KOPPA, a team that designs self-made furniture using pieces of woods and scrap wood, was started by a small group of five members: architect Tamotsu Ito, planner Moe Donaka, and carpenters Shota Nozaki, Kazuaki Uemura and Syu Ohki. The creation of the "Traveling KOPPA", a new type of display furniture that can be used again and again, led to the creation of the "Stage KOPPA" for Connected Ink, which will change its form to match the various sessions. We asked Tamotsu, a member of KOPPA, about how the Stage KOPPA will be.
Please introduce KOPPA
Tamotsu: KOPPA is a team in which an architect, a planner working for real estate, and carpenters came together by chance. It’s also the name of a project. We use pieces of wood and scrap wood from the carpentry sites to make furniture and space, to create with fun, and work to connect people together.
Could you tell us about Stage KOPPA for Connected Ink?
Tamotsu: The Stage KOPPA will be used at a large venue, so it's like our KOPPA that started as furniture has been scaled up into the size of architecture. The Stage KOPPA has inherited the good portability of the original KOPPA furniture, which was designed to be transformable with the movement of people. The timber materials collected from various sites for the Stage KOPPA will travel to various places after the event, which I hope will be like a line of stories. The stage is currently designed and produced so people can imagine that it’s performing and interacting like a person.
Is there anything you are considering in terms of design?
Tamotsu: When we thought about the layout of the "Sankaku Hiroba" (triangular plaza) and the visibility of the stage in the space, the geometry of triangular pillars and hexagons – which are multiples of three – naturally came up as an idea. We thought it would be a good connection to the Sankaku Hiroba, and we decided to play with this shape for further development. We also think it's important to be able to create different formations for the various sessions with different atmospheres. Besides, it would be nice if the Stage KOPPA could be used in a relaxed way as public furniture when there are no sessions going on.
What do you expect for Connected Ink?
Tamotsu: I'm looking forward to meeting new people and projects I haven’t encountered yet. Every time I hear about the plans and progress of Connected Ink, there are unexpected developments of ideas in a good way, such as people joining Connected Ink or the fact that Stage KOPPA will be used again next year. I'm excited that the many things will be connected to us through Connected Ink.
What message would you like to share with those who will use and see Stage KOPPA at Connected Ink?
Tamotsu: The Stage KOPPA is not only meant to be a stage, but also pieces of furniture and a space to be used, so I want it to be something that appears naturally for the visitors as “a good place to sit” or “a good place to put a drink cup”. I'd be happy if people used it as they like according to the mood and situation. We are also considering the final forms and detail design to synchronize with the different sessions with various atmospheres. I would be more than happy if you were also able to spot the small, changing nuances in the design details.
Check out the article below for more information about the meeting of KOPPA and Wacom:
Architect/Principal of tamotsu ito architecture office. Adjunct Assistant Professor, Singapore University of Technology and Design (SUTD).He started KOPPA with the aim to work seamlessly in various scales, such as urban projects, architecture, furniture and interior design.
She’s the KOPPA team’s organizational lead and belongs to the "Arts & Crafts" design office. Manager at R real Osaka Estate.
Carpenter/Artist. From interior design to art events, he has a knack for creating. He’s in charge of production at KOPPA. Representative of the architectural group "noma”.
Carpenter in the daytime/bartender at night. Owner at the bar “inspire” in Ohatsu Tenjin.
Representative of the Institute of Life Engineering Design and is both a researcher of livelihood and a carpenter.