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The Bottom-Shaped Memo Holder

The Bottom-Shaped Memo Holder

“I love this slightly twisted part here — it’s beautiful.” Notes or photographs can be placed upright in the groove at the corner. (Photo: Noritsugu Oda)

One year after architect Mayumi Miyawaki passed away, I received a call from the person managing his estate, saying, “In accordance with his will, we would like to donate his belongings.” When I agreed, what arrived was astonishing: 70 cardboard boxes. Not only were there books and magazines related to architecture, but also photographs from his travels around the world — all on positive film — enough to fill an entire cabinet measuring 90 cm wide and 180 cm high. There were desk supplies, paintbrush-cleaning containers, even pencils worn down to stubs. Mixed among all these items was this brass memo holder, which also serves as a paperweight. Since it bears the engraving “penthouse,” it was probably connected to the American men’s magazine of the same name. I assume it dates from the 1970s. It felt very much like something Mr. Miyawaki would have owned — he adored Marilyn Monroe and even had B-size posters and commemorative stamps of her. He was also a very handsome man who was immensely popular with women.

We first met at the International Furniture Design Fair Asahikawa, first held in 1990 (which continues today as the International Furniture Design Competition Asahikawa). Mr. Miyawaki was the chair of the judging committee for the furniture competition within the fair. Yet, even when we first met, he already knew who I was. At the time, Mr. Miyawaki collected chairs and had once boasted in some magazine that he owned enough chairs to line them from one end of his house to the other and walk across them. Apparently, however, he learned that there was someone who surpassed even him — me — and began referring to me as “the man who took away the joy of collecting chairs” (laughs). In fact, when I later attended one of his lectures, he spotted me from the stage and joked to the audience, “My sworn enemy is here today,” drawing laughter from the room.

There are three men I admire. One is the writer Ernest Hemingway, another is Jiro Shirasu, the so-called “man of the wind.” If I were a man like them, I think, that’s the kind of life I would want to live. Come to think of it, Masako Shirasu and I once had plans to create a book together about traditional Japanese folk houses. It never materialized because she was already elderly. And the third person I admire is Mr. Miyawaki. I feel fortunate that, through chairs, I was able to build a close friendship with someone I admired so deeply. He even visited my apartment in Asahikawa before I built my house in Higashikagura. He arrived stylishly, wearing a red scarf that his daughter had given him for his sixtieth birthday celebration. I remember driving him around in my beloved Bugatti at the time. I sent him yamabe trout that I had caught myself, and our friendship continued. Ah yes — there was also the time at Santouka ramen when we became so engrossed in conversation that we did not eat our ramen, and the owner scolded us for being too loud (laughs).

I’m fond of this memo holder myself, and I display it in the living room of my apartment in Sapporo, next to a Finn Juhl chair, where I can always see it (laughs).

2026/04/28, interview

【After the Interview】

This was my first visit since “the final Oda residence tour” (September 2025), when I visited Mr. Oda just before his move to Sapporo. In late April in Hokkaido, even sunny days were chilly. Professor Oda had returned from Sapporo for an extended stay in order to prepare the house for handover to its next owner. Several town staff members had gathered to sort through belongings — deciding what would be stored in the red-brick warehouse in Higashikawa and what would remain — while also disposing of unnecessary items.

The space, once filled with beautiful objects, now revealed exposed block walls and wooden floors, making it feel even larger than before. We conducted the interview using the sofa and table that remained, but with no heating, both Mr. Oda and I were bundled in heavy clothing. Cardboard boxes and plastic bags scattered across the floor added a strong sense of realism to the scene (laughs).

— Interviewer / Copywriter: Kano Nishikawa

Regarding the sofa and table in the photo above, according to Mr. Oda.

The sofa and table were designed by Erik Gunnar Asplund for a summer house. The original table has a stone top and remains at Asplund’s own villa. About 25 years ago, I believe there was an exhibition called “The Genealogy of Nordic Design” held at the Yamagiwa Gobancho Building in Tokyo. For that exhibition, Shigenori Miyamoto produced this version with the glass tabletop, with permission from Asplund’s family. The Oda Collection also includes a matching armchair of the same design as the sofa. After the exhibition ended, Chairman Konagaya of Yamagiwa kindly donated it to us.

A truck had arrived, and the collection was in the process of being transported to the red-brick warehouse in Higashikawa Town.

Saying, “Once people stop living in a house, it quickly deteriorates”, Mr. Oda tended to the potted plants he would be leaving behind.

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© Oda Collection Organization