Amidst the tranquil forests of Hokkaido stands a home reminiscent of a private museum. This is the residence of Oda Noritsugu and the living embodiment of his design philosophy. As a world-renowned chair collector, Oda has redefined the meaning of life through 1,400 design masterpieces. His story is a profound dialogue about design, life, and culture.

In 1972, Oda Noritsugu purchased his first iconic chair, Le Corbusier’s LC4 chaise lounge, with a month’s salary. This acquisition not only fulfilled his artistic aspirations but also launched a half-century-long exploration of design. Initially drawn purely by aesthetic delight, Oda began reexamining the deeper significance of these chairs as his collection grew to 100 pieces.

"These chairs are not just furniture; they are vessels of design language," Oda recalls. He delved into the structure, functionality, and creative context of each piece, personally testing their ingenious designs. He particularly admired the works of Danish designer Hans Wegner, whose chairs combined functionality with profound humanistic care. Oda even had the privilege of conversing with Wegner in person, drawing inspiration from the master himself.

The layout of Oda's home is aligned with an east-west axis. The Gian Franco Frattini writing desk is aligned with the center line that runs from the stove (foreground right) to the Poul Henningsen pendant lights "PH Artichoke" to "PH5". Finn Juhl's "Chieftain Chair" is a collection of all four of the chairs produced in the studio.

Oda’s home is the perfect manifestation of his collection philosophy. From the very first architectural sketches, he considered the dimensions and proportions of chairs and lighting fixtures in the overall design. “Every piece must integrate into my life,” Oda explains. He meticulously hand-drew furniture and lighting layouts at a 1:100 scale, incorporating them into the house’s floor plans.

In his living room, Finn Juhl’s Chieftain Chair and Wegner’s Circle Chair are elegantly placed by the window, while a Louis Poulsen Artichoke Lamp hangs from the ceiling, casting a warm glow. These treasures are not just symbols of art but integral parts of his daily life. Oda firmly believes that design should not be relegated to the pedestal but should gain new vitality through everyday use.

"The ultimate goal of design is to bring happiness," Oda says. His home is not merely a museum but an experiment in how design serves life.

On top of a 1940s Fritz Henningsen cabinet in the dining corner is a wooden key for a grain storehouse used in Africa. Oda's eye for finding sculptural beauty even in unsigned objects connects modern design with primitive art.

While Oda’s collection is primarily rooted in Scandinavian design, his scope extends far beyond. His acquisitions include Italian modern furniture, traditional Japanese crafts, and large ceremonial masks from Burkina Faso in Africa. Despite their varied functions and forms, these pieces all embody creativity within specific cultural contexts.

"Oda emphasizes the 'democracy' of design—how it transcends elitism to serve broader audiences." For instance, Danish designer B?rge Mogensen’s "people’s chairs," produced through modular manufacturing for affordability, allow ordinary families to enjoy both aesthetics and functionality. Oda sees this approach as a powerful response to modern societal needs.

For Oda, collecting is not mere accumulation but a cultural mission. He has meticulously hand-drawn structural diagrams for over 130 chairs using a German Rotring drafting pen, analyzing the designers’ creative processes. “The value of design lies not only in aesthetics but in its ability to address human needs,” he states.Oda’s collection has earned widespread acclaim in the international design community. Anne-Louise Sommer, Director of the Designmuseum Denmark, describes it as “an encyclopedia of modern chair design.” These pieces not only enrich the documentation of design history but also reflect Oda’s vision as a custodian of design.

“I hope these collections can become part of public culture,” Oda says. His dream is to establish a design museum in Japan, one of the few developed countries without a national design museum. He envisions this museum as a space where people can experience the power and beauty of design through tangible artifacts.

"A good chair demands that you behave."

ODA Noritsugu , Chair Researcher / Professor Emeritus of Tokai University. He was born in Kochi Prefecture in 1946. After graduating from Osaka University of Arts, he worked in the advertising department of Takashimaya. He encountered the “LC4,” the first piece of his collection. In 1979, he co-founded the design firm “Gabunsha” with his friend Kikuo Satomi. Later, he started the “CHAIRS” research lab with Kinuko Seno, where he tirelessly drew illustrations every day to purchase chairs. In 1994, he moved to Hokkaido with his collection and became a professor at the Hokkaido Tokai University School of Art and Technology (at that time). The Oda Seminar gained popularity, producing many outstanding students. After delivering his final lecture in 2015, he assumed his current position. He has collaborated on numerous exhibitions, from “The Exhibition of 180 Danish Chairs” in 1989 to the “20th Century Design Exhibition - through Chairs” in 2023. He has received the “Danish Furniture Award” in 1997 and “The 1st Hans J. Wegner Award” in 2015. His publications include many works such as “Danish Chairs” and “The Illustrated Encyclopedia of Chairs.”