In 1981, returning to Japan after many years in Milan, Masanori Umeda received a letter from Ettore Sottsass. The master—with whom he had worked right before—invited him to contribute to the very first Memphis projects. In a few words, he explained a "profoundly new design," that needed to be built from scratch. So, the great Japanese designer began designing and submitting drawings, contributing to the incredible impact Memphis would have.
During his years in Italy, Masanori Umeda—a keen observer—became interested in the way Italians tend to frequently debate and dialogue, sometimes with great fervor, on the most intriguing topics, from politics to design. Here is the idea of the Tawaraya Ring: a space for "intellectual battle," earnestly equal and graciously provocative. Its production required the use of tatami, clearly reminiscent of Japanese homes, versatile and essential.
The Tawaraya Ring is based on a Leitmotiv that has characterized Umeda's entire design career since the 1960s: the creation of objects that "live across two sectors," from industrial design to art objects, from furniture to entire environments. Therefore, the Tawaraya Ring is a piece of furniture, yes, but also a real space to sleep, eat, drink, relax, or participate in a ceremony. Just as with Japanese homes, the dimensions of the Ring are calculated based on how many tatami mats are needed. Here comes the idea of resizing the monumental 1981 Tawaraya Ring, using only two practical tatami mats as a base: Memphis has welcomed it into its catalog in the name of versatility and innovation.
Furthermore, the four corner posts of the "new" Tawaraya Ring are customizable: Masanori Umeda designed them with flowers, plants, poles with flags, and typically Japanese decorations on top. Depending on your mood and imagination, you can decorate your personal Ring as you wish.
