Back in the late 16th century in Japan, when teamasters began experimenting with the kind of social gatherings that would later be called the "tea ceremony," they enjoyed using elements in their designs that were either highly controlled or naturally wild. The former they called "shin" and the latter "sô."

Shin is purposeful, aligned, precise, highly finished.

Sô is spontaneous, irregular, imperfect, patinaed.

The interplay of these two elements is a meditation of sorts on the concepts of wildness and control — on the beauty of things touched by the human hand and those which are untouched.