There is something deeply primal about the way SUPER RAT works with natural materials: each surface seems to hold a memory that the design studio transforms into contemporary forms. Founded in 2024 by Kazuki Nagasawa and based in Tokyo, it develops a unique language that hovers between past and present, telling stories of the land and heritage embedded in each element.
Each piece is more than decoration – it arises from a dialogue with the land and local craft traditions. What sets the studio apart is the way it engages with tradition: not simply reproduced or adapted, but observed and reinterpreted, ultimately transformed into something new.
Kazuki Nagasawa @ Super Rat
JUHI SERIES @ Super Rat
HOUYOU-JUHI SERIES by Super Rat @ Kenshu Sannohe
HOUYOU-JUHI SERIES by Super Rat @ Kenshu Sannohe
MA-JUHI SERIES @ Super Rat
MA-JUHI SERIES @ Super Rat
KOMORE-JUHI SERIES @ Super Rat
KOMORE-JUHI SERIES @ Super Rat
UTSUWA-JUHI SERIES @ Super Rat
In his heart their practical – as in a research laboratory – is the bark of Trachycarpus fortunei, or shuro, a light, translucent, but surprisingly durable material. Treated with kakishibu, a liquid derived from fermented persimmons, and fortified with iron, the bark reveals a complexity that belies its naturally fragile appearance. As Nagasawa explains: “Shuro bark has attractive qualities such as lightness and distinctive texture, but it also comes with many limitations. Through trial and error with traditional adhesives, we arrived at kakishibu, which maintains the lattice structure while allowing for the free creation of forms.”
It is this combination of logic and experimentation that gives birth to objects where light and form merge, turning material itself into language. The JUHI SERIES – which includes HOUYOU, MA, UTSUWA and KOMORE – translates this research into tangible results, where bark becomes both a medium and a tool of creation. The range stems from respect for traditional Japanese culture and the use of sustainable techniques, combining recycled materials and natural dyes to minimize environmental impact without sacrificing aesthetics or function.
In HOUYOU, a table lamp, the bark is shaped into a hollow cone that surrounds and protects the light source. The gesture evokes an embrace, while the seemingly fragile structure reveals an unexpected inner strength.
In KOMORE, a spherical pendant light, multi-layered fibers diffuse the light softly and irregularly, creating a warm atmosphere. The fibrous texture emerges when lit, and the use of commonly discarded components, along with traditionally inspired fastening systems, balance strength and delicacy.
Likewise, MA and UTSUWA go beyond primary functions (ir) to become tools for reading the material. In MA, a surface separator, the plant membrane is transformed into a light but stable panel: the mesh structure is preserved and reinforced, then made modular through integrated magnets, allowing adjustments in height, overlap and light transmission.
At UTSUWA, natural covering is boiled down to the basics: containers that are light, almost intangible, where translucency and color variations – achieved through traditional techniques and reclaimed materials – convey a living presence. In this transition, from process to form, SUPER RAT’s approach becomes clear: the structure, limits and possibilities do not appear in the final product but in the practical construction.
SUPER RAT transcends the classic dichotomy between tradition and innovation: it does not simply update tradition but reconstructs it, giving it new meaning in the present while opening ways for the future. Trachycarpus fortunei bark, processed with ancient techniques and transformed into light and translucence, reveals what of the past can survive without losing authenticity. There are no clear boundaries between what must be preserved and what can be reinterpreted: as the designer states “We don’t just bring traditional crafts into the present as they are, we rebuild them to take on new meaning and value.”
Thus, SUPER RAT’s creations are in constant transformation, reviving through the ‘memory of the hands’, creating a language both primitive and sophisticated, where each choice restores a deep connection between natureculture and daily life.
