Interviews with Nobuaki Miyashita

I have dedicated nearly 30 years to architectural design in Japan. During this time, I've worked on a diverse array of projects ranging from residential to large-scale urban developments. I established MR STUDIO Co., Ltd. in 2017, focusing on innovative concept creation and design development.

My design was primarily driven by the need to modernize an outdated facility while infusing it with Orico’s strong corporate identity. I drew inspiration from the concept of flexibility and privacy, aiming to revitalize the space to foster both collaborative and private work environments.

The primary principle behind my design for the AIDA Precut Division was to architecturalize the timber processing itself. The inspiration came from the desire to visualize the simple yet precise process of cutting high-quality laminated wood collected from around the world, embodying the quality of housing through the design of the factory.

I was inspired by the challenge of maximizing dynamic living space on a narrow, flagpole-shaped lot in Tokyo. My aim was to transform these constraints into a sculptural and functional design element.

With nearly 30 years of experience in architectural design, I have had the privilege to shape diverse spaces that define urban landscapes. My education in architecture provided a strong foundation in both technical skills and creative development, fueling my passion for blending functionality with aesthetic innovation.

I've been immersed in architectural design for nearly three decades, having been inspired by my uncle, a distinguished architect. From a young age, I was fascinated by the impact of spaces on human experiences, which led me to pursue architecture as a profession.

The public passage was conceived as a modern reinterpretation of Urawa’s historical street grids. By embedding a pedestrian route through the site, the building reconnects fragmented urban layers—linking the past of the old Nakaginza Seven street with the city’s new commercial axis. This architectural gesture embodies my belief that office buildings should not isolate themselves, but rather contribute to the rhythm of public life and collective movement.

The strict urban zoning and setback restrictions initially seemed like obstacles, but they became the foundation of the design concept. The slanted walls and stacked volumes were generated directly from the legal height envelope, creating a sculptural form that captures light differently throughout the day. These constraints inspired a rhythm of light and shadow, transforming what could have been a limitation into the most defining aesthetic of the house.

The journey began with a desire to reinterpret Kanazawa’s UNESCO-listed gold leaf craftsmanship beyond ornamentation. We sought to express its spiritual luminosity in a minimal, contemporary architectural language. By integrating over 3,000 hand-applied gold leaf tiles, the space becomes a dialogue between the past and present—honoring Kaga’s heritage while reimagining it through light, proportion, and silence.

The billet-shaped LED fixtures express the transformation of recycled steel into new architectural value. Each linear luminaire symbolizes the rebirth of steel billets, representing Kyoei Steel’s philosophy of circulation and sustainability. By using energy-efficient LEDs and recycled steel components, we turned industrial materials into a poetic expression of light—bridging production and design in a sustainable narrative.

The barcode and QR code motifs symbolize Kyoei Steel’s evolution from traditional manufacturing to a digitally integrated enterprise. By translating industrial identity into a visual system, we expressed the company’s philosophy of “recycling with intelligence.” The black-and-white stripes are not decorative—they represent material data, process rhythm, and the circulation of resources, forming a new architectural language of industrial transparency.

The concept was inspired by the image of a luxury cruise ship moored permanently along Mui Ne Beach. The diagonal rise from the 7th to 20th floor expresses the vessel’s bow cutting through the horizon, symbolizing forward movement and freedom. This maritime narrative guided the entire massing composition—the layering of decks, horizontal rhythm, and the floating effect—all designed to evoke the sensation of a ship gently gliding on the sea.

The lighting design was directly inspired by the precision angles of quartz crystal cuts—AT (35.15°), CT (38°), and DT (52°)—which determine the vibration frequency of each oscillator. By translating these exact angles into the ceiling lighting geometry, we created a rhythm of light that visually embodies Daishinku’s core technology. The intersection of light lines replicates the wave propagation inside a crystal, producing a luminous environment that resonates with scientific precision.

The idea originated from observing Kyoei Steel’s recycled billets—solid, weighty, and full of narrative. I wanted to reinterpret these industrial forms not as raw materials but as architectural expressions of renewal. Through the stacking and layering of billet-inspired volumes, the building symbolizes the cyclical rebirth of steel. It transforms industrial matter into a spatial metaphor of sustainability, where strength and refinement coexist.

The semi-buried first floor in the Black Monolithic Wall Residential House was a deliberate architectural response to Tokyo’s stringent building regulations and limited site dimensions. By partially sinking the first floor, we maximized the interior volume while complying with height restrictions. This approach created a private, secluded living area, sheltered from neighboring buildings and street noise. The underground design also contributes to thermal stability, keeping the living space naturally cooler during summer and warmer in winter. This arrangement elevates the living experience by providing a peaceful, private environment that remains closely connected to the exterior through the tsubo-niwa, which brings natural light and ventilation into the semi-buried floor.

The concept of using credit card motifs for the Orico Training Center Corporate Office emerged from a desire to create an environment that reflects Orico’s core identity in an engaging, visually impactful way. Credit cards are fascinating objects—they offer a gateway to various lifestyles and privileges, from travel rewards to exclusive experiences. We wanted to capture this by giving each training room a unique personality aligned with the card’s traits, like Gold or Platinum, allowing users to feel like they’re stepping into a distinct world. The spatial design evolved through meticulous detailing, from shaping partitions that echo the precise radius and thickness of actual cards to incorporating materials that would enhance each room’s thematic resonance. This approach emphasizes Orico’s identity while creating an engaging and dynamic training environment.

The 100-meter-long glass-enclosed walkway at Aida Sekkei Precut Factory was designed to offer visitors a transparent view into the precision and care involved in timber processing. By showcasing the entire manufacturing process, we aimed to convey Aida Sekkei’s commitment to quality and craftsmanship, aligning with the Japanese tradition of transparency in architecture. Japanese architecture often emphasizes openness, and this walkway allows visitors to see each step of the timber’s transformation without barriers. It was essential for us to honor the heritage of Japanese architecture by making the manufacturing process both visible and immersive, reflecting a philosophy of open communication and pride in the work.