佐藤大
採訪：蘇新婷 文字：蘇新婷
Photo：nendo．Masayuki Hayashi．Akihiro Yoshida．Kenichi Sonehara
Interview：Chloe Su Text：Chloe Su
1977 年出生於加拿大，2002 年畢業於日本早稻田大學建築研究所，同年創辦設計事務所nendo，並相繼於東京與米蘭設立總部。佐藤大以細膩的極簡語彙，融入幽默與情感，讓作品不僅富有美感，更能與使用者產生共鳴。設計領域涵蓋建築、室內、產品與平面設計，並屢獲國際設計大獎。現有許多重要作品被世界各大博物館收藏，包括美國紐約現代藝術博物館（MoMA）、法國龐畢度中心（Centre Georges Pompidou）與英國維多利亞與亞伯特博物館（V&A）。曾設計 2020 年東京奧運聖火台，目前正參與法國新一代 TGV 高速列車的設計，他同時是 2025 年大阪．關西世界博覽會日本館的總製作人與總設計師。
每天在同一家咖啡館喝咖啡、在熟悉的餐廳享用午餐，甚至沿著相同的路線步行——這樣的日常或許聽來單調，甚至略顯無趣，卻是設計師佐藤大的生活方式，更是他挖掘創意的關鍵。作為一名設計師，每天面對層出不窮的不確定性，因此他格外珍惜生活中的穩定與規律，也深信靈感並非憑空而來，而是從平凡日常的積累中悄然生長。
Drinking coffee at the same café every morning, having lunch at a familiar restaurant, and walking the same route each day—such a routine may seem monotonous, even uninspiring, at first glance. Yet for designer Oki Sato, this predictable rhythm of life is not only a personal preference but also the key to unlocking creativity. He values stability and routine in his daily life, believing that inspiration does not emerge out of thin air but rather takes root and grows through the accumulation of ordinary moments.
「透過每日的重複，我能察覺細微的變化，而這些變化，往往成為我設計靈感的養分。」他說道。清晨陽光透過咖啡館窗戶投下的光影、巷弄間人來人往踩出的節奏、每日某個固定時刻的沉思——這些日復一日的細節，構築出他對世界的觀察，而真正的創意，正是來自於對熟悉事物的細微感知。在不經意的瞬間，往往能孕育出最純粹的設計。
" By repeating things every day you notice the small differences, and I feel those small differences become my design sources in a way," he explains. The shifting play of morning light through the café windows, the rhythmic footsteps of passersby in narrow alleyways, or a moment of reflection at the same time each day—these seemingly mundane details form the lens through which he observes the world. It is in these fleeting, unintentional moments that the purest ideas are born.
出生加拿大，在日本成長，於早稻田大學攻讀建築，最終取得碩士學位，佐藤大對日本的設計文化有著深刻理解。然而，他對盛行國內的極簡設計持有一份獨特反思：「當物件被過度簡化時，它可能會失去溫度，甚至讓人難以親近。」比起一昧追求極簡，他更傾向聚焦設計所能帶來的幽默與驚喜，猶如料理中的調味料，用量不多，卻能觸動味蕾，從而創造更深層的情感連結。基於這樣的理念，不管是家具、產品設計或者建築，他的作品始終圍繞著「與人對話」的核心；以 Manga Chairs 系列為例，佐藤大將童年時期對漫畫的熱愛化為創作靈感，透過嶄新視覺語言重新詮釋家具，讓椅子不再只是靜態的物件，而是擁有個性、能夠講述故事的角色，繼而引發強烈的文化與情感共鳴。
Born in Canada and raised in Japan, Sato studied architecture at Waseda University, where he later earned his master's degree. His deep understanding of Japanese design culture has given him a unique perspective, but he also holds a reflective stance of the country's prevailing pursuit of extreme minimalism. "When objects are stripped down too much, they risk losing their warmth, making them difficult to connect with," he reflects. He likens design to the use of spices in cooking—a small amount may seem subtle, but it has the power to evoke emotions and transform functionality into an unforgettable experience. This philosophy has led him to explore a diverse range of disciplines, from furniture and product design to architecture, creating designs that engage in a dialogue with people. Manga Chairs series, which is inspired by his childhood love of Japanese comics, translating the visual language of manga into furniture, making the chairs more than just static objects—they become expressive characters capable of telling stories. This unique narrative-driven perspective ensures that his work is not only functional but also rich in cultural and emotional resonance.
細數過往，佐藤大特別感激生命中的貴人——義大利設計大師 Giulio Cappellini。2004 年，Cappellini 在 Salone Satellite 發現了 nendo 的作品並親自指導，讓他深入了解義大利設計文化，也為他開啟了與全球頂尖品牌合作的契機。多年來，nendo 與不同領域的設計品牌攜手合作，創造無數令人驚艷的作品，並始終堅持溫度、幽默與人本精神。在佐藤大心裡，Cappellini 如父亦如師，是伯樂也是知己，他讓自己體會到設計人的熱忱究竟是什麼，也奠定了他堅定不移的設計信念。
Looking back on his journey, Sato is particularly grateful for the guidance of his mentor, the renowned Italian design master Giulio Cappellini. In 2004, Cappellini discovered nendo's work at Salone Satellite and personally took Sato under his wing, introducing him to Italian design culture and opening doors to collaborations with some of the world’s most prestigious brands. Over the years, nendo has partnered with numerous brands across industries, continuously pushing creative boundaries while maintaining a commitment to warmth, humor, and a human-centric approach. To Sato, Cappellini has been both a mentor and a kindred spirit—someone who helped him realize the true essence of a designer's passion, laying the foundation for his unwavering creative path.
談及科技與工藝的關係，佐藤大強調前衛技術與傳統工藝應該是相輔相成，而非互相取代。「科技與工藝，就像推動 nendo 前行的兩個輪子；設計理念則是方向盤，決定我們的前進方向，而設計本身則是引擎，提供動力。」他認為，設計的核心在於平衡這兩者，而不是過度依賴其中一方。例如，在與京都傳統工匠合作的項目中，團隊積極運用最新技術，賦予手工藝新的表現方式；反之，當他探索新科技與新材料時，也總是試圖融入工藝的手感，使作品保有人性溫度。這樣的設計哲學，使 nendo 的作品總是前衛又不失親和力。
When discussing the intersection of technology and craftsmanship, Sato emphasizes that the two should complement rather than replace each other. “Technology and craftsmanship are like two wheels driving nendo forward. The idea is the ‘steering wheel,’ guiding our direction, while design itself is the ‘engine,’ providing the power.” For him, the key to meaningful design lies in balancing these elements rather than relying solely on one. In a past collaboration with traditional Kyoto artisans, his team actively integrated the latest technologies to enhance traditional craftsmanship. Conversely, when working with cutting-edge materials and processes, he always strives to retain the warmth of human touch. This philosophy allows nendo’s designs to be both innovative and deeply approachable.
2025 年大阪世博，佐藤大作為日本館的設計師，以「生命的循環」為靈感，打造一座可拆卸、可重複利用的木質格柵結構，試圖以實際行動實踐環保永續的理念。此外，他也向我們透露，nendo歷時近八年的法國高速列車（TGV）設計案將於今年正式亮相。「這二十年來的多元探索，終於開始開花結果。」訪談尾聲，佐藤大感慨地說道。
2025 Osaka Expo, Sato is leading the design of the Japan Pavilion, drawing inspiration from the concept of "the cycle of life." His vision materializes in a modular, reusable wooden lattice structure that embodies sustainability through its ability to be dismantled and repurposed. Beyond this monumental project, he also shares his excitement for another long-awaited milestone—nendo’s nearly eight-year endeavor in designing France’s high-speed TGV train, set to debut this year. "After two decades of diverse exploration, I feel like our work is finally beginning to bear fruit," Sato reflects, his voice filled with both gratitude and anticipation.
面對設計新世代的崛起，佐藤大對有個簡單卻深遠的建議：「當你站在輕鬆與困難的十字路口時，選擇較困難的道路吧！」他深信，唯有挑戰才能帶來真正的成長與突破，同時提醒每一位設計人，必須學會擁抱不安，因為創作過程中的焦慮無可避免，而真正的關鍵，在於如何與之共存。
For the new generation of designers, Sato offers a piece of advice that is both simple and profound: "When you find yourself at a crossroads between an easy path and a difficult one, choose the more challenging road." He firmly believes that true growth and breakthroughs come from pushing beyond one’s comfort zone. At the same time, he encourages designers to embrace uncertainty. Anxiety is an inevitable part of the creative process, but learning to coexist with it—that, he says, is the real challenge.
