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Interaction with Backlighting and Urushi
By integrating backlighting with urushi, we create a surface where light and material respond to one another, producing richly expressive visual effects.
When unlit, the deep texture of the lacquer brings a quiet stillness to the space; when illuminated, a soft glow emerges from within, revealing a dreamlike sense of depth.
This characteristic adds both luxury and calm to environments such as mobility interiors, hotel lobbies, and guest rooms.
On the opposite side of the tokonoma is a private room designed so that the expression changes between lit and unlit conditions.
The lacquered black background shifts to a reddish tame tone when the rear lighting is activated.

Expressing the Oriental Perspective of “San’en” through Layers of Urushi
By interpreting the Oriental pictorial method of San’en through layered urushi, we create an overwhelming sense of three‑dimensionality—suggesting overlapping mountain ranges and the depth of drifting mist within lacquer films only tens of microns thick.
This approach brings a sense of expansiveness and psychological depth to compact environments such as vehicle interiors and urban spaces, far beyond what numerical dimensions alone can convey.

About San’en — The Oriental Concept of Spatial Depth
In East Asian painting, San’en is a unique method for capturing depth by varying the direction in which the subject is visually “distanced.” It consists of three modes:
Kōen (High Distance) — depth that opens upward
Shin’en (Deep Distance) — depth that recedes inward
Heien (Level Distance) — depth that extends quietly across the horizontal plane
Unlike Western one‑point perspective, San’en does not rely on a fixed viewpoint.
Instead, it layers multiple perspectives to express a depth that contains the passage of time.

How Duco interprets San’en
Three‑dimensional works generate multiple viewpoints through the layering of materials and the reflection of light, creating a multi‑layered depth reminiscent of San’en.
Glass maki‑e works place maki‑e on both the front and back surfaces of glass, allowing metallic powders to overlap and shift in expression depending on the viewing angle—producing a depth infused with time.
Natural Pattern formed spontaneously by lacquer reveals deep landscapes within limited surfaces, as foil and lacquer transparency modulate light absorption.
Duco reinterprets the San’en sensibility—born from the Eastern pursuit of discovering infinite depth within confined spaces—through contemporary materials and techniques, presenting a quiet yet profound spatial worldview.

By integrating the thousand‑year tradition of maki‑e into contemporary architectural and interior materials, this work unites the delicate beauty of artisanal handcraft with Duco’s proprietary durability technologies.
Rather than serving as temporary decoration, it functions as a singular art piece that embodies corporate identity and brand narrative.
Maki‑e originated in the Nara period and evolved through the Heian, Muromachi, and Edo eras into a uniquely Japanese decorative art.
Patterns are drawn in lacquer and dusted with gold, silver, tin, or other metal powders, creating a dimensional brilliance that shifts with the angle of light.
By the Edo period, the technique had reached exceptional refinement and came to be recognized as one of the world’s most intricate forms of craftsmanship.

A hybrid product combining cutting-edge titanium with urushi coating and meticulous polishing.
It balances the austere strength of metal with the warm, skin-like tactility of lacquer.
In high-end vehicle and aircraft interiors where durability under demanding environments is required, it embodies the ultimate expression of hospitality.