We create spaces, objects, and identities rooted in material honesty — where craft meets function, and every surface carries the memory of the hand that shaped it.
Six tones, all warm. Select a pigment to read where it belongs — nothing synthetic, nothing cold ever enters this page.
Fired clay for buttons, links, and calls to action — the mark of the kiln.
A warm serif carries the display voice; a humanist sans does the daily work. Generous leading everywhere — text needs room to breathe like clay needs air.
Serif for the voice, sans for the work — never pure black, always #2D2A24 ink.
Terracotta leads, olive supports, clay outlines stay quiet. Every state shift is a change of firing temperature — darker when pressed, never colder.
hover:bg-[#B55A3A] · active:bg-[#A04A2A] — deeper firing on press · warm terracotta glow shadows · rounded-lg only
Three surface treatments, all resting on warm shadows: sand for depth, translucent white for lightness, terracotta when the card itself must speak.
Project
A residence in the Catalonian countryside, built with rammed earth and local terracotta tiles.
Studio service
We locate clay, timber, and stone within a day of your site, then document each origin in the project ledger.
Open studio
Every first Saturday we open the kiln room. Watch a firing, throw a bowl, stay for tea under the olive tree.
Inputs rest on warm gray like pencil on handmade paper. Focus brings a terracotta blush — never a cold blue ring.
Four families of matter we return to again and again. Switch between them — each keeps its origin, its rules, and its own warm swatches.
Iron-rich stoneware clay dug from the old kiln city. Wedged by hand, thrown slowly, and fired in reduction until the surface blushes from sand to terracotta.
Filter the archive by discipline. Every project began with a walk on the land and ended with materials that will outlive us.
A weekend retreat nestled in mountain forest, built with locally sourced cedar and clay plaster walls that breathe with the seasons.
Hand-thrown ceramic collection exploring the interaction of glaze and temperature across three clay bodies.
Complete interior for a working pottery studio in Seto, the ancient kiln city — rammed earth, cedar shelving, north light.
A dining table crafted from a single slab of reclaimed keyaki wood, finished with natural oils and left to darken with use.
A tea pavilion designed around a hundred-year-old pine, using traditional joinery and a roof of hand-split shingles.
Visual identity and packaging for a small-batch olive oil producer — labels printed on recycled paper with leaf-dyed inks.
Showing 6 of 6 projects
Tags behave like the potter's stamp on the base of a vessel — quiet, warm, and only in earth tones.
Discipline tags
Status badges
Choose a phase of the studio process. The bars below show how far each strand of work has traveled at that moment.
Progress turns olive at 100% — growth completing itself. Bars stay rounded-full, tracks stay sand.
Even warnings stay on the earth palette: clay for notes, olive for good news, raw terracotta for caution, deep fired clay when something breaks.
The workshop closes for the rice harvest during the second week of October.
Kiln 2 reached temperature and cooled evenly. The celadon batch is ready for collection.
Afternoon firing is 40 degrees above the curve. Reduce the damper before the glaze begins to run.
A cold draft cracked three vessels overnight. Even failure keeps its warmth here — deep fired clay, never a cold red.
Every project is logged by hand in the studio ledger — material, maker, and state of the work. Page through the entries.
| Project | Material | Lead | Status | Year |
|---|---|---|---|---|
| Kochi House | Cedar, clay plaster | A. Ishida | Complete | 2026 |
| Terracotta Vessels | Stoneware | M. Serra | In studio | 2026 |
| Olive Press Identity | Recycled paper | M. Serra | Complete | 2026 |
| Linen Curtain System | Oita linen | R. Aalto | In studio | 2026 |
The studio listened to the site before drawing a single line. Our home feels like it grew out of the hillside rather than being placed on it.
Ornament stays close to nature: hairlines like paper edges, dots like seeds, blobs like stones found in the river.
Warm hairline
Seed divider
Labeled rule
Grown gradient
River stones
Organic corner accents
rounded-lg is the water line: below it edges cut, above it forms turn into bubbles. Shadows always carry brown, never gray.
Radius scale
The standard is rounded-lg everywhere; rounded-md only for the smallest chips. Full circles are reserved for decorative dots and stones.
Shadow scale
rgba(45,42,36,*)rgba(45,42,36,*)rgba(45,42,36,*)Every shadow is mixed from #2D2A24 warm brown ink — the shadow of a vessel on a wooden table, not on concrete.
The style's constitution, condensed. Follow the grain of the material and the palette stays honest.
The questions visitors ask most often, answered the way we would over tea.
A slow one. We meet on the site if there is a site, or over tea if there is not. We ask about how you live and what you want to keep, long before we ask about square meters or budgets.
Seasonal notes from the studio: firings, harvests, and what the materials taught us. Paper mail energy, sent by email.