The Guest House For An Ostrich is a playful spin on your usual bird box. Inspired by the ostrich's act of burying its head in the ground when it feels threatened, we created a place that offers this same sense of security, allowing it to hide its head. The guest house is contradictorily for an Ostrich that is on the move, featuring an aerodynamic design that reflects the Ostrich’s ability to get up to speeds of 80 km/h. Remarkably, because the ostrich ran so fast whilst wearing this that the aerodynamic friction scorched the front of the house.

Manus Manum Lavat, one hand washes the other, solo exhibition, 2023

I was born in the Year of the Snake, and I have always been fascinated by snakes, which were quite common where I grew up in the countryside in Japan.

Additionally, I was fascinated by the wood-bending techniques I have been using, and suddenly, two of those have met and formed a hook with a golden tongue.

I have been told that the snake is a symbol of never-ending wealth and luck. So, I think the person who will own this piece will have a happy life! :)"

What began during the pandemic with the “Positive Chair” continued with Nancy’s table, which was featured in the exhibition “R for Repair” at the V&A.
The latest piece, originally a side table with carefully crafted veneer work, was discovered at an antiques market and had spent its last years in a London attic. When the owner asked Kobayashi to repair the table, they mentioned that they actually needed a small shelf for their London apartment.
Kobayashi studied the construction of the three-legged table and reassembled the entire piece in a completely new way. When he looked at the finished piece, he recognized the bat-like shape - a table that had transformed into a bat during its time in the attic.

To enhance the auditory experience with “Wiener Lautsprecher Manufaktur,” Kobayashi introduced the “Factory” amplifier, in addition to “Play 01” and “Play 02.” He considers this amplifier to be the conductor of the vibrations faithfully reproduced by the speakers. Much like a factory in a design process that transforms ideas into tangible products, this amplifier serves as the conduit for the speaker’s sonic magic.

The collaboration with the high-end hi-fi manufacturer, “Wiener Lautsprecher Manufaktur,” commenced in 2018, driven by the aspiration to create speakers that could visualise the intricate nuances of music.
The speaker duo, consisting of the “Play 01” and “Play 02” models,
has been designed to capture the multifaceted layers of rhythm and instrumentation found in composed music pieces. This complexity is visually translated through intricately arranged marquetry patterns and the artful application of rhythmic layers of color. These speakers embody craftsmanship and are complemented by the inclusion of premium audio components, all assembled in a dedicated development and production facility located in Vienna.

The collaboration with the high-end hi-fi manufacturer, “Wiener Lautsprecher Manufaktur,” commenced in 2018, driven by the aspiration to create speakers that could visualise the intricate nuances of music.
The speaker duo, consisting of the “Play 01” and “Play 02” models,
has been designed to capture the multifaceted layers of rhythm and instrumentation found in composed music pieces. This complexity is visually translated through intricately arranged marquetry patterns and the artful application of rhythmic layers of color. These speakers embody craftsmanship and are complemented by the inclusion of premium audio components, all assembled in a dedicated development and production facility located in Vienna.

This “Shoji Screen” is inspired by Japanese shoji paper sliding doors and screens. Rio Kobayashi has always been intrigued by the lightness and fragile looking structures of those screens which have paper or glass backgrounds. When he researched Shoji, he found exciting variations
of the design and different styles, which immediately prompted him to create his own type using the traditional techniques to make his Shoji series.
Kobayashi created two types of screens and designed some smaller objects such as wall lamps, shelvings and chest of drawers. These
are made with solid cedar wood and every detail is cross jointed or stretched into the sections. The paper on the back is glued with starch glue, which gives it extra strength and nicely diffused light that comes through. Kobayashi explains: “I see huge potential in being creative with the patterns of wood structures in combination with the Japanese shoji paper that could be customised.”

The “Piece of Cake Sofa” represents Kobayashi’s debut in upholstery. This convivial yet simple sofa, created in collaboration with designer Flavia Brändle, invites playful exploration of modularity.
Each upholstered block is self-standing and can be arranged flexibly within the frame or placed freely throughout the room. These versatile settings provide comfortable seating for social gatherings or create a relaxed platform for intimate lounging. Additionally, the wooden side tables and loose cushions can be positioned as desired, allowing for a personalized setting.
The name ‘Piece of Cake’ humorously reflects Kobayashi’s experience in designing his inaugural upholstery piece. Accustomed to creating his designs in his own workshop, the upholstery design process demanded a more holistic approach to crafting a convivial object, as well as a newfound attention to detail in textile.
The Piece of Cake Sofa is covered with textile from Peter Pilotto x Christopher de Vos’s “Phase 02” collection.

The “Impro Cosmic Crab Table” is a truly unique kitchen table created in the workshop through an intuitive process.
Kobayashi constructed a simple-shaped table employing a collage of different joinery techniques, which makes quite an unusual combination. He then used various machines to spontaneously carve into the simple shape, resulting in the creation of a unique form that he describes as resembling a cosmic crab.

The modular “Furikake lanterns” are available in both suspended and wall-mounted versions. In collaboration with Flavia Brändle, Kobayashi embarked on an exploration of the technique of bending wood by precisely cutting it with a Japanese saw at predetermined positions. Given Brändle’s interest in modularity and systems, the duo experimented with various combinations and mounting directions, introducing a dynamic element to the project.
The result is a design that radiates tranquility, effectively simplifying the inherent complexity of a modular product. Kobayashi added
a touch of vibrancy reminiscent of the Japanese culinary tradition, where pure rice is transformed into a delightful dish with the addition of Furikake flakes. Much like the colorful sprinkles on the Soji Paper which elevate the aesthetics the Furikake Lanterns.
In a special edition for Peter Pilotto and Christopher de Vos, two wall-mounted lanterns and one large lantern were created, adorned with their latest textile collection.

“If a soap is on the floor, is the floor clean or is the soap dirty?”
For Kobayashi’s inaugural solo exhibition, which celebrates his collaborative approach to design, he joined forces with the long- time friends of the Walde Family. This family has been operating the oldest Austrian soap factory, now in its 8th generation of management.
The “Manus Manum Lavat Handsoap” is an abstract design featuring a hand that literally appears to be “washing the other hand.” As part of the exhibition, Bethan Laura Wood contributed ceramic plates she carefully selected from antique markets.

Mirror is a ubiquitous item of unique quality. I have always been intrigued by the gesture of looking at oneself in a mirror. It has become a modern ritual that we all perform religiously. Simple yet charming. During my visit in Venice, I was struck by the idea - the waterbody serves as a mirror for the city. Canal is a piece of mirror that lays horizontally, reflecting the dazzling stars during nighttime and the clear sky in the day. In this collaboration with Barbini, I am keen to highlight the poetic character of Venice by designing a mirror embedded in a glass structure built on an oak base, resembling the buildings supported by an oak column system in the canal. On the other hand, the meticulous construction and vigorous ornaments also reflect my cultural background, where the aesthetics of sacredness is much appreciated. Lastly, this piece is a secret celebration for my dream coming true as my childhood aspiration was to become a glassmaker.

Photography by Barbini Specchi Veneziani

In his series “Hato Vase I - IIII”, Kobayashi created wooden vases that ask us profound questions about the contemporary design world and the place of traditional craftsmanship within it.
Simple forms made from cedar wood are stacked on top of each other; single components of basic symmetric shapes are joined together by handmade connections of compound and dovetail joints. It is from these joints that the vases draw their name - dove, or “Hato” in Japanese. The results are a series of totem-like wooden sculptural vases with edges painted in black and vermilion Japanese ink - the colour hiding the intricate woodwork of the joints and distracting the eye from more technical details. More than mere decoration, Kobayashi sees these details as metaphors for the way we relate to craft in
the world of modern design. ‘Machine-made goods are preferred by many buyers in our times and craftsmen can hardly compete’ he explains. His solution is to hide the imperfections of his handmade joints; making the pieces more approachable to a larger audience, whilst at the same time allowing those
who are interested to discover the beautiful details of his craftsmanship if they choose to look closer.
The black and vermilion ink he uses in this Hato Vase series open a dialogue with customs and conventions of Japanese calligraphy where the brilliant red ink is used by masters of the craft to correct characters written by their disciples.

Marquetry with Maple and Tabu (tinted oak), Pear, Glass, Goldplating, colored textile and embroydery.
the dresser that I designed for Dolce & Gabbana, is a true reflection of the diverse influences that shaped its creation. The name of the piece is borrowed from the Japanese word for ‘zebra’, which literally translates to “stripe horse.”
I chose this name because I love the ambiguity of the zebra’s black and white stripes, which are never quite black or white, but always somewhere in between. This reflects the boundaryless nature of my piece, which appears chaotic at first glance but is meticulously designed and crafted with incredible attention to detail.
The dresser harmoniously combines different materials. From the luxurious gold-plated glass to the warm, eye-catching wood structure and marquetry, each element plays a unique role in ‘creating a piece that is both elegant and inviting. And of course, the colorful, soft embroidered silk fabric hanging on the side adds a playful touch that ties everything together, a perfect balance between furniture and fashion.
As a designer, I strive to create pieces that are not only visually striking, but also emotionally resonant. My dresser reflects my own memories of youth and passion, as well as the unique blend of cultures and traditions that shaped my upbringing.
Working with Dolce&Gabbana Casa on my dresser allowed me to explore new possibilities in design and craftsmanship. Shima Uma expresses the mixture of language, culture, nationality, tribe, and craftsmanship, as well as my own memories and passion.
This unbounded piece is not just visually striking, but also emotionally resonant, reflecting the unique blend of cultures and traditions that shaped its creation.
Photography by James Harris

2022
Cherry wood, Ceder wood, acrilyc paint.
Private comission London, UK.
Photography by Angus Mill

Cedar, washi (Japanese paper), various sizes

Photography by James Harris

Ash, acrylic paint, varnish, various sizes shelving

Photography by James Harris

Chiro Chiro (チロ チロ) is a one-of-a-kind kinetic mobile that serves imagination. The playful and interactive hanging piece invites us to make time and space for ourselves in the hectic world.

The name Chiro Chiro is borrowed from Japanese expression チロ チロ, whose pronunciation resembles the sound reptiles make when flicking their tongues in and out swiftly. However, the subject of the figure remains open to interpretation. It could be a bird, an aeroplane, a flying fish, a snake, or anything else depending on our own perception.

Finely handcrafted with walnut, each piece is unique with woodgrain and tinge of its own. The delicate wings are decorated with patterns of various colours, offering an animate and enticing visual experience when flapping. An elegant play on perspectives in motion, the kinetic piece captivates us with its subtle charm of simplicity.

‘I am fond of the idea of a toy that keeps one company all the way from childhood to adulthood. A true timeless piece.’ The designer wishes to set up a delightful corner for contemplation for each owner of Chiro Chiro.

Photography by Jonathan C. L. Chan

A friend approached Rio Kobayashi in the beginning of the Covid pandemic. He wanted to know whether Kobayashi would be interested in repairing an old, broken Thonet chair that he had.
The broken chair oozed with history. The friend found it on his travel in Europe. Already then it had been modified. An upper part, with hidden drawers had been added to the chair. A feature that Kobayashi kept.
The chair stayed in Kobayashi’s studio during most of the pandemic. Here, it was given quite a lot of attention by the designer, who worked on it in between other projects. In addition to repairing the chair, Kobayashi wanted to highlight its history and charm.
By sanding and chipping off parts of the chair frame, he created a fluted pattern, that at points revealed an even more elaborate pattern made by woodworms. Kobayashi also repaired the cane webbed seat and bag by individually tying together the web with coloured yarn, leaving the ends long and furry.
At the time, Kobayashi was teaching himself the art of brush making. He added several brush details to the chair, that together with the furry seat and back tells a story of an old person whose hair growth has got out of control.
With a humanistic homage to the rich history of the chair, Kobayashi managed to turn the time of the pandemic into something positive.
Photography by Angus Mill

Kaijyu mask at SEE:DS Gallery during LDF19 in London, UK. 2019
Photography by James Harris

Ash, acrylic paint, varnish, various sizes seating

Photography by James Harris

Cherry, black calligraphy ink, various sizes

Photography by Matteo Fogale and Rio Kobayashi

Oak, acrylic paint, oil, hand-painted by James Hague, 210 x 98 x 75.5cm (fin 44cm)

Photography by Onni Aho

Cedar, washi (Japanese paper), various sizes

Photography by Matteo Fogale,

Cherry, walnut and beech, red and black ball, various sizes

Photography by Oros Design

Beech, coloured paper, 80 x 48 x 5cm

Made for Momosan Shop, London

Photography by Rio Kobayashi

Cherry, Japanese ink, various sizes

Made for London Design Week 2017

Photography by Rio Kobayashi

Red cedar, Japanese calligraphy ink

Photography by James Harris

Robot Shelf at SEE:DS Gallery during LDF19 in London, UK. 2019
Photography by James Harris

Oak, acrylic paint, 142 x 242 x 40cm

Photography by James Harris

Oak, acrylic paint, various sizes

Photograpy by James Harris

Logo and graphic design for Riccione Architects in Innsbruck, Austria.

Photography by Stefan Oehlinger