Interview with Keisuke Fukui

At Kamakura Studio, we value recognizing and maximizing the interesting elements that are at the core of each project, such as the surrounding environment and the personality and demands of our clients. Our designs are based on the belief that by deeply connecting with buildings and their environment, people can lead a more sustainable and affluent life. Thus, we prioritize "maximizing and visualizing various connections."

For us, design is about organizing and directing the mechanisms of things to increase their value.

I love architectural design involving many people. Not only in public architecture but also in individual and corporate architecture, we consciously consider the public aspect. This consideration does not lead to losses for the companies or individuals, rather, by being aware of the public aspect, respect for the companies and individuals increases, which we believe, and explain, results in benefits for our clients.

: My favorite design is the Oya History Museum in Tochigi Prefecture, Japan. This museum utilizes a former quarry where stones were once extracted. The original quarry lines have been incorporated into the museum, serving as its layout and pathways. As a result, the space overflows with a unique charm, a charm that emerges when a structure designed for one purpose is repurposed for another. This resonates with the philosophical approach I am currently exploring in my work.

The first thing I designed was a community hall for the local residents. This hall, designed for 500 local residents, was previously a gloomy place rumored to be haunted by 'ghosts' among the children. To transform this place, I calculated and analyzed the movement of light during the winter solstice, positioning part of the building where light could be captured. The light reflected off the ceiling and walls was designed to brightly illuminate the streets and parks. I also created a large veranda to open the interior space to the street and park, so people's presence would radiate brightness. As a result, not only the building but also the whole area's impression brightened, as if the design of a single architecture had the effect of designing the entire city.

My favorite material is natural materials / My favorite platform is XX / My favorite technique is the craftsmanship of artisans.

I like seeing situations that turn negatives into positives. When something that seemed worthless is transformed into something of value.

I value turning negative situations into positives. I emphasize transforming situations that seem to have no value into something valuable.

It makes me feel excited.

I feel moved not when a design is realized, but when it is used, and it brings about a happy situation.

I think the dialogue with the client and the dialogue with the site environment are important.

It's about how the presence of architecture shines in its place, and how much it can evoke a myriad of images.

Accepting the past and present and serving as a bridge to a better future.

With the rise of AI, I think designers will be able to focus more on the creative aspects. However, the advent of AI might also mean that less attractive designers could go out of business. This is because, with simple tools accessible to everyone, creation becomes open to all. A future may come where only those who can do what others can't, who can design things that no one else can think of, who are like 'wizards', can call themselves designers.

The last exhibition was held in Yokohama in March 2023. The date of the next exhibition is yet to be decided.

I think it's about gathering lots of information. The source or type of media for collecting information doesn't matter. I take inspiration from everything, even from comics, social media, or from the scenery and flora and fauna I see on walks.

I always think about wanting to raise the impression and value of the place after the building is built, more than before it was built. Also, as I mentioned earlier, I value turning negative situations into positives and transforming situations that seem to have no value into something valuable.

I am from Chiba Prefecture, next to Tokyo. Of course, this influences me. I often feel that the style of Japanese architects is very different from that of architects abroad. The advantage of living in Japan and designing here is that I can create my works relatively freely. The downside is that construction costs have skyrocketed.

I work on design supervision for tenant buildings, shops, and large facilities, but I approach my work with the same attitude whether I'm dealing with individual clients or corporations. However, for corporate clients, I am more conscious of branding. By creating documents that are easy for corporate decision-makers to approve, I ensure that projects proceed smoothly.

Although I approach every architecture project in the same way fundamentally, when dealing with corporate clients, I put greater emphasis on the company's branding. I believe businesses should refer to an architect's previous works when searching for the right architect.

I start by observing the site, studying the local culture, and listening to the client's needs. Then, I prepare a comprehensive proposal. I believe the best design is one that not only fulfills the client's requests but also fits into the local area and can impact its future, even if the client did not request that.

Various Apple products, a pair of scissors given to me by my grandmother when I was young, gardening tools for plant management, a cutting board made of solid Hinoki cypress wood, and a roll-up pencil case for storing colored pencils.

I strive to live as simply as possible. I have children, so I prioritize meaningful conversations with them.

As we're still young, we continue to learn and refine our skills by following the examples of our seniors.

Adopting a mindset that transforms zero into one can add depth to daily life and make everything feel like a learning opportunity, which is a positive point. It can be difficult to forget that you're a designer in daily life, which might be a negative point, but I've never perceived it as such.

Moving my hands and thinking for myself.

Keeping passion alive. Also, I guess being able to maintain a personal stake while viewing matters objectively from a higher perspective.

A sketchbook and pencil.

To increase my concentration time, I aim to finish tasks that can be done quickly as fast as possible.

It depends on the scale of the architecture. Generally, it takes about six months to a year. For more complex projects, it can take around three to five years.

How do you come up with ideas? I am asked.

All past experiences are important. All future work will become our nourishment.

Our clients vary, ranging from individuals to corporations. While many of our clients are wealthy, we certainly have clients who are not.

I find it exciting when complex conditions and requests are resolved in a very simple way. Also, it feels rewarding when, even after completion, the building vividly recalls expectations without explanation, not fading over time, in the minds of its users.

It's always a pleasure to see an increase in fans of our firm. I believe as this base grows, so will the scope of our interactions.

We work as part of a team.

I think "HOUSE M" in Osaka will turn out to be a fantastic piece of architecture.

Please contact us through the inquiry section on our website or email us directly.

Why do people seek connection? Why do people fight? We are in the process of developing a philosophy that will fully explain why. If anyone is interested, please contact us.