Living, Interpreted Through the East
In the classical Eastern home, furniture is not an end in itself, but the framing of a void. It exists to hold space gently, to shape how light moves, how bodies rest, how silence settles.
OWC's Living collection is a dialogue between the forest and the foyer. We do not just craft chairs or cabinets; we curate the pauses in your day. Each piece is an anchor for the soul, bringing the enduring grace of a thousand-year-old lineage into the architecture of the contemporary home.
Rather than designing for trends, we design for continuity.
Collection . SIT
In the Eastern tradition, sitting is never passive. It is a posture shaped by time, discipline, and awareness of the body.
The SIT collection explores this idea through form, from the quiet authority of the Taishi Chair to contemporary skeletal silhouettes that strip structure back to its essence. Whether carved or assembled, each chair is defined not by ornament, but by proportion: the angle of the back, the pause between arm and seat, the way weight is distributed rather than imposed.
Private Enquiry
Collection . SIDE
Side objects exist in the periphery of living. They are rarely the focus, yet they define how a space functions, quietly, intuitively.
The SIDE collection brings together small wooden tables shaped by restraint. Low, grounded forms. Honest joinery. Surfaces left intentionally calm, allowing grain, shadow, and use to complete the object over time.
Private Enquiry
Collection . STORE
Storage, in its truest sense, is not about hiding, it is about containment, order, and visual rest.
The STORE collection draws inspiration from traditions, creating cabinets and sideboards as architectural elements within the home. Each piece is defined by its relationship to space: horizontal weight, grounded proportions, and surfaces that absorb rather than reflect attention.
Private Enquiry
“ Wood makes its own decisions, I’m just here to understand what it wants to be.” ---- Haoyu Lin
Master Lin Haoyu is a Shanghai based woodworker who has spent over fifteen years shaping understated, timeless pieces for modern living. Raised in a family of makers, Lin learned early to read wood by its weight, grain, and quiet temperament. His approach is slow and intentional: every joint is measured by hand, every curve refined until light settles naturally across the surface.
Lin’s work is known for its calm presence, objects that don’t chase attention, but become part of one’s everyday rhythm.
For OWC, he creates furniture and small home objects that feel grounded, honest, and meant to age beautifully through touch, use, and time.
For Lin, inspiration has little to do with cultural motifs or symbolic references.
It begins with moments, a low fog line on the hills near Shanghai at dawn.
The soft bend of an alley roof his hand brushes as he walks past. The way afternoon light pulls out the warmer tones in walnut. He tells us he’s interested not in “Asian aesthetics,” but in the universal logic of natural forms, the calm, unhurried way things settle into themselves.
Lin’s studio is a traditional workshop style warehouse in suburban Shanghai. Three younger craftspeople work alongside him, learning his rhythms: mornings spent on structure, afternoons on surface, evenings observing light.
Nothing here is finished in a single push.
Pieces are left to rest, to breathe, to be reconsidered. This slowness is not romantic, it is practical. Wood needs time. So does judgment.
The OWC Home Collection begins with a simple idea:
that the objects we live with every day should feel grounded, honest, and quietly enduring.
His philosophy aligns with ours:
good objects are not decorative gestures, they are companions to daily rituals.
In this debut collection, you’ll find pieces built around calm proportions, open surfaces, and the gentle imperfections that come from true handwork. Each object is meant to age with use, gather warmth through touch, and become more itself over time.
This is the beginning of a new chapter for OWC, a series of home objects shaped by craft, grounded in material, and designed to be lived with, not looked at.
“Efficiency is not the goal, clarity is.” ----
Lin Haoyu
