope that FROME's involvement will become someone else's experience and be utilised, standing on what many people have acquired through their various experiences so far.

Outside dimensions: 330×250×85mm
Inside dimensions: 305×225×80mm

Collecting and organizing, forgetting and re-discovering.

To put things in a box is to maintain a good psychological distance from them. When you put things in a box and look into the box again when their existence has faded from your consciousness, your view of things changes and you discover something you hadn't noticed before. Storage and organisation, forgetting and rediscovering are the themes of the box.

The size of the box is A4, which is large enough to hold A4 paper, a common type of document, and still have room in the top, bottom, left and right sides. The 'format' of A4 is suitable for organising, thinking, discovering and conceiving. Deep enough to hold documents and accompanying materials together. The size is just right for storing miscellaneous items that you want to keep together, or for organising project-based materials.

Box material. Although I admire heavy materials such as wood and leather, I want something easier to use without any fuss. Sturdy paperboard boxes, like the storage boxes that line the shelves of hardware and button shops. If the surface is made of the core material without any pasting, the pasting will not peel off, even if it gets fluffed up after use. They are durable and have a good texture that can be used for a long time.

I originally used boxes made of rigid fibreboard at home. It is strong, can adapt to slight changes in shape and is lightweight. It also has a good texture made from pulp and used paper, and we wondered if we could make boxes from this material. Rigid fibreboard is often coated on the surface to enhance its durability and design, but we dared not to do so and decided to utilise the colour and texture of the base material itself. The slight irregularities on the surface and the roughness of the fibres. Although not as resistant to water or stains as coated materials, the change in texture is easily felt and the material can be loved for a long time.

The rivets that hold the board in place are gilded in matt black. Compared to ordinary gilding colours, it is characterised by a deep black colour, and the slight individual differences that it produces are deeply tasty. The box is firmly fixed with three rivets on each side and 24 rivets in total on the body and lid, so that the box as a whole does not flex easily.

In making the box, we wanted to emphasise its box-like appearance as an industrial product. Mass-produced products with traces of human presence, which were commonplace until a few decades ago. They decided to consult Takeuchi Shiki Seisakusho, a paper box professional who knew how manufacturing was done back then and continues to meet the demands of various customers today. There was no precedent for processing board materials, and some adjustments were difficult, but they were able to devise a solution based on their long-accumulated experience and the tactfulness that comes from it. The factory is staffed by skilled, mid-career and young workers, who are constantly accumulating technology and incorporating new ideas. With the help of such a technical group, we are very proud that we were able to give actual shape to the ideas we had imagined.

In this project, Takeuchi Shiki Seisakusho is responsible for the die-cutting and streak-stamping process, while FROME is responsible for the assembly process.

FROME's advocacy of 'handcraft' is broader than generally thought, and includes industrial products that show traces of the human presence that was commonplace about half a century ago. In the period when the Bauhaus opened its doors, industrial products were made on the basis of mass production, but traces of hands could be felt, which could be seen as modern handcrafts. Traces of human presence, skill and work. I hope that FROME's involvement will become someone else's experience and be utilised, standing on what many people have acquired through their various experiences so far.

Outside dimensions: 330×250×85mm
Inside dimensions: 305×225×80mm

The divider is not fixed to the box body and can be slid in the longitudinal direction. Use them in any position according to the items to be stored and the storage method. Multiple dividers can also be used to create detailed partitions.

The material is the same special hard fiberboard as the Rivet Box. Scrap papers from the production process was used.

The height of the divider is the same as the inside dimension of the riveted box. It can be expected to support the box like a pillar, thus reducing deflection of the paper box.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.

Tools for Thinking

A stone paperweight in the study of Walter Gropius, the first principal of the Bauhaus. A part of the stone, which appears to be tactile to the touch, is covered with leather. The glossy look of the stone and the texture of the leather, which has turned brown with age, combine to create the appearance of a stone covered in leather. I was completely fascinated by the appearance created by the combination of the two.

I would love to touch the real thing, but I cannot do so right away. Fortunately, however, I have some of my favorite stones and leather for leather crafts that I have been doing for many years. I decided to make a prototype to see if I could make something similar myself. The stones at hand are not famous stones, but ordinary stones. The size and shape of the stone are to my liking, and I always keep it within easy reach of my hands. It did not have the attractive appearance of the "Gropius stone," so I decided to cover the entire stone with leather.

To adhere the leather, he used a traditional technique called "shibori," which uses the plasticity of the leather to mold it. A prototype was made with reference to an Italian coin case using the same technique. Unlike coin cases for which wooden molds are available for mass production, the shape of the stone is complicated and cannot be nailed for fixed drying, so the molding process was not a simple one.

After much trial and error, the leather stone was completed. When the stone is wrapped in leather, the surface color and texture are masked and the shape stands out. The bite of the stone, which would have felt too hard in its bare form, is softened by the leather between the leather and the stone, and the shape of the stone is gently transmitted to the hand. The hardness of the stone is felt beyond the elasticity of the leather. It was the first time for me to feel the charm of the stone in my hands and to feel as if "my hands are happy". Since then, I always keep the leather stone I made by my side, and I hold it in my hand whenever I feel like it.
I wondered if it would look different if I made it with a different stone. How would it feel to the touch if I changed the thickness of the leather? How can I make the stone and leather adhere to each other as if they were one piece? How can we make the stitching and tailoring beautiful? And so on... I continued to create, seeking the unknown sensation that would please my hands and the perfection of the piece as an entity.

Leather. Thin and soft leather is easy to work with, but the presence of the stone is strongly felt and unbalanced. Thick and hard leather is difficult to process because the presence of the leather is strong and does not convey the interesting qualities of the stone, such as hardness and shape. After experimenting with various manufacturing methods and thicknesses of leather suitable for maintaining the balance between the presence of the stone and leather, we finally found just the right amount of leather.
Leather was originally the skin of animals. It was the outer part of bones and muscles that contracted in accordance with the body's movements. If this is the case, the three-dimensional shape of the leather is where its unique qualities should be expressed, and we wondered how we could bring out the best. As I continued to make prototypes, the "character" that I sought in leather stones became clear to me.

One of the charms of stone is its shape, which has been created over a long period of time. Forms created by the providence of nature, beyond the reach of human intention, are pure and varied, and bring about slight fluctuations in human thought. Change is a stimulus, a switch in our thinking. At the same time (although it is a contradictory effect), the shape of a stone gives a certain sense of security and comfort, and I believe that it also has the function of further expanding the ideas brought about by the change.

The dense, firm cowhide leather takes on the shape of the stone and gently conveys it to the hand. In contrast to the organic shape of the stone, the exquisite stitching and linear tailoring of the details create just the right amount of tension, creating the appearance of a space. An object to be felt and enjoyed with the hands. The physical object "Leather Wrapped Stone" will be on your desk as a thinking tool for your thoughts.

There are countless stones all over the place. They are ubiquitous, and although at first glance they may seem to make no difference to each other, they have different characteristics depending on the surrounding geology and the type of rock.

The stones are selected with a view to how they will fit in the fingers and palm, how comfortable they will feel in the hand, and how they will look when covered with leather.

This leather is made from the hides of cows born and raised in Japan. Its fibres are dense and fine, and it is characterised by its suppleness and firmness. It contains oil and wax, which makes it shine with use.

The leather is soaked in water and then moulded close to the stone. The leather has a plasticity which means that when it is deformed by force, the distortion remains intact. The leather, which can be up to 2 mm thick, is dried slowly to ensure that it adheres to the stone without any gaps, and to stabilise its shape.

The accompanying card shows the production number, the maker's mark and the coordinates of the place where the stone was collected.

Ideas come from our hands. If you hold it in your hand when you are thinking about something, it can inspire great ideas and a wealth of imagination. It can be used as a paper weight or as an object to decorate a space.