Interviews med No.10

I start every project by studying its context—brand, location, and era—to create a design that feels truly at home. Each background is unique, and that naturally leads to originality.

The goal was to turn the vast space and oversized custom roaster into a place for a memorable experience. Saudi regulations required separate order counters for men and women, inspiring a layout that lets guests enjoy the roaster and baristas from multiple viewpoints.

No.10 will continue designing %Arabica stores worldwide, each tailored to its location. Including ongoing projects, we have created about one-third of the brand’s stores globally.

Over two months, I explored multiple concepts with the brand owner, from a store floating on water to one resembling a mosque courtyard, always aiming for a space with a special sense of experience.

Through discussions, we defined the core idea: a place to enjoy the process of coffee-making. This vision shaped the plan, along with operational needs and local culture. I coined “Theater-Style” as the concept to capture this essence.

This is an original design for an existing store, with no plans to lease or sell the rights.

As %Arabica’s largest store, it needed to offer something different. The brand always adapts its stores to local character, and here we aimed for a café with unique value that exists nowhere else.

Achille Castiglioni, Isamu Noguchi, and Kenya Hara have deeply influenced my design process through their works and writings.

While popular across all ages, %Arabica especially attracts those in their teens to thirties. In Saudi Arabia, where coffee often replaces alcohol, I hope guests of all ages enjoy it with all five senses.

Other large roastery cafés exist, but few focus so strongly on the sensory experience—watching beans roast, hearing the grinder, smelling the aromas, and enjoying the baristas’ craft.

The store name came from the brand owner. I created the term “Theater-Style Café” to express a multi-sensory journey from bean to cup.

I worked with a laptop, iPad, pen and paper, using Vectorworks, Illustrator, and Photoshop.

The experience changes with each seat—face-to-face with the roaster, at eye level, close to the kitchen, or overlooking from above—thanks to the central atrium and three elevation levels.

Lighting design was by Hiroshi Enami of L.GROW. In an all-white space, light balance is crucial, so we centered it on the roaster and kitchen counter.

I used 3D renderings to refine sightlines from every seat.

Advice from the franchise owner on Saudi lifestyle shaped choices like furniture size, curtain transparency, and mirror placement.

Designing seating to suit local customs took time. I used sheer curtains for privacy, adjusted furniture for traditional attire, and added mirrors for comfort.

High praise for the café led the company to recommend entering the competition. I had long wanted to apply to the A’ Design Award.

This project took time and collaboration, reinforcing for me the value of working closely with others.

We enhanced the experience with many touches—showing the roaster from outside to spark curiosity, opening the view from low ceilings to an atrium, and using height and layout to create a layered sense of space.

At the age of 16, I made the decision to pursue design, determined to turn my artistic strengths into a profession. I completed a degree in product design at university, and later joined Nomura Co., Ltd., where I expanded my work into a wide range of fields including spatial, product, graphic, and packaging design.

My motivation comes from transforming ideas into tangible results that positively impact people and businesses. Becoming a designer allowed me to combine my artistic abilities with problem-solving skills.

I chose this career entirely by myself, based on passion and curiosity, not obligation.

I work across commercial spaces, branding, and product development. I would like to design more projects that combine spatial design with service and brand strategy.

Focus on purpose, not just appearance. Learn to explain your concept clearly and understand the client’s needs deeply. Stay curious and disciplined.

A good designer solves the problem given. A great designer finds hidden challenges and creates solutions that go beyond expectations.

A truly good design fulfills its purpose, provides measurable value, and resonates emotionally, succeeding functionally, aesthetically, and strategically.

Good design increases brand value, improves user experience, and reduces long-term costs — it is an investment with lasting returns.

I would design a public cultural facility blending architecture, nature, and community, inspiring creativity for all generations.

My dream project is to create a space where art, design, and technology intersect and evolve over time through user interaction.

My secret ingredient is a balance of logic and empathy — understanding the client’s goals while crafting a narrative that connects with people.

Achille Castiglioni. I admire how his work balances practicality with minimalist beauty, while incorporating a sense of humor and playfulness that brings joy to the user.

I admire Noguchi’s AKARI series for its minimalism, durability, and elegance — achieving maximum impact with minimal resources.

My greatest design is one where concept and execution align perfectly to solve the client’s challenge while creating emotional resonance.

Improve by studying not just design results but the processes behind them, and by expanding your perspective beyond your own discipline.

I might have become a physicist. Before deciding to pursue design, I had a strong interest in and aptitude for physics.

For me, design is a tool for creating value — a process of solving problems while shaping meaningful experiences.

Mentors, colleagues, and clients who challenged me and placed their trust in me have been invaluable. Above all, my family has been my greatest emotional support.

Spending time in the great outdoors, experiencing awe-inspiring sights that human hands could never create. In those moments, I engage in self-reflection to analyze the true source of that sense of wonder.

I don’t consider myself a “master” at all. I continue to discover new challenges every day and explore ways to address them.

Designers should present their work with a clear explanation of purpose, process, and expected outcomes, supported by compelling visuals.

Currently, I am working on spatial design projects for offices, retail spaces, and funeral facilities, as well as the rebranding of a Japanese restaurant. Going forward, I aim to contribute to society by integrating spatial, graphic, and web design to enhance both corporate competitiveness and user experience value.

My ultimate goal is to create designs that have a lasting positive impact on both clients and society.

People expect me to bring fresh perspectives, strong concepts, and results that balance creativity with business value.

Design can address social issues, improve accessibility, and promote sustainability, contributing to a better society.

The rebranding of a long-established Japanese restaurant — an opportunity to merge design with storytelling.

The Matsuishita IMP Building project. As part of a renovation of the lower commercial floors of an office building, we introduced an open workspace. Designed in anticipation of changes in work styles after the pandemic, it has attracted far more visitors than expected. As a result, tenant sales have increased, contributing to the building’s value, and most importantly, creating a comfortable environment for office workers.

I hope to see greater emphasis on sustainability, inclusivity, and long-term value in the design industry.

I believe design is moving toward more interdisciplinary collaboration and socially conscious solutions.

Depending on scale, a project can take from several months to several years to finalize.

I start by clarifying the project’s goals, expected outcomes, and constraints before moving into concept development.

Design for value; let beauty follow purpose.

I believe trends and design influence each other, but timeless design often sets new trends.

I believe technology plays a role in expanding design possibilities and improving work efficiency. At present, I’m especially focused on the potential of AI.

I use a laptop, iPad, and pen and paper; software includes Rhino, Revit, Vectorworks, Illustrator, and Photoshop.

Color, materials, and ambience shape the emotional and functional experience of a design — they must be considered as a whole.

I hope people ask clients and users about my designs, as their experiences matter most.

I am fascinated by how an idea evolves and takes shape — the process behind its transformation.

My ideal partner is someone with complementary skills and shared values — and yes, I believe in co-design.

Mr. Hajime Sakai, a Japanese painter. From him, I learned fundamental methods for analyzing both my own and others’ work, as well as techniques for refining the quality of a piece. These skills remain highly valuable in my career as a designer.

Technology will advance design beyond our imagination, but the human essence — the pursuit of beauty and meaning — will remain unchanged.

I developed my skills through hands-on experience, continuous study, and reflection on both successes and failures.

I would like to meet someone from a hundred years in the future — ideally one of my own descendants — and exchange ideas and knowledge.

Awards are gratifying, but they are not the goal — the real challenge is to keep evolving.

Color: Black, White

Place: Shinto shrines in Japan (the most spiritually soothing places for me), the Galápagos Islands (a paradise of wildlife)

Food: Seasonal Japanese cuisine

Season: Summer

Object: Isamu Noguchi’s AKARI series

Brand: Apple, MUJI

Shortly after designing a café in Kuwait featuring glass-walled, tent-shaped semi-private booths, the COVID-19 pandemic began. The owner told me that these glass enclosures functioned perfectly as partitions for infection control, and despite the pandemic, the café enjoyed excellent sales — a result that brought them great satisfaction.

A great day is when I discover a solution that solves multiple challenges at once. I stay motivated by learning something new.

As a child, I was always building and drawing, so the signs were there.

In a thousand years, I hope design will still be human-centered, regardless of technological change.

Design is a shared journey, built on trust, collaboration, and the passion of everyone involved.

I decided to become a designer at the age of 16, when I felt a strong desire to devote myself to mastering a craft. Determined to channel my artistic strengths into a professional pursuit, I majored in product design at university. Eager to expand my creative range beyond products, I later joined Nomura Co., Ltd., where I work across a broad spectrum of disciplines — from spatial design to product design consulting, graphic design, and packaging design.

Nomura Co., Ltd. has a history of over 130 years. Our business spans the entire process of spatial creation — from research, planning, and consulting to design, engineering, production, construction, as well as operation and management.

For me, design is a means to help a client’s business succeed. That’s why, no matter the project, I begin by clarifying the benefits and value the design must deliver. At the same time, I have a deep appreciation for academic and experimental design, and I truly enjoy exploring those realms as well

What I enjoy most is developing the framework and concept of a design. There’s a unique satisfaction when the concept and design align perfectly to achieve the set goal — a feeling similar to solving a complex equation or discovering a coherent storyline. Of course, there are times when the path is unclear and the process can be challenging, but that’s part of what makes it so rewarding.

My favorite design is Isamu Noguchi’s AKARI series. I’ve admired it since my university days for its durability, ease of assembly, lightness, beauty, and use of traditional techniques — as well as its minimal, simple packaging. It’s a product that achieves maximum impact with minimal resources, which I find truly inspiring.

The first project I designed for a company was an exhibition booth. I went on to design several more booths after that. While I now work primarily on commercial spaces, the skills I developed back then — organizing information and building logical frameworks — continue to serve me well today.

Lately, I’ve been fascinated by the potential of AI. If used appropriately, I believe it has the power not only to enhance design, but also to unlock new technologies, skills, and forms of creativity across many fields.

I feel most creative when an idea emerges that addresses multiple challenges at once — such as client profit, social relevance, functionality, and visual appeal. It’s not easy to create something universally perfect, but I strive to design with a consistent narrative while solving problems from multiple angles.

I always start by considering the purpose of the design, as I believe that’s the most important aspect. At the same time, I focus on how effectively my design can achieve that purpose.

I feel a mix of uncertainty and anticipation. I design with the belief and expectation that things will work out, but I also constantly question myself along the way, asking if this is truly the best solution.

When a design is realized, my first feeling is relief. I’m genuinely happy when I see sales increase, when the space is filled with customers, or when I discover unexpected insights through the outcome.

I believe a successful design requires maintaining both micro and macro perspectives, as well as an objective point of view — always keeping in mind how to enhance the client’s profit and value.

I first consider how much profit or value the design generates. As a designer, I’m naturally drawn to beauty, but when working with a client, I prioritize whether the design contributes to their business.

I believe it is a designer’s responsibility to minimize any negative impact on society and the environment. That means always being mindful of the broader context surrounding what we create.

I think design evolves alongside technology and culture. In our networked world, design is developing in two parallel directions — on one hand, a leveling effect where people around the globe share similar design ideas, and on the other, the refinement and evolution of unique designs rooted in distinct local communities.

My last exhibition was in Tokyo last year, held in conjunction with receiving another award. At the moment, I have no plans for an upcoming exhibition.

I draw most of my aesthetic inspiration from nature, my concepts and logic from daily news, and my sense of functionality from everyday observation. Even when I travel, I focus on observing nature and traditional crafts not found in urban environments to refine my sensibilities.

I aim to clearly define the purpose of the design and the outcomes it should achieve, and then develop a design that maximizes those outcomes. Everything else is kept to a minimum. While many of my works tend to be simple, I also consider lively and casual expressions when they serve the project’s objectives.

I live in Tokyo, Japan. Modern Japanese life has evolved beautifully by openly incorporating elements from other cultures. In the same way, I don’t fixate on my own stylistic identity. Instead, I embrace the client’s requirements and focus on delivering the best possible results — in that sense, I think my approach is influenced by Japan’s cultural openness.

Most often, I receive a design request and then work closely with the client, listening to their situation and proposing solutions. In some cases, I also provide consulting services, offering advice on products and services.

Designers understand both the scope of what can be solved through design and the means to achieve it. However, perspectives can differ, so I believe it’s important to clearly define the challenges you want to solve through design and to engage in plenty of communication. To find the right designer, I recommend looking for someone whose past work demonstrates the ability to address challenges similar to yours.

The process varies depending on the project, but it often follows this flow:

1.Research on the design subject

2.Clarifying the purpose and expected outcomes

3.Developing the design concept

4.Establishing the design code

5.Creating the design

6.Refining the design based on cost considerations and construction or manufacturing methods

1.A bed and shelves made of iron and wood (self-built)

2.A wooden deck in the garden (self-built)

3.A handcrafted knife from an artisan in Osaka (exceptionally sharp)

4.A Weber barbecue grill (great for strengthening connections with family and neighbors)

5.LEGO (I’m always impressed by the creativity in my son’s builds)

Wake up

Handle urgent work

Breakfast, housework, take my son to school

On the commute: check schedule, develop ideas, read

Meetings and project work

On the commute back: review next day’s schedule, develop ideas, read

Return home

Prepare for bed (finish any remaining work if needed)

Sleep

Don’t just study the appearance of great design — study the process behind it. And remember: design is not self-expression, but a means of generating profit and value.

The downside is that the aesthetic side of design often gets all the attention. The upside is having the privilege to create things that resonate with people’s emotions.

My golden rule is to create, through design, the profit that the client needs. If this is overlooked, design stops being a business tool and becomes mere self-expression.

The ability to stay curious and maintain a positive perspective is essential. For a designer, the capacity to approach any subject with genuine interest is one of the most important skills.

My main tools are a laptop, an iPad, and pen and paper. In terms of software, I primarily use Rhino, Revit, Vectorworks, Illustrator, and Photoshop. I often find that scenes and objects I come across while traveling become valuable sources of inspiration.

I start by deciding the completion date for each task. I keep necessary materials on my iPad and iPhone so I can work on ideas and design concepts during travel time, making the most efficient use of my schedule.

The timeframe varies greatly depending on the subject of the design. For spatial design, some projects take around six months, while others can extend over five years. On average, most of my projects last one to two years.

The question I’m asked most often is about the concept behind my designs. That’s why I always aim to create concepts I can explain clearly and concisely — something I believe is also essential for clients, who often need to articulate the concept in various situations.

My most important job experiences have been those where the results were unexpected — both successes and failures. Early in my career, I encountered many such situations. I believe the accumulation of those experiences has been key to my growth.

My clients include developers, manufacturers, and store operators. Some are large corporations, while others are family-run businesses. I truly enjoy the variety of working with such a diverse range of clients.

I especially enjoy projects where design can have a significant impact on the client’s profit or value. The greater the impact, the more pressure there is — but that’s also what makes the work so rewarding.

For now, I want to take on a wide variety of projects to further develop my experience and skills. In particular, I’d like to increase my involvement in areas that go beyond traditional design — such as branding, services, and technological development.

Most of my projects are team-based. I enjoy exchanging ideas freely, regardless of hierarchy, and working together to find the best possible solution.

I’m currently working on the rebranding of a traditional Japanese restaurant. Rebranding is exciting for me because it allows design to play a role from many different angles.

Please contact me by email: j.watanabe@nomura-g.jp

For me, design is a shared journey. It comes to life through the ideas, skills, and dedication of clients, team members, craftsmen, engineers, and many others. I always aim to keep those conversations open, because they are where the most powerful ideas take shape.