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1972年，织田宪嗣以一个月的收入购入了人生中的第一把经典椅子——勒·柯布西耶的LC4躺椅。这次购买不仅满足了他对艺术的渴望，也开启了他长达半个世纪的设计探索之旅。起初，他只是单纯地追求美学的愉悦，但随着收藏数量达到100把，他开始重新思考这些椅子背后的意义。
“这些椅子不仅是家具，更是设计语言的载体，”织田回忆道。他开始深入研究每件作品的结构、功能和创作背景，用亲身使用去验证设计的巧妙之处。他特别钟爱丹麦设计师汉斯·韦格纳的作品，因为这些椅子不仅功能完备，还蕴含了深厚的人文关怀。织田甚至曾与韦格纳面对面交流，从大师身上汲取灵感。
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.
织田家的布局是沿着东西轴线排列的。Gian Franco Frattini 的写字台沿着中心线放置，从炉子（照片中的右前方）一直延伸到 Poul Henningsen 的吊灯“PH Artichoke”和“PH5”。Finn Juhl 的“酋长椅”是四个工作室制作的所有产品的集合。
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.
如果没有原始图纸，织田宪嗣会画下他收藏的椅子 ©Kentauros Yasunaga
织田的家，是他收藏哲学的完美体现。从建筑设计的第一笔开始，他便将椅子和灯具的尺寸、比例纳入整体规划。“每一件作品都必须融入我的生活，”小田解释道。他以1:100的比例手绘家具和灯具，并将其布局于房屋的平面图中。
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.
按订单存放的Finn Juhl酋长椅子 ©Kentauros Yasunaga
客厅中央，李祖在古董店找到的保险箱被用作桌子。灯光是Poul Henningsen的《Artichoke》。©大冢幸纪
走进他的客厅，芬·尤尔的酋长椅和韦格纳的Circle Chair优雅地摆放在窗前，一盏路易·保尔森的“朝鲜蓟吊灯”悬挂在天花板上，洒下一片温暖的光芒。这些藏品不仅是艺术的象征，更是他日常生活的一部分。小田坚信，设计不应被束之高阁，而应通过日常使用焕发新的生命力。
“设计的最终目标是让人感到幸福，”织田说。他的家，不仅仅是一座博物馆，更是一场关于设计如何服务生活的实验。
