Hiroki Takahashi

My journey into architecture began with my fascination with the poetic power of space. Since childhood, I have been fascinated by the exquisite balance of light and shadow, the texture of materials, and the elegance of structures, and I began to feel that exploring these things was my life's mission. While studying architecture at university and through practice, I came into contact with various arts and philosophies and cultivated my own unique aesthetic by integrating them.

We believe that our studio is a place to weave the poetry of space. Here, our mission is to explore the essence of architecture and pursue metaphysical beauty. In the creative process, we value the dialogue between light and shadow, the memory of time that materials possess, and the moment when space resonates with people's hearts. We aim to go beyond mere functionality and efficiency and create architecture that stirs people's sensibilities, and we infuse each and every project with our philosophy. Architecture is not a standalone entity, but something that lives within the flow of culture. Therefore, we strive to create works that have universal harmony while incorporating the aesthetic sense of the times.

Design goes beyond mere visual beauty and is the act of giving form to the essence of existence. In architecture, design is about weaving space, guiding light, and listening to the voice of materials. Excellent design is not just decoration, but breathes life into space and deeply resonates with human sensibilities. I also think that design is something that "carves time." Architecture grows and changes with the memories of the people who live in that place, and eventually becomes part of the landscape. Therefore, the spaces I create need to have a universal beauty that can withstand the passage of time. Design is also a question. It involves the exploration of "how humans interact with space" and "how emotions are embodied in form." I hope to express the depth of design by creating poetic architecture that goes beyond function. Design is the act of giving form to not only what is visible, but also invisible emotions, memories, and even cultural trends.

I am most passionate about architecture, which is imbued with time and memory. Architecture that goes beyond its simple function as space, and is in tune with people's emotions and thoughts, generating tranquil dialogue, is what most fascinates me about. I am particularly drawn to works that are in harmony with nature and whose beauty grows with the passage of time. I find deep joy in creating living spaces where the wind touches, the light dances, and the materials speak.

To me, "my favorite design" is not simply a shape or style, but architecture that interacts with time. In other words, my ideal design is a space that resonates with the changing natural light and embraces people's memories and emotions. The designs I like most are not just beautiful to the eye, but spaces that resonate with time, light and memories and are deeply engraved in people's hearts.

The first project I worked on for a company was a house. The house has a structure with strong character yet tranquility, and was designed to harmonize with the passage of time through the resonance of materials.

Materials are the soul of architecture. The expression of a space can change dramatically depending on the texture, aging, and how the light hits it. I am particularly attracted to materials whose beauty deepens with time. For example, the solid presence of natural stone and the dignity that comes with age have the power to elevate architecture to a poetic realm. Stone has both coldness and warmth, and its expression changes from moment to moment depending on how the light hits it. This quality of reflecting the flow of time is the starting point of my creations. In addition, the warmth of wood and the beautiful aging that occurs with use enrich the space. Wood that has been processed by hand, in particular, leaves traces of the human hand, which breathes life into the architecture. When it comes to platforms and technology, I am interested in the fusion of tradition and cutting-edge technology. Although architecture is an analog art, the use of digital technology makes it possible to create more precise designs and innovative forms. My favorite materials are those that mark time and resonate with space, and my favorite technologies are those that deepen the essence of architecture.

I feel most creative when a space is elevated into a poem. There is a harmony between mathematical order and the beauty born of chance, and in the gap between these two, the essence of architecture emerges. I also feel at the pinnacle of creativity when I contemplate the gap between history and the future. Architecture that radiates timeless beauty is woven with the ideas and technologies of each era. I hope to carve architecture into the flow of time by inheriting the spirit of past architecture while creating new value. Furthermore, I feel most creative in moments when inspiration strikes in the silence - when architecture goes beyond mere function and form and transforms into an entity that resonates with human emotions.

What I value most in design is the "dialogue between time and space." Some of the aspects I value are: the aesthetics of light and shadow, the memory of time in materials, the relationship between human and spatial sensibilities, the inheritance of culture and history, and the balance between stillness and dynamic flow

Designing architecture is both a pure creative joy and a great sense of responsibility. When shaping a space, I imagine what the place will say to people and what kind of experience it will create. In the process, I feel the excitement of expectation and challenge, and sometimes even a sense of awe. The moment when people breathe in the completed space and sense the energy of the place is an exceptional joy. It is at these moments that I truly feel my mission as an architect.

I feel a quiet emotion when I see my designs blending into people's lives and visitors weaving their own experiences into them. It is not just a structure, but a place that evokes emotions and weaves a story over time. That is the essence of architecture, and it is in those moments that I once again realize the great power of design. At the same time, the moment it is completed is also a new beginning. Spaces are nurtured and transformed by people's hands. I hope that my designs will create value that will continue into the future.

Successful design is created when many elements work in harmony. It's important not just to be beautiful, but to also be functional, sustainable and create an emotional connection. Elements include: A clear concept and philosophy, dialogue with people, innovation and a spirit of experimentation, a fusion of functionality and beauty, and deep consideration for the environment. When these elements resonate with each other, architecture is born that is not just beautiful, but leaves a deep impression on people's hearts. That is what we can call truly successful design.

While I create designs that have their own unique value, it is also meaningful to find unique beauty and value in the work of others. When judging the quality of a design, I consider the following points: whether it clearly embodies my philosophy, whether it resonates with and interacts with the designs of others, the time value of the work, and whether it respects the differences of others while adhering to my own beliefs.

I believe that design goes beyond the beauty of form and has a deep effect on the human spirit. Architecture is not just a space; the experiences created there nurture people's memories and emotions and become a part of their lives. Therefore, designers are responsible not just to design functions and structures, but to create architecture as a vessel for thought.

The future of design will be all about the search for meaning. People are no longer just looking for beauty, but for the stories and ideas that spaces contain. Design will increasingly evolve to be in tune with individual sensibilities and generate deeper dialogue.

The most recent is Good Design Exhibition 2022. The next one is A'DESIGNAWARD 2025.

nfinity represents the expanse of possibilities, and white represents the beginning. A moment highlights eternity, and beauty is connected to the divine. I design architecture by considering the essence of existence.

My designs pursue the pure beauty of form. The tension of the form, the texture of the material, and the movement of light define the space, and I design them to be memorable. I believe that architecture stirs emotions beyond its function, and that it has meaning just by standing there.

My designs are rooted in Japanese tradition and culture, and I place importance on the concept of "Ma" and the beauty of materials. I incorporate the transition of light and harmony with nature, and pursue the creation of rich expressions in silence. My core is to create architecture that lives in the modern age while inheriting tradition.

Collaboration with companies begins with sharing common values ​​and goals. By harmonizing with the company's philosophy and direction, it can take on a deeper meaning. For example, by incorporating the brand's identity into the space, it is possible to visualize the company's ideas and provide visitors with a sensory experience. In addition, by repeatedly engaging in dialogue with the company when selecting materials and technologies, it is possible to develop innovative yet sustainable forms. Through such collaboration, design is not just an expression, but plays an important role in embodying the company's philosophy.

I think it would be good for companies to share their design aesthetic and thought process.

The design process begins with the exploration of a concept, which is then sublimated into form through the selection of materials and structure. We proceed with the design while questioning the meaning of space and considering the harmony of light, shadow, and texture. Combining intuition and theory, we ultimately result in architecture that resonates with time.

Mornings are a time of hope, and I treasure time with my family. While I am comforted by the carefree behavior of my cat, I explore shapes through drawing during the day and visualize my thoughts. In the evenings, I meditate during quiet walks. And at night, I sleep with gratitude.

Give form to your aspirations, give it form to your ideas, and make it into something that you think is the best. It's all within yourself.

The good thing about being a designer is that you have creative freedom and can offer new perspectives to the world. You have the power to express your thoughts through shapes and spaces and to influence people's senses and thoughts. On the other hand, you are required to be flexible to meet the changing times and demands, and you may be conflicted between originality and practicality. It may be the fate of a designer to constantly ask questions between creativity and constraints.

An intuitive sense of form. It is wrapped in mathematical beauty. The key is the power of observation to pursue even the smallest details.

The key to time management is to organize your thoughts and clarify your priorities. First, you define the core concept of the design and build your work based on that to reduce unnecessary trial and error. Next, you can make progress efficiently by balancing the time you spend focusing on the details with the time you spend looking at the big picture. It is also important to have space to think deeply, so I am conscious of leaving room to maintain the purity of the design.

It's a special time where joy and celebration intersect. It's a place where people share important moments and the space is filled with emotion and warmth. Being there made me realize that design is not just decoration, but has a role to play in shaping emotions and memories.

My clients include people with a wide range of values: some are looking for a tranquil villa, some want to open an extraordinary restaurant, some are pursuing designs that create surprise and excitement, some want to visually express their company branding, and some seek sophisticated beauty in their everyday lives.

When the client's idea of ​​beauty and my idea of ​​beauty combine to create something new

My vision for the future is to contribute to the world of design and creativity with deeper insight. In particular, I would like to explore the integration of intuition and logic, and engage in dialogue that will generate new perspectives. My goal is to pursue timeless values ​​and refine the beauty of form.

I am currently working on a residence titled “The House that Listens to Silence”, which explores how architecture can embody the stillness of light, the flow of time, and the memory of absence. This house is situated on a hillside with a panoramic view of water, designed to create moments where space breathes with the inhabitant. Every material, shadow, and proportion is chosen with great care—not to impress, but to resonate quietly with the soul.

Perhaps only this: I believe architecture holds the quiet power to awaken something eternal in us. When we create spaces that honor silence, light, and time, we do more than build—we offer a place for the human spirit to rest and remember what it means to be alive. That is all I truly hope for in my work.

I have been engaged in architecture and spatial design for over 20 years. After completing formal architectural studies, I established an independent studio to pursue a design language grounded in atmosphere and clarity. My work focuses on residences and cultural spaces that respond to light, material, and the quiet presence of time. The projects I undertake are often shaped through close dialogue with clients who value space as a form of inner experience. Over the years, I have received recognition including the Good Design Award in Japan and the A’ Design Award in Italy.

My interest in space began early—perhaps even before I had the words to describe it. As a child, I found myself quietly fascinated by how light curved along a white wall or how silence could shape a room. These impressions stayed with me and slowly became questions: What is beauty? What makes a space unforgettable? Studying architecture felt natural. It gave form to my questions. Becoming a designer was not a decision made at once, but a quiet unfolding of direction that continues to this day.

I approach each project by listening—first to the site, then to light, and finally to the emotions that arise in that silence. I prioritize three things: the dialogue between light and shadow, the spatial rhythm that invites reflection, and the form that turns a fleeting moment into something eternal. I value material honesty, proportion, and restraint, but I also care deeply about the beauty of form itself. My methods combine hand sketches, physical models, and digital tools such as Rhino and Enscape. The aim is not to impress, but to compose a space where presence and memory feel naturally at home.

Designing brings a quiet concentration. There is calm, but also a certain tension—like tuning an instrument before a performance. The early sketches are moments of discovery, while the later stages feel like listening for a note that only emerges when everything is in balance. I wouldn’t call it joy or excitement; it’s more like alignment. When the form, the light, and the emotion all fall into place, a kind of clarity arrives. That clarity is deeply fulfilling.

In my younger years, I spent time working in a wedding venue, creating and managing spaces where joy and emotion filled the air. That experience taught me how architecture can hold memories, how space can amplify feeling, and how every small detail matters when people celebrate the milestones of their lives. It was not just about decoration—it was about creating an atmosphere where happiness could resonate. That early experience still shapes how I think about space today.

My direction as a designer has always been toward greater clarity and restraint. I value spaces that offer quiet dignity and remain unforgettable through their presence. Rather than expanding rapidly, I focus on refining each project with care—deepening its meaning through time and dialogue. In the future, I hope to design a small cultural facility or a retreat that invites stillness and reflection. It’s not the scale that matters to me, but the integrity of the experience.

Begin by observing light, and how it touches surfaces throughout the day. Pay attention to how space listens—to time, to presence, to silence. Design is not about haste; it unfolds slowly, like seasons. Let your own rhythm emerge through repeated observation and quiet curiosity. Some of the most enduring insights come not from theory, but from standing still and watching. When your eyes and heart move together, a sense of form begins to grow.

Architecture deepens when we remember it is not only to be seen, but to be lived in, felt, and remembered. Each line we draw becomes part of someone’s future memory. I value clarity—of space, atmosphere, and purpose. In my practice, I often reflect on a simple question: “What continues to speak after time has passed?” A space that quietly endures in someone’s heart—that is the kind of design I try to cultivate.

Each morning begins with quiet rituals—greeting my cat, preparing a simple breakfast, and taking a short walk. These moments bring balance and presence. I usually spend the early hours sketching or writing, allowing thoughts to settle. Afternoons are for meetings, physical models, or material studies. I leave room in the day to observe shifting light or to sit with a book without purpose. Within these ordinary rhythms, design gradually finds its own form—gently, attentively, and without rush.

I observe design trends from a distance, not as guidelines, but as reflections of the times. My interest lies more in enduring qualities—proportion, material honesty, and sensory depth. While I am aware of what is current, I find greater value in exploring quiet continuity. Inspiration often comes from nature, vernacular buildings, or works that remain meaningful beyond their era. Trends may shift quickly, but the essence of beauty often resides in what moves slowly and stays.

A well-designed space carries a sense of quiet completion. Each element feels naturally placed, with no sense of effort or excess. I pay close attention to how materials respond to light, how forms hold silence, and how memory settles into space. Good design offers presence without demand—it welcomes rather than declares. It becomes part of one’s inner landscape without needing to announce itself.

There is a moment when the space begins to resist further intervention. It feels settled—not in a final, absolute way, but in a way that suggests a quiet equilibrium. I listen closely to the balance of light, proportion, and presence. When each part feels like it cannot be removed or added without diminishing the whole, I consider the design ready. It is less a decision, more a recognition—like noticing when music comes to rest.

Among the many works I’ve created, one small house stands out—not for its size or complexity, but for its emotional clarity. It was a quiet residence nestled in the trees. The client walked in, paused, and simply said, “I feel like I’ve returned to something I forgot.” That moment remains with me. It reminded me that the strength of architecture lies not in form alone, but in its ability to awaken something within. I continue to search for that kind of resonance in every new project.

I have deep respect for Peter Zumthor’s sensitivity and Tadao Ando’s clarity. If I had the chance to speak with one designer from the past, it would be Louis Kahn. I would ask him not about form, but about silence—how he listened to space before shaping it.

My daily life is quiet and grounded. I live with my family and a cat, enjoying early walks, a cup of tea by the window, and the simple joy of sketching or reading throughout the day. I find that beauty often dwells in the rhythm of ordinary moments. I am drawn to stillness, depth, and the gentle flow of time as it passes.

I work closely with a small group of collaborators who share a quiet commitment to thoughtful creation. Each project begins with careful observation and open dialogue. What guides our work is a shared sensitivity—to materials, to place, and to one another. I believe the atmosphere of a studio shapes the work it produces. We aim for a culture of calm focus and mutual respect.

I occasionally give lectures to architecture students, speaking about career development and design practice. I believe that architecture, by quietly staying in place over time, can become part of a community’s memory and contribute to its long-term well-being. When architecture reaches a state of beauty, its presence can transform a moment into something timeless—quietly resonating in the lives of those who encounter it.

The A’ Design Award offered a moment to pause and reflect—not only on a single work, but on the broader path I have taken as a designer. I found value in the international scope of the platform, its emphasis on thoughtful presentation, and the care with which design is treated across disciplines and cultures. It was an opportunity to recognize the quiet continuity that underlies my work, and to connect with others who share a similar sensibility.

My design journey began long before formal education—shaped by quiet moments in childhood when light, space, and silence left vivid impressions. Those early memories eventually led me to study architecture at a university in Japan, where I deepened my understanding of proportion, materiality, and form. Over the past two decades, I have dedicated myself to projects in which atmosphere and clarity take precedence over display. My focus remains on residences and cultural spaces where architecture becomes a vessel of presence. Recognitions such as the Good Design Award and the A’ Design Award have encouraged this path of refinement.

I have always been drawn to the subtle ways space speaks—how a shadow stretches across a wall, how silence gives weight to form. These impressions did not ask for explanation; they quietly accumulated. Choosing to become a designer was not a single decision, but rather the deepening of a sensitivity that had been present since early childhood. What continues to motivate me is the possibility that a single space, composed with care, can resonate beyond time and language.

Becoming a designer was not a decision marked by a single moment. It unfolded quietly over time, guided by an early sensitivity to space, light, and silence. From childhood, I was drawn to the way stillness could shape perception, and how architecture could become a vessel for feeling. That quiet attraction gradually formed a direction, shaped less by intent and more by resonance.

I design residences and cultural spaces shaped by silence, light, and material depth. My lifelong philosophy is grounded in the union where silence and light merge. I am drawn to spaces that refine perception—where time, light, and memory come into quiet alignment. I will continue to shape architecture that remains through presence, not appearance.

Listen closely to your inner voice. Each person's sensibility is irreplaceable, and design matures through attention to what quietly stirs within. Observe how light rests on surfaces, how silence deepens space, and how a simple line can carry meaning. There is no need to rush. Let time become your teacher, and let your own rhythm take root.

A good designer creates clarity. A great designer cultivates presence. Presence emerges when design carries an attention so quiet and profound that it reaches beyond form—into silence, into light, into the subtle emotions that reside within space. Greatness lies not in impression but in quiet resonance. It stays long after the moment has passed, gently echoing in memory.

A truly good design reveals its presence with clarity and depth. It does not rely on explanation—it resonates through proportion, light, silence, and atmosphere. Such a design offers something beyond usefulness: a moment of recognition, a sense that the space belongs to the rhythm of the soul. I value designs that remain with us—not as spectacle, but as experience. When a design is quietly unforgettable, when it becomes part of how we feel or remember a place, then it has fulfilled its purpose.

Good design refines the way we live—not through excess, but through coherence. When space, light, and material align with clarity and care, they nurture calm, trust, and quiet joy. It is in such environments that we think more deeply, feel more fully, and remember more vividly. Investing in good design is not about luxury. It is about choosing to live with intention. It means creating surroundings that respect the rhythms of our lives and bring meaning to the everyday.

If time allowed, I would design a residence on a gentle slope overlooking water— a place where light drifts across the floor throughout the day, and where each breeze traces a moment. It would be for someone who quietly notices these rhythms, someone who values presence without display. The architecture would remain calm and open, gently engaging with its surroundings through proportion,

There is a place I often envision—a home overlooking a still lake, where light, silence, and memory are allowed to unfold without interruption. Not a retreat, but a space in quiet dialogue with the horizon. It would be designed not to display architecture, but to let time and atmosphere settle naturally. This project is not driven by scale or ambition, but by a deep longing to shape a place that feels inevitable—as if it has always belonged to the land.

If there is something that guides my work, it is resonance. Not as a technique, but as a way of sensing—how a space, a material, or a light speaks before any form is defined. I trust that when design emerges from this quiet attunement, it gains clarity and presence without force. The most lasting spaces I’ve created often began with a subtle feeling rather than a strong idea.

I hold deep respect for the architectural sensibilities of Oscar Niemeyer, Louis Kahn, Tadao Ando, and Peter Zumthor. Their works embody a quiet power—spaces shaped by light, gravity, and a reverence for stillness.

One design that continues to resonate with me is Oscar Niemeyer's Palazzo Mondadori. Its sweeping colonnades and floating volume create a sense of serenity that feels both monumental and weightless. The building seems to defy gravity not for spectacle, but to let space breathe. There is a quiet dignity in how it belongs to its setting—calm, assured, and timeless.

One of my most cherished works is a small tea house built in the spirit of sukiya architecture. It is a space shaped not by scale or formality, but by quiet presence and thoughtful intention. The proportions follow a rhythm refined through tradition, and each element—timber, paper, shadow, and stillness—was selected with care. It is a place for quiet dialogue, for moments that exist only once. In this project, I see the essence of what draws me to architecture: the subtle power of space to hold emotion, time, and beauty without explanation.

To become a better designer, I believe one must begin by refining awareness— not just of form and function, but of the unseen forces that shape a space: light, silence, memory, and presence. I’ve always tried to stay close to things that move me deeply, whether it’s a line of poetry, a moment of stillness, or a material that seems to carry time. Rather than accumulating methods, I focus on deepening perception. Design begins long before the drawing— in how we listen, observe, and feel the world around us. That, to me, is where refinement truly begins.

If I had not become a designer, I would likely still be drawn to spaces where emotion and clarity meet. Perhaps I would have worked with literature, or in some form of visual composition— fields where silence, rhythm, and structure quietly shape meaning. Whatever the path, I believe I would have continued seeking beauty in its quieter, more lasting forms.

To me, design is a quiet form of presence. It is born from careful listening—to light, to air, to the subtle rhythm of life. Every proportion and texture speaks not of function alone, but of feeling. A well-designed space does not declare itself—it breathes with its surroundings. When architecture aligns with the pace of human thought and the stillness of memory, it becomes part of time rather than resisting it. Design, then, is not a separate activity, but a way of inhabiting the world gently, with care.

I have been quietly supported by many— my family, who gave me stillness and strength, my friends, who brought warmth and perspective, and my clients, who entrusted me with their hopes. Their presence was never loud, but enduring—rooted in trust, in moments of silence, and in the quiet act of walking together. To all who shared this path, I carry deep gratitude. Certain spaces, too, have walked beside me. Architecture, at its core, is lived and felt— not just seen or assembled. When resonance occurs, the space endures, quietly and beyond time.