At Alcova, among the many voices experimenting with material and form, Tokyo-based designer Masaya Kawamoto introduced the PF Chair—a study in restraint, clarity, and subtle invention.
The chair reconsiders the round steel pipe not by replacing or embellishing it, but by gently reshaping it. Through a precise flattening technique applied to the backrest, Kawamoto introduces flexibility and comfort without relying on padding or upholstery. It’s a minimal gesture with maximum effect—simple, but considered.
Available in two versions, with or without armrests, the PF Chair is defined by its linear profile and quietly assertive backrest. Its name—PF, for “press” and “flat”—is as direct as the design itself.
What sets the chair apart visually is its surface. Using a traditional salt bath coloring process, each piece is treated by artisans to develop a rich oxide film directly on the stainless steel. The result is a textured, pigment-free finish that shifts subtly depending on light, material thickness, and cooling time. Offered in two tones—Oboro and Kasumi—the chairs feel almost atmospheric, their hues reminiscent of mist and shadow.
Beyond aesthetics, the PF Chair is built with practical intelligence. Its structure can be disassembled, allowing for compact shipping and easy assembly. But even this efficiency doesn’t detract from the tactile and poetic presence of the object.
In a setting like Alcova, where conceptual gestures often run loud, Kawamoto’s PF Chair spoke in a lower register—quietly radical, quietly complete.
