Talks - Jun Kawai

An Interview With Jun Kawai

March 2025

Jun Kawai

@gubnuj21

Jun Kawai, a designer and artist with a background in architecture and industrial design, blends traditional Japanese techniques with modern technologies. Through his practice, he explores the boundaries between craftsmanship and innovation, reflecting his unique blend of Japanese heritage and cross-cultural experiences in both Japan & the U.S.

The results are delicate yet dynamic, where imperfection is embraced as perfection—recognizable, yet leaving an uncertain impression of what it truly is.

Can you share a bit about your background and what led you to your current work?

JK: My background is rooted in both architectural design and hands-on material exploration. I initially studied architecture, which gave me a strong foundation in spatial thinking and structural form. Over time, I became increasingly drawn to the tactile and human-scaled aspects of design.

This led me to shift toward furniture and installation work, where I could explore the intersection of tradition and contemporary form more intimately. Growing up between cultures, I’ve always been sensitive to the ways craft and design reflect identity. My current work focuses on bridging Japanese artisanal traditions and contemporary designs, often highlighting modularity, material honesty, and cultural continuity in different fields of designs.

How does your personal history or environment influence your creative process?

JK: My personal history and environment play a central role in shaping my creative process. Growing up between different cultures and environments, I developed a deep awareness of how tradition and identity are expressed through everyday objects and spaces. That sensitivity naturally flows into my work, where I often try to merge heritage and contemporary design.

My creative process usually starts with observing my surroundings and awareness of the culture - how people interact with space, how objects age over time, or how traditional techniques can be reinterpreted for modern use. It’s a way for me to stay grounded while constantly reimagining how design can speak to both memory and possibility.

You're proficient in multiple drafting and modeling software. When starting a new project, how do you decide which software is the most suitable for the task at hand?

JK: I always begin with quick sketches and physical models—it’s important for me to first explore ideas in a tactile, three-dimensional way before jumping into digital tools. I often use foam or other materials to visualize form and spatial relationships early on. Once the concept starts to take shape, I move into software to develop the details and refine the design.

The choice of software really depends on the nature of the project and what stage I’m in. For example, if I’m focusing on form and spatial studies, I might start with Rhino. If I need to produce precise technical drawings or construction details, I’ll move into AutoCAD. Each program serves a different purpose, and I try to stay flexible so the tools support the design rather than dictate it.

In the field of design, technology is constantly evolving. How do you stay updated with the latest trends and tools in drafting, model making, and presentation, and how do you integrate them into your work?

JK: I try to stay open and curious about new technologies as they emerge. One of the ways I stay updated is by working with people from different creative fields—whether it’s digital artists, engineers, or fabricators. I pay close attention to the tools they’re using and think about how I might adapt those methods into my own design process in a way that feels authentic.

At the same time, I believe having a strong understanding of the basics is essential. Even if I’m not an expert in every tool or machine, knowing the fundamentals helps me collaborate more effectively and communicate clearly across disciplines. It also allows me to experiment more confidently - combining traditional techniques with new technologies to find a balance that supports both craft and innovation in my work.

Your work has been featured in several publications. How do you approach creating work that is not only artistically and functionally strong but also appealing for publication?

JK: For me, the priority is always to create work that feels honest - both in concept and in execution. I focus on developing strong narratives around material, process, and function, which naturally adds depth to the work. I believe when a piece carries intention and clarity, it resonates beyond its physical form - and often times that’s what makes it appealing for publication.

At the same time, I do consider how the work will be experienced visually. I pay attention to composition, scale, and detail—not just in the object itself, but also in how it’s documented.

Ultimately, I see publication as an extension of the design process - a way to share the work more widely and invite others into the conversation around design, culture, and craft.

Can you share your creative process for your solo exhibition "BRINDLE" ?

JK: The creative process for my solo exhibition BRINDLE began with the idea that it shouldn’t feel like a conventional gallery show. I wanted the space to be more than just a display—it was important for me that people could interact with the work, feel the energy of the space, and engage with each other in a more open, playful way.

I designed the exhibition so that people could experience it in their own way. Some visitors approached it as an art or furniture show, while others came to skateboard on the pieces. Some saw the skateboard ramp as sculptural objects, while others saw them as functional tools. That range of interpretation and participation was exactly what I hoped for.

What made BRINDLE special was how it brought together elements that don’t usually coexist—different cultures, traditional craft, and modern subcultures like skateboarding. The exhibition became a living environment, shaped not just by the objects, but by the people interacting with them.

Throughout your career, you've worked on diverse projects from architecture to set design. How do you approach problem - solving when dealing with different types of design challenges?

JK: When approaching different types of design challenges, I always start by communicating closely with the team and the client to understand the goals, needs, and context of the project. Every project has its own logic, so it’s important for me to grasp what the core intention is before thinking about solutions.

Rather than trying to visualize the final outcome from the beginning, I prefer to work through each step with a sense of openness. Having a flexible and sometimes uncertain vision allows me to respond more intuitively to each stage of the process. It helps me stay adaptable and discover unexpected solutions along the way. I see problem-solving not as fixing something, but as shaping the direction through collaboration, observation, and iteration.

Your work celebrates "flaws as perfections." Did any project initially feel like a mess but became your proudest piece?

JK: One project that initially felt like a mess but turned into one of my proudest works is Shoji: Reimagine the Japanese Room Divider. The process was full of challenges - I started by visiting the traditional Japanese paper “Washi” making master in Japan, researching the raw material of washi, and experimented with many different ways to shape it and enhance its durability. There were moments when nothing seemed to go as planned, but those unpredictable outcomes actually became central to the piece.

What I found most compelling was how the material responded to its environment - moisture, density, and even how I treated each sheet created different textures, transparencies, and structural behavior. Each panel came out with its own character, and those natural irregularities created depth and subtle variations in shadow, making each piece feel alive.

What excites you about the future of your field?

JK: What excites me most about the future of my field is the opportunity to collaborate with other creatives - especially those working with space and objects in ways that are different from my own approach. These kinds of unexpected collaborations often lead to ideas and outcomes I couldn’t have imagined on my own, and that’s what pushes my practice forward.

Are there any collaborations, ideas, or experiments you’re currently exploring?

JK: Recently, I worked on a project with CEKAI in collaboration with the artist JOYCE, creating the space and set design for the band Xin Xin. One of the key challenges was not only supporting the band’s performance visually, but also finding a way to spotlight each individual player and the engineers behind the scenes.

I approached this by drawing inspiration from traditional Japanese window frames—using the concept of “framed views” to highlight specific hand movements and subtle behind-the-scenes moments. From the audience’s main view, the setup appears like a regular concert stage. But as people move around the space, they start to see what’s usually hidden—almost like witnessing the backstage energy in a poetic way.

The frames themselves are portable and adjustable, allowing them to adapt to different environments. I’m excited by the potential of this concept—how it can shift perspectives and create immersive, layered experiences in a variety of settings.

What advice would you give to someone navigating a similar creative path?

JK: I’m not sure I’m in a position to give advice, but something I always try to follow in my own path is to stay curious and keep putting in the effort. When you genuinely follow your curiosity - whether it’s through materials, ideas, or collaborations - you naturally find your own direction.

There will always be uncertainty and challenges, but I believe that if you stay committed to the process and keep exploring what truly interests you, the results will follow in their own way and time.