In this paper, we inquire aesthetical aspects of the Japanese tea ceremony, described as the aesthetics in the imperfection, based on novel fabrication technologies: 3D-modeling and 3D-printing. To do so, 3D-printed utensils (chashaku and chasen) were iteratively designed for the ceremony and were evaluated using constructivist interviews, eliciting personal construct of a tea master on the beauty of these utensils. Our findings suggest that (1) beauty in the imperfection is feasible with 3D-printers, (2) such beauty can be created at the mechanical limits of the printer and of the material, creating uncontrolled yet beautiful irregularities, (3) furtherresearch can be made on the dialogue between the designer and the machine, leaving space for beautiful mechanical uncertainty. We invite designers and design researchers (1) to look at the potential of new technologies beyond what is classically expected, (2) to consider other cultural perspectives on aesthetics and on making, leading to potential novel practices in design.