brave new pottery
3rd ceramics
BY HANS O. KARLSSON
A hot evening in July we were walking home from a bar in Tajimi along the Nagase street when we came by a little building where the lights were on. Inside we saw a young man in a white undershirt and a towel around his neck, throwing a bowl on a potter’s wheel. We asked if we could take a look. "Sure, step inside," he replied. "My name is Yu Nagaya," he said, with a friendly smile. "This is our studio, 3rd Ceramics".
Yuu Nagaya is one of three partners in 3rd Ceramics
The company is run by three young men, Kazuya Hanayama, Yu Nagaya and Takeshi Doi. The company slogan “For those who cherish each and every moment” relates to the fine nuances of handcrafted work. If you live in the moment, your attention will tune in to the fine detail in handcrafted items. These young craftsmen do not consider themselves as pure artists, however, but as ceramists seeking a third way between the individual potter and large manufacturers.
Here below follows the interview that we did with Nagaya and Doi some days later. This time it was raining cats and dogs and we arrived at the studio soaking wet. It felt good to step into the cosy studio filled with finished products and tools. We set down at a table with a nice cup of tea served in pretty, sleek looking cups.
Here below follows the interview that we did with Nagaya and Doi some days later. This time it was raining cats and dogs and we arrived at the studio soaking wet. It felt good to step into the cosy studio filled with finished products and tools. We set down at a table with a nice cup of tea served in pretty, sleek looking cups.
Takeshi Doi, partner in 3rd Ceramics
Can you tell us about your company and why you started it?
Nagaya: Doi was more experienced than I when we met. He had worked at a large manufacturer for several years and had a lot of know-how, including high-volume manufacturing. I studied design at university, so I had a more artistic approach to pottery. Doi had some experience as an artist as well. We had both studied at the Tajimi city Ishoken pottery design and technical centre and found ourselves hesitating about our next move. Should we try our luck as potters or go for a career at a large manufacturer? We started to think about finding a middle ground - to keep a modest scale and stick our own vision. We felt that we could complement each other as we had a different approach to ceramics. We wanted to work in a space in between the world of the potter and ceramics manufacturers. That was five years ago, and we have been running this company since that time.
Nagaya: Doi was more experienced than I when we met. He had worked at a large manufacturer for several years and had a lot of know-how, including high-volume manufacturing. I studied design at university, so I had a more artistic approach to pottery. Doi had some experience as an artist as well. We had both studied at the Tajimi city Ishoken pottery design and technical centre and found ourselves hesitating about our next move. Should we try our luck as potters or go for a career at a large manufacturer? We started to think about finding a middle ground - to keep a modest scale and stick our own vision. We felt that we could complement each other as we had a different approach to ceramics. We wanted to work in a space in between the world of the potter and ceramics manufacturers. That was five years ago, and we have been running this company since that time.
These vases are an example of the kind of handcrafted items 3rd Ceramics want to establish as one pillar of their production
What benefits do you see in that approach?
Doi: In the world of economy of scale in which large makers operate, everything is about producing large volumes of ceramics fast. Under those conditions, there is little time to polish and refine each product. When you have much smaller production goals, you can spend more time on improving the quality of each product.
Nagaya: When a customer has requirements that are a bit unique or specific needs, we have the flexibility to listen to them. But while we work hard to meet customer's needs, we can also produce things according to our inspiration and vision.
Doi: In the world of economy of scale in which large makers operate, everything is about producing large volumes of ceramics fast. Under those conditions, there is little time to polish and refine each product. When you have much smaller production goals, you can spend more time on improving the quality of each product.
Nagaya: When a customer has requirements that are a bit unique or specific needs, we have the flexibility to listen to them. But while we work hard to meet customer's needs, we can also produce things according to our inspiration and vision.
You were not worried about the risks of starting a new venture?
Nagaya: To make a living from pottery as an artist, you need to be famous, win prizes etc. But I wanted to find a way to work artistically to a degree by meeting needs from customers.
Nagaya: To make a living from pottery as an artist, you need to be famous, win prizes etc. But I wanted to find a way to work artistically to a degree by meeting needs from customers.
Who are your customers?
Nagaya: The bulk of our products are sold by select shops (boutiques with a wide selection of brands). We supply them, and they sell to the end-customers. We do have some end customers as well.
Nagaya: The bulk of our products are sold by select shops (boutiques with a wide selection of brands). We supply them, and they sell to the end-customers. We do have some end customers as well.
Why did you name your company 3rd Ceramics?
Nagaya: As you know, there are large manufacturers and individual potters, but we aim to be something in between - a third way. That is why we named the company 3rd Ceramics.
Nagaya: As you know, there are large manufacturers and individual potters, but we aim to be something in between - a third way. That is why we named the company 3rd Ceramics.
What is your vision?
Nagaya: While we are aiming for a middle ground, we tend to make more products one by one on the potter’s wheel. But we also want to increase volume more without losing that artistic angle. We aim to build a line of handcrafted works complemented with larger volume lines. For example, these (he points to the cups on our table) were ordered by the Maruasa Porcelain Factory in Tajimi. They asked us to glaze and fire semi-finished, water quenched cups delivered from their factory. We can do the finish in that way, perhaps with a particular type of firing.
As you can see these cups too have an elegant finish. We can do this based on a free approach or a more traditionally inspired one. Interestingly, we find that young people are often fascinated by traditional styles these days.
Nagaya: While we are aiming for a middle ground, we tend to make more products one by one on the potter’s wheel. But we also want to increase volume more without losing that artistic angle. We aim to build a line of handcrafted works complemented with larger volume lines. For example, these (he points to the cups on our table) were ordered by the Maruasa Porcelain Factory in Tajimi. They asked us to glaze and fire semi-finished, water quenched cups delivered from their factory. We can do the finish in that way, perhaps with a particular type of firing.
As you can see these cups too have an elegant finish. We can do this based on a free approach or a more traditionally inspired one. Interestingly, we find that young people are often fascinated by traditional styles these days.
We were served tea in these kinds of cups.
Do you find inspiration in the Mino ware tradition in this region?
Nagaya: There are so many variations within Mino ware, but that is also its charm. We can take hints from a wide variety of traditional local styles like Oribe or Shino. Being based in this area is a huge benefit because of this variation. There is no other place in Japan with such a broad spectrum of potters, ceramic industry, and supporting infrastructure. We can draw from all this variation and add our touch to it.
One line of product that is representative of our approach is the dark plates that my partner Doi makes by hand on the potter’s wheel. It’s not a high volume product for that reason. Still, a significant part of our products ends up in shops.
Nagaya: There are so many variations within Mino ware, but that is also its charm. We can take hints from a wide variety of traditional local styles like Oribe or Shino. Being based in this area is a huge benefit because of this variation. There is no other place in Japan with such a broad spectrum of potters, ceramic industry, and supporting infrastructure. We can draw from all this variation and add our touch to it.
One line of product that is representative of our approach is the dark plates that my partner Doi makes by hand on the potter’s wheel. It’s not a high volume product for that reason. Still, a significant part of our products ends up in shops.
Plates in various sizes by Takeshi Doi
Tell us about your experience moving here.
Nagaya: I moved here from Nagoya, a large city with all the conveniences of life in a multi-million city. But from the standpoint of a ceramics artist, this is the best possible place to be located. There is such a multitude of people and companies in the ceramics industry here. Being in the midst of it is a huge benefit.
Nagaya: I moved here from Nagoya, a large city with all the conveniences of life in a multi-million city. But from the standpoint of a ceramics artist, this is the best possible place to be located. There is such a multitude of people and companies in the ceramics industry here. Being in the midst of it is a huge benefit.
Plates by Takeshi Doi
Do you find that human relations are different here from Nagoya?
Nagaya: Absolutely! Communities are much closer-knit together. People in our neighbourhood are very aware of our presence. They walk by late at night and see us still working, but everyone shows great understanding of this. They are very encouraging. We also have a very fruitful exchange with other people in the world of ceramics here. We are located in the centre of the city where we found this property. It was a small restaurant, and we tore out everything inside and built the studio from scratch. There are still many other small eateries within walking distance, and you can easily walk home after a drink somewhere. My wife comes from Kyoto but also enjoy living here. She too studied at Ishoken and worked extra at Lotus, a popular pub. Many students at Ishoken work extra there. She makes jewellery and enjoys the environment here for many of the same reasons I do.
Doi: When I first moved here, I thought it was the middle of nowhere. There were few places to eat and drink, for example. But that has changed, and little restaurants and pubs are popping up around town.
Nagaya: Absolutely! Communities are much closer-knit together. People in our neighbourhood are very aware of our presence. They walk by late at night and see us still working, but everyone shows great understanding of this. They are very encouraging. We also have a very fruitful exchange with other people in the world of ceramics here. We are located in the centre of the city where we found this property. It was a small restaurant, and we tore out everything inside and built the studio from scratch. There are still many other small eateries within walking distance, and you can easily walk home after a drink somewhere. My wife comes from Kyoto but also enjoy living here. She too studied at Ishoken and worked extra at Lotus, a popular pub. Many students at Ishoken work extra there. She makes jewellery and enjoys the environment here for many of the same reasons I do.
Doi: When I first moved here, I thought it was the middle of nowhere. There were few places to eat and drink, for example. But that has changed, and little restaurants and pubs are popping up around town.
Lampshade - 3rd Ceramics
How do you feel about the strong human relations in your community?
Doi: I love talking to people who have a lot of know-how in pottery. There are many true professionals here, and they are much more knowledgeable than my teachers were at the university. They have practical knowledge of their craft.
Doi: I love talking to people who have a lot of know-how in pottery. There are many true professionals here, and they are much more knowledgeable than my teachers were at the university. They have practical knowledge of their craft.
Tell us more about your studies at Ishoken.
Nagaya: Well, we both went to Ishoken for two years.
Doi: In our time, there were two courses - one technical and one design-oriented. The technical course was for artists, while the design course was for people aiming for employment at a manufacturer. There was no clear division between the two groups, however. Some artists took the design course, and some designers took the technical course. I felt it was a very free learning environment.
Nagaya: Well, we both went to Ishoken for two years.
Doi: In our time, there were two courses - one technical and one design-oriented. The technical course was for artists, while the design course was for people aiming for employment at a manufacturer. There was no clear division between the two groups, however. Some artists took the design course, and some designers took the technical course. I felt it was a very free learning environment.
Cups - 3rd Ceramics
What did you like about Ishoken?
Doi: There is an excellent connection between the school and the industry in the area. Former students now working in the city helped us with tips on job openings etc.
Nagaya: Doi had already seven years behind him of ceramics studies and ceramic work before he entered Ishoken. I had never thrown a bowl before enrolling. But both kinds of students are welcome. Maybe those with previous experience feel bored sometimes, but for us beginners, it was a place full of inspiration. It’s also a place where you are given a lot of freedom. Often education in Japan is strict, but in this case, we were free to experiment, observe and think. I don’t even remember in detail what and how we were taught. I appreciate it wasn’t a place where we were drilled and tested all the time.
Doi: There is an excellent connection between the school and the industry in the area. Former students now working in the city helped us with tips on job openings etc.
Nagaya: Doi had already seven years behind him of ceramics studies and ceramic work before he entered Ishoken. I had never thrown a bowl before enrolling. But both kinds of students are welcome. Maybe those with previous experience feel bored sometimes, but for us beginners, it was a place full of inspiration. It’s also a place where you are given a lot of freedom. Often education in Japan is strict, but in this case, we were free to experiment, observe and think. I don’t even remember in detail what and how we were taught. I appreciate it wasn’t a place where we were drilled and tested all the time.
We hear that Ishoken is also forward-looking, introducing new technology?
Nagaya: I guess so, but what I remember most is the freedom we were given.
Doi: One thing I remember clearly is the Mayor’s graduation speech. He said that you don’t have to work in Tajimi after graduation. But wherever you go, get famous and tell them you studied in Tajimi!
Nagaya: I guess so, but what I remember most is the freedom we were given.
Doi: One thing I remember clearly is the Mayor’s graduation speech. He said that you don’t have to work in Tajimi after graduation. But wherever you go, get famous and tell them you studied in Tajimi!
Teapot and tea bowls - 3rd Ceramics
You are young, and your company is young. You will be around for a long time. Have you thought about the growing impact of automation, AI etc. and the value of handcrafted things?
Nagaya: That’s something we are very aware of. That is part of our vision - to not be overwhelmed by the increasing automation, but make things that will have value. A value that is still there even as the robots take over much of the production in our industry.
Nagaya: That’s something we are very aware of. That is part of our vision - to not be overwhelmed by the increasing automation, but make things that will have value. A value that is still there even as the robots take over much of the production in our industry.
We leave the two in their studio. The rain is still pouring down. As we walk back with our gear through the downpour, I wonder how it would feel to run a venture in the ceramics industry. These young men seemed quite confident. Even if the robots are coming, they may have found the right space between the world of the old craftsman and the increasingly automated manufacturing industry. A space where they are not forced to try to build a reputation as artists, or losing a sense of craftsmanship in their work in a world of mass production.
Maybe we need more of this kind of brave hearts, not just in the ceramics industry, but in many other places as well.
Maybe we need more of this kind of brave hearts, not just in the ceramics industry, but in many other places as well.
After the interview we invited people abroad to tour the studio in VR. Here a visitor from Taiwan (right) and the author of this article (left).
Walk through the 3rd ceramics studio
Click or tap the hotspots to walk through the tour
Company site
Company location
Google street view of the studio.
About the interviewees
Takeshi Doi, born 1986 in Kyoto. Started studying pottery at senior high school, continued at university and then enrolled at Ishoken in Tajimi. He then got a job at a high-volume ceramics manufacturer, where he worked a few years before joining 3rd Ceramics.
Yuu Nagaya, born 1986 in Nagoya. He worked for one year after graduation from university, after which he enrolled at Ishoken. After his studies there he began work as a ceramics artist. He then met Doi, and they founded 3rd Ceramics.
Yuu Nagaya, born 1986 in Nagoya. He worked for one year after graduation from university, after which he enrolled at Ishoken. After his studies there he began work as a ceramics artist. He then met Doi, and they founded 3rd Ceramics.
