Interviewe mat Hiroaki Iwasa

My 30-year career as an architect began at Masayuki Kurokawa Architectural Design Office after graduating from the Department of Architecture at Musashino Art University. At the studio there, he experienced design projects of various scales, including watches, perfume bottles, diving equipment, chairs, cars, Japanese tea rooms, private residences, observation decks, factories, hotels, golf clubhouses, museums, etc. After 5 years of experience,I embarked on an 8 month journey around the world before founding my own firm. From Turkey, I traveled along the Mediterranean coast to Greece, Italy, France, Spain, Morocco, and Mexico, eventually spending some time in an old family's inn in Old Havana. Through that journey, I realized that I wanted to contribute to creating a better future by designing various buildings that are indispensable to people.

When I was a child, I spent time not only in various parts of Japan but also in Jakarta, Indonesia due to my father's work.

In a well-ventilated house with a courtyard and a pond, I would paint, do crafts, or run to the top of the roof to fly a kite and watch the bright red sunset beyond the mosque while listening to adhan. At that time, I didn't know that the buildings where I spent memorable times, such as relaxing meals with my family and vacationing at seaside hotels, were designed by architects.

During his high school days, he spent most of his time living in the dormitory and playing rugby, making it to near the top of the national tournament, the pinnacle of high school rugby, but when it came time to think about his future, he couldn't think of anything other than becoming an architect instead of a rugby player.

When I was a student at the Department of Architecture at Musashino Art University, I not only worked on university projects, but also interned at numerous architectural firms such as Arata Isozaki, Riken　Yamamoto, and Organization Office, while on vacation I carried a backpack and traveled to India and Sri Lanka. I voraciously enjoyed the various landscapes, cultures, and lifestyles of Mexico, Spain, and other countries. The background to many of these experiences was that architecture is everywhere, indispensable to people, and good architecture brings excitement.

I am fascinated not only by historical buildings and buildings designed by famous architects, but also by anonymous buildings where people are dynamic and make up the landscape, and I wanted to design such a building myself someday.

From my experience as a student, I was attracted to the idea of ​​quickly acquiring practical design skills and actually designing buildings one by one, so I chose this career path.

No matter the size or purpose of the design, I follow the steps of hearing from the client, investigating the situation, discovering the problem, researching solutions, researching prototypes, refining and completing. What unites various projects is my attitude of honestly facing each project one by one.

First and foremost, I strive to understand the current situation of the project, including the client's requests, and what the project should look like in the future.After chaotic trial and error, when I find the light, that is the time. Moments like when Columbus put up the egg.

Until the project is completed, I have enough experience with the image and mock-ups, so although it is not new, I feel satisfied and am very excited to see how it will be utilized by clients and society.

Valuable non-design skills that architects and designers should possess are imagination, curiosity, communication, patience, a personality that enjoys everything, empathy for others, an altruistic spirit rather than selfishness, a sense of mission, and a sense of responsibility. I believe that.

These are not things that can be learned through academic design research, but I think they are basic skills that I have acquired through my upbringing and life.One of my main experiences was playing rugby, where each individual brings their own abilities to help the team win.

The record of my personal growth is each projects I have completed so far. I have ample experience and skills as I have designed various products, furniture, interiors, and architecture. In the future, I would like to go to an unknown place and create architecture that will be cherished by the area and its people.

I think it is important for designers to have a humble attitude of serving clients and society, and a sense of mission to solve problems on their own. To that end, I think it is important to gain a lot of practical experience and hone your own practical skills so that knowledge from others or criticism from others does not take up most of your work.

Design is an act that creates new value that has never existed before, so when approaching a project, we can create new values ​​and worlds by questioning conventional conventions and preconceived notions.

It's no fun to make things using the same values ​​and methods as before.

My day consists of running along the river in the morning, then quickly cooking a simple, well-balanced meal and eating it with my family before riding my bike to work. It takes about 40 minutes to pass through main roads, riversides, and parks, so I can feel the change of seasons and feel refreshed. This is also training for a triathlon.

At work, I take a shower, water and feed the plants and fish in the aquarium, and then check my email and plan out the day's tasks.Then, I study and brush up the layout of the project while writing the manuscript and communicating and checking with the site and collaborators. Making it a habit to cook lunch in 20 minutes will not only change my mood, but also give me time to think about how to use your kitchen more efficiently.

In the afternoon, I often go to the site and spend time checking, holding meetings, and giving instructions. Sometimes I make mockups in my office.

Sweets during tea time are a must.

In the evening, after attending an exhibition opening reception or meeting with friends, I go home and cook and eat dinner with my family. It's a day like that.

I look at the latest trends, but I don't follow them. Fashion trends change rapidly and are interesting, but in architecture, I think we need designs that can be used for a long time and provide universal comfort, rather than the commercial and expendable pursuit of following trends.

The best way to judge whether a design is good or appropriate is to try it out.

It's not something you can understand just by looking at it or listening to an explanation. In other words, good images and good explanations are important, but I think it's important that a good design itself makes you smile when you actually use it.

I think the design should be completed on the spot. However, even once the project is complete, it is necessary to check and improve it from time to time, such as verifying it after a certain period of time, making improvements if defects are discovered, and making changes to respond to changes in the times. I think that is my responsibility as a designer.

The same applies to mass-produced products such as home appliances, as well as one-of-a-kind architecture.

There are several works that I am proud of. In particular, for the children who will be responsible for the future,I designed a nursery school in a concrete building area in the center of Tokyo that is covered with plants all the way to the roof, where they can experience the plants and the sky. Designing a ceremony hall for a temple that inherits the memories of local people and the history of the region. Designing a hillside house where a couple and their dog can live happily together.

I'm proud of the fact that I've met wonderful clients and environments, and that they've been happy with the results of my designs. I'm looking forward to seeing what their future holds there.

Achille Castiglioni, Luis Barragan, Jeffrey Bawa, Renzo Piano, Kenzo Tange, Fumihiko Maki...My favorite architects and designers.

I live in Tokyo, Japan. Raised in Jakarta, Indonesia, traveled to various landscapes and cities such as India, Sri Lanka, South Korea, Turkey, Greece, France, Spain, Italy, Germany, Switzerland, Czech Republic, Morocco, Argentina, Uruguay, Mexico, Cuba, and the United States. Did.

I loved seeing what people enjoyed and what they were looking for in each town. As an architect, I acquire creative skills while communicating with such communities and people, which I use to help with design and my own life.

As an architect, I think every day that I want to contribute to people and society and create a better future. Although I work alone in the studio, I have worked on various projects in collaboration with experts in other fields. In order to work together, you need to master your own specialty and I think it's important to enjoy it, and that's how I want to be as well. I believe that by approaching the project honestly and with a sense of responsibility, we can deliver a happy design.

As an architect, if there is an opportunity to do charity work, I would definitely like to do it.

I contributed to the high school that raised me by designing the 30th anniversary hall. I believe that the classrooms for the IBDP curriculum and the multipurpose hall for exchange presentations were useful for the students who will be responsible for the international future society.It is Meikei Highschool Agora Hall project.

I think architects and construction companies need to use their abilities more proactively to help people who are struggling with basic living needs. Especially in disaster areas, it is necessary to respond quickly, and I think that support from the government is essential.

Architecture is rooted in the region and the designer, so by participating in the competition, the first thing you can do is see how the regional characteristics and unique designs are evaluated from a global perspective. Second, the evaluation itself has a positive impact on the area and architecture.Third, as architects themselves put their projects into words and organize their philosophies, I think more and more architects will aim to improve their skills in order to create better architecture.

When it comes to architecture projects, applying for awards and being featured in the media tend to take a backseat. (At least for me) However, unlike awards and media that tend to chase new topics, A' Design Award is open to applications even if it has been a number of years, and after a certain amount of time has passed, it has been conveniently satisfied with clients and the region. I applied because it was an award I could apply for to make them proud.

And I think it's important that we were able to win this award, and that we were able to confirm that it was an international and universal design that was not easily forgotten or wasted, but also had a variety of cultural perspectives.

I am happy to think that this is the reason why I was chosen as Designer of the Day.

thank you very much.

The inspiration comes from the history and natural environment of Hakata. Hakata is a city facing the sea while being surrounded by forests and mountains, and it has developed through centuries of exchange with Asia. In my work, the situation, environment, and historical context surrounding a project always become the core of the design. For this project, I sought to weave the memory and atmosphere of Hakata into the space itself.

My primary focus was to create a unique space where visitors to Hakata Station could experience food together with the history and cultural background of Hakata. I wanted the space to provide not only a meal, but also a sense of hospitality and local identity, even during a short stay in a busy terminal station environment.

Among Japanese food cultures, donburi is one of the most familiar and widely loved styles of dining in everyday life. In recent years, as interest in Japanese culture has grown globally, its popularity has also expanded internationally. I believe spaces that communicate Japanese food culture together with regional identity will become increasingly important in the future.

Because the opening schedule of the terminal station building had already been determined, the design process had to proceed within a very limited timeframe. Although the schedule was short, the project involved an intensive and highly concentrated design process.

The commission itself included very concrete requirements such as seating capacity, kitchen conditions, and menu planning. Based on these conditions, I pursued my own design approach to create a space where the cuisine and service could be experienced in the most compelling way possible.

This design is a unique work created specifically for this location. Even if similar projects are developed in the future, I believe each space would need to be carefully customized according to the history, culture, and environment of its region.

This space emerged from pursuing future value for the location while responding to the client’s requests and the unique conditions of a terminal station. I wanted it to become more than simply a restaurant — a place that communicates the memory and identity of the region.

I was not influenced by any particular architect or design. For this project, the greatest inspiration came from Hakata’s history, its natural environment of sea and forests, and the exceptional works created by local traditional craftsmen.

The target users are people who pass through the terminal station and seek a brief moment of comfort and relaxation through food and space. They include office workers during daily routines, domestic and international travelers, and families taking a break. Terminal stations attract a very diverse range of people. The restaurant recorded more than 300,000 visitors annually.

What distinguishes this project is that it interprets the region from multiple perspectives — including local history, natural environment, traditional crafts, and cultural memory — and transforms them into a unique spatial narrative. Rather than simply expressing a generic Japanese aesthetic, the design reconstructs the identity of the place into a contemporary spatial experience.

“Iso-ragi” is the restaurant brand name operated by the owner company. The accompanying term “Seafood Donburi Restaurant” was intentionally chosen so that customers moving quickly through the station could instantly understand the restaurant’s offering.

For me, design always emerges through the eyes, the mind, and the heart. In practice, I used tools such as CAD, but more importantly, I repeatedly imagined and refined the atmosphere and experience of the space throughout the process.

One unique aspect is that the project successfully balanced customer satisfaction and profitability within the challenging conditions of a small and high-rent terminal station space. The restaurant consistently ranked among the most popular restaurants within the station complex every year.

I collaborated with design director Yoko Kitsuda of Citrus, who was responsible for overall service direction as well as the development and sales planning of craft-related products. I also collaborated with graphic designer Maki Awatsuji of Awatsuji Design, who handled the store signage, graphic walls, and packaging design.

Rather than emphasizing advanced technology itself, this project focused on creating a naturally comfortable human experience. At the same time, design technology, construction precision, equipment planning, and operational efficiency played important roles in making the limited space function effectively.

Rather than relying primarily on quantitative marketing analysis, I researched the region’s history, urban development, patterns of movement, food culture, and craft traditions from multiple perspectives. Understanding Hakata as a city open to the sea yet surrounded by forests — a place that has long embraced diverse cultures — became an essential foundation for the design.

Within the conditions of a terminal station facility, it was necessary to achieve functionality, regional identity, profitability, and spatial quality simultaneously within a limited area and short construction schedule. Another major challenge was creating a memorable spatial experience even for visitors staying only a short time.

I was curious to see how such a highly regional project would be evaluated from an international perspective, particularly in a completely different cultural context such as Italy. I wanted to understand how a space deeply rooted in local culture could be interpreted and appreciated globally.

Through this project, I reaffirmed that design is an act of carefully researching history, environment, and human memory, discovering essential directions and narratives within them, and transforming those findings into future value. The project also reminded me of the importance of integrating complex conditions into a clear and coherent spatial expression.

I believe design is not simply about creating new forms, but about connecting the accumulated time, memories, and human activities of a place to the future. In this project, I aimed to express the history and culture layered within Hakata as a contemporary spatial experience that people could naturally feel within everyday urban life.

The principle of my work is to honestly face the situation the project is facing. I believe it is essential to make appropriate judgments about the situation, such as what does the client's situation require? What does the environment need? What should I do now to create a better future, taking history into account?

In this project, I focused on finding fragments of the topography, landscape, historical context and background, and local people's memories, and integrating them into a clear architecture that would create a presence within the historical context.

The main hall was completed in recent years, so I think it is necessary to consider future facilities along with the other facilities.

It took me about 4 years to design this concept.

However, I spent more time on the process due to local restrictions than on the design.

This design was based on a concept I discovered through research into the history, landscape, and community of the area.

The architecture or interiors are not mass-produced products, but are unique and original.

When I embarked on this project, I believed this design was exactly what the area and its future needed.

I didn’t approach any specific designs or designers.

I derived the design I needed from the environment, history and people’s memories.

This project is a facility for the temple, its parishioners, and everyone who has been involved in the community for many years, from the past to the future.

What makes this project different from typical temples is that it is not bound by the style and construction methods of traditional Japanese Buddhist architecture, but instead creates an essential function and a new presence in the history of the region.

”Kouunji Temple" was given the name "Banshozan Kouunji" by the head temple of the Soto sect at the time of its founding due to the impressive scenic view of clouds floating over the pine forest that spreads across the hills beside the large river.

"Kyakuden" is the name of the facility that functions as a reception hall among various Buddhist facilities.

During the design process, we went back and forth between CAD and mockups.

Rather than special shapes or colors, I like to collect various elements from environmental and historical research, and integrate them into architecture that can be passed on to the next generation.

For this project, we received cooperation from a judicial scrivener for administrative procedures, a design firm specializing in wooden construction and regional ancillary facilities, and a master carpenter for traditional Japanese wooden joint techniques.

The design technology is orthodox; I used CAD to improve efficiency and carefully considered mock-ups.

The purpose of the research was to understand the local situation. It was not a way to obtain quantitative data, but to find out the local history, environment, and potential needs and important elements of the people.

Based on the results, I decided to integrate these improvements and elements that can be passed on to the next generation into the architecture.

There were many challenges in realizing the project, such as constructing the building on soft ground on a hill by the river, how to reuse materials from the old facility in the new facility, how to resolve local legal restrictions, and how to pass on the community's emotional memories to future generations through architecture.

Ultimately, the most important challenge was how to integrate such complex and diverse elements into a clear design.

I was interested in how my design, which has been in useful many years since its completion, would be evaluated internationally, and I was confident, so I entered the competition as a source of pride for the temple, the local residents, and everyone involved in the project.

Through this project, I found important hints not only through dialogue with the client, but also from a broader perspective, by researching the environment and history. I once again realized the importance of sincerely addressing each piece of the problem, making improvements and refinements, focusing on the essential elements, and designing clearly.

The principle of my work is to honestly face the situation the project is facing.

It is essential for making appropriate judgments about the situation, such as what is necessary for the client's situation, what is necessary for the environment, and what should be done now within the time axis.

What I paid particular attention to was the methods and materials that maximized the effect with minimal processing. This is the same method used to serve sushi in the restaurant, and is meant to make the sushi and chef stand out.

I think we should continue to spread the word as a base for sushi culture.

It took about half a year to design.

I discovered inspiration, or challenges, by observing the old store and talking with the staff. Issues include the pure positional relationship between ingredients, chefs and customers, and the dignity of the restaurant.

The architecture and interiors are not mass-produced products, but are unique and original.

This is because there is no sushi restaurant like this in the current sushi culture and in Tokyo.

There is no specific design or designer approach.

By honestly facing the situation, I came up with the necessary design.

This sushi restaurant's customers are people from all over the world who love sushi.

There are many sushi restaurants that cater to a small number of customers, and the management of ingredients and service are simple. However, there are very few sushi restaurants of this size that offer sophisticated food management and service with this kind of design.

This is the name that has been used since its establishment in 1920. Part of the founder's name is used.Unfortunately, he is not a relative of mine.

During the design process, I went back and forth between CAD and full-size mockups.

I don't think it's anything special, but I think what's distinctive is that we honestly face the situation of each project and proceed with it carefully.Therefore, this project does not stick to the traditional style of the sushi counter, but instead incorporates a universal design that can accommodate modern habits.

The interior design was done by me alone, but other design direction was provided by Yoko Kitsuda of Citrus, and graphic design was provided by Maki Awatsuji of Awatsuji Design.

The design technology is orthodox; I used CAD to improve efficiency and carefully considered mock-ups.

Research is not about getting answers with quantitative data, but refinement through dialogue with chefs and mock-ups of improvements through sensory design.

The challenge in realizing the project was the scale and placement of the backyard and counter in order to minimize food waste.

I was curious and confident about how my design would be evaluated internationally, so I applied for the pride of the people involved.

Through this project, I found important hints in dialogue with clients and observation of the situation, and I learned once again the importance of improving and refining while honestly facing the issues I found.

The principle of my work is to honestly face the situation the project is facing.

It is essential for making appropriate judgments about the situation, such as what is necessary for the client's situation, what is necessary for the environment, and what should be done now within the time axis.

I focus on creating blank spaces with potential for development,

I wanted to make it simple and sophisticated.

I will examine how this architecture helps the lives of individual residents.

It took about a year to design this concept.

The client requested the rebuilding of a single apartment for four people.

Due to the limited space and budget given by the client, I decided to design this project by focusing on the blank space.

The architecture and interiors are not mass-produced products, but are unique and original.

When I started this project, I thought it was necessary for this region and the future.

There is no specific design or designer approach.

By honestly facing the situation, I came up with the necessary design.

This design is targeted at single people who are full of ideas.I hope that by having such people living in this area, this area will change and develop with diversity.

What makes this project different from other apartments is its unique design, which prioritizes free space without cramming too much space into it, and keeps other elements to a minimum.

Based on the philosophy of Chisoku.

AmarBari was named "My House" by a client with ties to Bangladesh in the hope that it would be a better home for the residents.

During the design process, we went back and forth between CAD and full-size mockups.

I don't think it's anything special, but I think what's distinctive is that we honestly face the situation of each project and proceed with it carefully.

We worked with structural and facilities engineers on this project.

The design technology is orthodox; I used CAD to improve efficiency and carefully considered mock-ups.

Research is about understanding the local situation. This was not a method of obtaining quantitative data, but rather a method of reading the hidden needs of the region and manifesting them in design.

In this project, the building was buried semi-underground, but the building was set at a depth where no drainage pumping was required. There were various uncertainties, so making that decision was the biggest challenge.

I was curious and confident about how my design would be evaluated internationally, so I applied for the pride of the people involved.

Through this project, I realized once again the importance of clearly designing by focusing on the essential elements.

Since I was a child, I have lived in Jakarta, Indonesia, Tokyo, Japan, and other places, and have also traveled around the world. Having been exposed to various cultures, lifestyles, and values, I first learned to observe people and environments in various places in order to understand them. I also like to think about what people and their environments want, and what improvements they can make to make them happier, even if they don't realize it themselves. As a way to achieve this, I chose the field of design and learned about architectural design, which allows me to design at various scales.

I decided to become an architect because I believed that ideas and research based on my own sensibilities could contribute to solving problems for people and the environment, and helping people spend their time happily.

I became a designer by choice.

I design devices that move people and allow them to spend time comfortably.

This applies not only to the limited design of buildings, but also to products such as furniture and accessories that people use, interiors that include products and architecture, external structures of buildings, and cities where buildings are elements.

I have received high praise from clients in each field, so I am interested in designing these as a whole. For example, I am interested in designing small accommodation facilities that take advantage of the attractive natural environment and design the environment, architecture, interior, and products.

I think it is important to have kindness and sensitivity towards the people around you and the environment, and to acquire a sense of mission and responsibility to try to make the situation better.

I think it depends on the evaluation from others, and the difference between gaining universal sympathy or not.

The evaluation of whether a design is good or not depends on various criteria. I believe that truly good design is important to solve essential problems and then gain a well-balanced reputation among clients, society, and history.

One of the important values ​​of good design is its appeal to make people happy. I think people who find the design attractive should invest in it. People who don't find it attractive won't invest.

If I had enough time and money, I would like to design a place for myself to spend time in. My life will end if I say such things.

Seaside restaurants and stays.

Let's keep it a secret because it won't be a secret anymore.

I don't have a specific person to draw inspiration from. In the project, I get inspiration from facing the situation and requests and repeating trial and error.

Yoyogi Gymnasium in Tokyo by Kenzo Tange. Because it gives me the courage to design as an architect.

I think the next project will probably be the best one.

I think it's important to keep improving without being satisfied with the current situation.

A restaurant owner/chef or a United Nations ambassador.

Because I want to use my efforts and techniques to bring satisfaction and smiles, and to help people in need.

I believe that design is an act that brings good fortune by solving problems for clients and society through its functionality and beauty.

It's my clients, my collaborators, my family, and the people I've met.

It's a sense of mission.

It is the most difficult and important thing to encounter a project every time

I think it is important for designers to express themselves for the benefit of their clients and society, and without that, there is no self-expression.

A small product and mountain villa project is about to start.

My goal as an architect is to be able to provide a better future for my clients and society through each design.

I think people expect designers to show them an exciting daily life and a better world by solving problems through design.

I believe that design provides concrete functionality and a beautiful world in order to realize a better society.

I am excited and looking forward to the next new projects. Unfortunately, I can't talk about specifics yet.

Kounji Temple, which I designed in Ibaraki Prefecture, Japan. This project was designed by reusing some of the old materials from the former facility, which had been loved by the local community since its relocation 140 years ago.

Therefore, it is a valuable piece of architecture that preserves not only the history of the temple but also the memory of the community to future generations.

The design industry changes rapidly, so I think it's important that it continues to change.

I think the design field will continue to expand and move upstream.

The time it takes to complete depends on the size of the design project.

First, start by objectively understanding the situation without any preconceived notions.

Be honest and optimistic

Trends are results, so I think design is what creates them.

The role of technology in design is as a means of thinking and expression.

I use a Mac and Vectorworks software.

They are elements to integrate as a design. In addition, the element of size is also important. What is important in design is how each of these is handled, assembled, and harmonized.

I want people to ask about the story of the project, not how to express it.

The moment I see a great design or product, I imagine myself happily using it. I think that's a great design.

I do not specify a design partner, but proceed with the design with the partners required by the project.

It's hard to limit it to one person because it affects so many people.

I am influenced by a variety of people including architects, craftsmen, artists, and thinkers.

Vingt mille lieues sous les mers:Jules Verne

My practical skills were honed through the realization of many projects.

Jules Verne

Awards and evaluations are the result of just a few coincidences, so I don't think we should judge them from the outside. I'm not aiming to become famous, so I don't know if it's difficult or not.

My favorite color is deep ocean blue, my favorite place is the seaside, my favorite food is local food, my favorite season is summer, and I don't care about products or brands.

During my Great Journey before becoming independent, I saw the scenery, cityscapes, and local people's lives around the world, and met and talked with people. I happened to be sitting next to a Japanese couple on a morning bus in Nice, France, and I had a 5-minute conversation with them.After that, we continued to interact.

a few years later, they planning to build a house, but things weren't going as planned. In Japan, once the land is decided, the design details are often decided by the partner construction company, and the couple did not like the details. So, I after listening carefully to what kind of lifestyle the couple wanted, I gave them one week to propose the best plan based on the results of nearly 100 studies.

As a result, the couple realized that this was exactly the kind of house they wanted. So I asked them "If you really want to make this design a reality, please let me support you with more detailed design and construction supervision until completion.

then, I was able to receive approval.

That became my first project.

A comfortable home built on the hillside overlooking the forest behind the house has been completed.

I still remember they told me, ``Mr. Iwasa, thank you for the wonderful house!'' when I were leaving.

I start my day off by feeling good in the morning. Cooking my favorite breakfast myself for my family is one of them.

When I was a kid, it didn't matter if I was great or not, I just wanted to have fun designing and make everyone happy, and I still think that way.

I have no idea what will happen in 1000 years, but I think it will be either prosperity or extinction.I think the results will change depending on the smart choices people make today. I think the key is the philosophy of "Chisoku" without becoming greedy.

I consider myself an optimistic and friendly person. Let's have fun and do our best to create a better future together.

I believe that the various experiences I have had led me to become an architect, but I still remember the house I spent in Jakarta as a child very well. There was a courtyard and a pond where I had a great time drawing pictures, doing crafts, playing with friends, eating meals with our families. As well as such a fun personal space to enjoy art and communication, I also had the opportunity to see seaside hotels, historically famous architecture and the architecture of international expositions. When I learned that being an architect is an important profession that designs architectures and environments that are indispensable to people, I decided that I wanted to become an architect.

Hiroaki Iwasa Architects Workshop is an architectural design office founded in Tokyo in 1998 by Hiroaki Iwasa with the aim of providing people with a better future.

In each project, I repeatedly research the situation based on dialogue with the client in order to solve essential issues and provide designs with new added value.

Based on this concept, I have designed a variety of projects surrounding humans, including crafts, products, furniture, interiors, architecture, and urban design, and have achieved many results.

I believe that design is a way to solve various issues, create new value, and make people happy.

I like designing spaces where people can spend time comfortably in a natural environment.

I can't narrow it down to just one thing.

My experience is system architecture of steel structures. It is a system architecture that is semi-customized to suit the purpose, such as a warehouse or factory.

My favorite materials are wood, steel, glass,and concrete. When it comes to technology, I like things that don't look like black boxes, but that I can understand how they work.

When I feel most creative is when I can see a new world with a simple solution to a complex problem or challenge.

When I design, I focus on whether the design is clear and whether it will lead to a happy future.

When I design, my team and I design with a strong sense of mission and responsibility to ensure that I solve problems and make our clients and wider society happy.

When my design becomes a reality, I walk around in my own image so much that I feel a sense of déjà vu and a sense of curiosity about how the client and society will use it.

I believe that the key to successful design is sharing issues with clients and society.

I believe that the criteria for determining whether a design is good or bad is the way a problem is perceived and the way it is solved.

I believe that the role that designers play in solving social and environmental issues is not yet fully recognized, and that we will soon be in an era in which designers will have to take on the role of fulfilling this great responsibility.

I believe that the field of design should be used more actively as a means of solving social issues. I think we need to make more of an appeal to society that design has such potential.

If I remember correctly, it was an exhibition in Buenos Aires, Argentina. It was the "Anti Podas Exhibition" about Japanese architecture. No next exhibition scheduled yet.

My inspiration for design is to take the client's request as a starting point and seriously consider the project situation. I discover inspiration through honest research and prototyping.

I don't stick to superficial decoration or a certain style. Projects come in various styles depending on the client and the situation, as I face the issues myself and flexibly implement the optimal solution after receiving consultation from the client.

I think if there are 100 clients in the same situation, there will be 100 different styles, and if the situation changes, even the same client will have different styles.

I think it's a personal difference, not the country you live in.

I live in Tokyo. Although I have a deep understanding of Japanese culture and embody it, I have traveled all over the world and lived in Jakarta as a child, so I am able to adapt to various cultural ideas and values from a flexible perspective and find the best way to do so. I think being able to design solutions is an advantage.

The disadvantage may be that it is difficult to understand the nationality.

As an independent architect, I do not work with any particular company. I form flexible teams with the most suitable members for each project to solve problems.

I think client companies gain great power by collaborating with designers. Each designer has different abilities. Therefore, I think it is better for companies to collaborate with designers that suit the purpose each time, rather than just collaborating with a specific designer.

No matter the size or purpose of the design, we follow the steps of hearing from the client, investigating the situation, discovering the problem, researching solutions, researching prototypes, refining and completing.

And I think it is essential to face each other honestly at every stage.

Deck chairs on the terrace. An elephant figurine found in India.

A self-designed self-assembled bookshelf. Floss floor lamp. A writing desk from the Li Dynasty.

There are many changes such as going to the mountains, going to the sea, flying in the sky, being hot or cold, sunny or raining heavily, etc.

When designing, I think it is important to not be selfish and to remember the spirit of altruism.

Being a designer is a good thing because you can look forward to thinking about how you can make things better, but on the other hand, it can be a bad thing to end up putting yourself on the back burner.

The "golden rule" is about having a thorough understanding of the entire project.

I think the most important skill for a designer is the ability to solve problems and integrate them into new worlds.

My basic tools are ears to listen to the wishes of clients and the opinions of my collaborators, eyes to investigate and check processes, hands to repeatedly sketch and prototype, a brain to solve problems and come up with ideas, and a heart to create a better future.

We meet final deadlines, but manage intermediate stages appropriately by being flexible.

It depends on the scale of the object and the accuracy of the details.

A question I am often asked is: What inspired this design? is.

Every project is a different and valuable experience. Feedback from carpenter and the field regarding my designs is important.

Clients include a variety of people, including companies, schools, nursery schools, chefs, religious people, and individuals.

Projects that are commissioned to me with trust and expectations are the most rewarding and enjoyable.

Planning is about to begin for a complex of urban housing and worship facilities.

I run my own design office.

I'm sorry, but I'm not at the stage where I can talk about the details as the design is still chaotic and I'm still going through trial and error.

You can always contact me directly via my website or Instagram.

Website: http://www.iwasa-arch.com/

Instagram：https://www.instagram.com/hiroakiiwasaarchitectsworkshop/

Hakata faces the Genkai Sea and has long been connected to various countries and cultures across the sea. While the Genkai Sea brought trade and cultural exchange, it also witnessed periods of conflict, absorbing the great waves of history where peace and tension repeatedly intertwined.I wanted to abstract these historical currents as one of the spatial elements. To express the waves of the Genkai Sea, I created plaster walls made from local earth mixed with charcoal ink. I conceived both the large swells and the small ripples as variations in tone, and while I shared only the overall concept and philosophy, I entrusted the specific expression to the skill of the craftsmen.Led by the master plasterer, the team completed the large wall surface in one continuous process, creating subtle tonal fluctuations through handcraftsmanship. This richness and unpredictability became an important element in shaping the atmosphere of the space, evoking a sense of deep time and quiet contemplation.

Hakata Station is a major transportation hub filled with speed, movement, and constant activity. Within such an environment, this project became one of the most popular restaurants in the terminal, welcoming approximately 300,000 visitors annually at its peak.Although analyzing the market and understanding customer demographics are important in commercial design, I believe that sustaining a successful business ultimately depends on having a compelling and original story.In this project, I deliberately minimized the use of industrial materials and instead incorporated natural materials and hand-crafted finishes. From the entrance to each seating area, the space was designed to offer layered experiences through sight, touch, materials, and food.Rather than creating a world isolated from the energy of the terminal, I aimed to provide a place where visitors could experience a profound sense of immersion and cultural depth, even within a short period of time.

Hakata-ori is one of Hakata's representative traditional crafts. However, I did not consider it appropriate to use such a delicate textile extensively as a finishing material in a restaurant environment that requires durability.Instead, I used Hakata-ori as the backdrop for display shelves featuring craft objects, allowing the texture of the fabric to emerge through carefully arranged lighting and become one of the spatial elements.Hakata-ori is created through combinations of warp and weft threads, generating a wide variety of textures and expressions. This layered composition resonates with the philosophy of the project itself, which seeks to create multiple layers of experience.The shelves are also designed to encourage customers to discover new worlds through the displayed craft objects and tableware. In this sense, the Hakata-ori shelves became one of the symbolic elements of the project.

The origin of this project lies in the seafood donburi itself.The fresh seafood donburi, filled with vivid colors and flavors, creates a sense of excitement upon arrival. Each ingredient has its own individual world through careful preparation, and together they create a rich harmony of tastes.Furthermore, when the customer pours hot broth based on flying fish and sea bream, which are characteristic of Hakata cuisine, the seafood changes into a medium-rare state and a new world of flavors unfolds.What was important to me was that this transformation occurs through the customer's own action. At the same time, there is also the choice not to pour the broth.I wanted to overlap this experience of discovering a new world through one's own actions with the experience of the space itself.From the entrance to the seating areas, from materials and craft objects to light, conversations with the staff, and ultimately the meal itself, the project was designed so that different layers of experience gradually unfold and overlap with one another.I believe that this accumulation of layered experiences is the essence of the project. The transition from a vivid first encounter to a quiet aftertaste through the culinary experience ultimately became a reflection of the broader sensory and cultural journey that the space was intended to offer.

The greatest challenge was integrating diverse experiences and functions into a highly condensed space of only 71 square meters.Meeting practical requirements such as regulations, building services, and operational efficiency was essential, but these alone could not create an attractive environment.In a compact space like this, not only ideas but also refined proportions and sophisticated design techniques are required. Dimensions, sightlines, heights, and distances all demand careful consideration.At the same time, it was equally important not to explain everything excessively. Leaving room for imagination, silence, and lingering impressions was essential in stimulating the curiosity of visitors and allowing new discoveries to emerge.I believe that the responsibility of an architect is to deeply explore history, culture, food, and materials, and to edit these diverse elements into a highly integrated design while still preserving enough openness for people to freely engage their imagination.Through this experience, I came to understand that a space functioning as a cultural interface is not simply a collection of many elements. Rather, it is a place where those elements are integrated while leaving enough room for each visitor to discover meanings and encounter new worlds through their own participation.

Throughout the project, I repeatedly engaged in dialogue with artisans and chefs, explored materials, and conducted site research.What proved most important was not presenting individual traditional crafts or regional cultures separately, but rather editing them into multiple layers and integrating them into a single experience.The plaster wall abstracting the waves of the Genkai Sea and the display shelves incorporating Hakata-ori textile were both born from this way of thinking.The key discovery that ultimately defined the direction of the project was the understanding that new value emerges not simply by assembling individual elements, but through the relationships and interactions between different elements.

For each project, I believe that design begins with research and dialogue. It is a process of discovering values within a place and its people that deserve to be carried into the future and transforming them into new forms.In Hakata Isoragi, I created a new regional experience by editing multiple elements—food, craftsmanship, materials, and the work of artisans—into layered compositions.This approach will continue to guide my future projects. I hope to discover the essential values inherent in each region and deepen them into new forms of value within contemporary life.

I believe that culture should not merely be preserved, but continuously reinterpreted and passed on to future generations through new perspectives and experiences.In Hakata Isoragi, regional food culture, traditional crafts, materials, and artisanal skills were integrated into a contemporary commercial environment, creating a new place where regional identity can be understood and inherited.Rather than treating local culture as a fixed legacy of the past, I believe the most enduring significance of this project lies in enabling people to engage with it actively and carry it forward as a living source of new value.

Light cannot be perceived without darkness.Rather than relying solely on artificial lighting, I based the lighting design on natural light, which changes throughout the day and across the seasons.During the daytime, the varying intensity and angles of sunlight entering through the windows bring rich expressions to the space. At night, the atmosphere gradually transforms into a quiet world illuminated only by artificial light.By layering light that highlights the dishes with light that reveals the texture and depth of materials and shadows, I sought to create a space whose character changes according to the season and the time of day, offering different experiences with each visit.

A terminal station attracts a diverse range of people who make spontaneous decisions to enter: solo travelers, business visitors, families, couples, and groups.Therefore, I carefully adjusted distances and sightlines so that each guest could enjoy the space without creating visual or emotional discord with others.Counter seats facing the kitchen, window seats overlooking the sea, and small tables all offer different ways of spending time within the same environment.From the overall composition of the restaurant to the craft objects, materials, and food, the project was designed as a layered structure in which the parts and the whole resonate with each other, almost like a fractal. I aimed to create a space where customers could discover new worlds through their own actions.I believe that enabling diverse people to coexist while each enjoying a rich and personal experience is the most important design principle in a compact environment.

Balancing tradition and modern function.What I really aimed for was to carry on the memory of the original guest hall while also making it work as a contemporary public space—something that could last another 200 years. A key idea from the start was to create a space that embodies a sense of “quietness,” which I see as the spiritual heart of the temple.The old hall had tilted due to long-term ground movement, so we decided to reinforce the foundation by driving steel pipe piles down to the stable soil layer, ensuring the new structure would remain sound over time.To me, preserving tradition doesn’t mean copying old styles—it means passing on values using today’s technologies. I chose natural materials above ground that will age gracefully over time, while the underground structure is designed to resist future ground shifts.As for the functional side—like the office, kitchen, and utilities—they meet all modern standards, but we kept them tucked away so they wouldn’t distract from the calm, clean look of the main space.That main space is intentionally simple. It’s built from natural materials, uses proportions, shadows, and acoustics to quietly reach people on a sensory level. Designing for “quietness” became the bridge that connected memory and public life.

Challenges in reusing historical materials.The original hall used high-quality timber that’s really hard to get today, so one of the big challenges was figuring out how to reuse that old wood in a way that was safe and up to current standards.That meant assessing the structural integrity of each piece, reinforcing where necessary, and finding ways to blend traditional carpentry with modern construction techniques. I worked closely with a master carpenter and his young apprentice, and we did everything from hand-cut joinery to delicate repairs.Seeing those skills passed on through the project was deeply meaningful for me. And when we finished, locals naturally gathered around the old pillars and started sharing stories. That’s when I realized this wasn’t just a rebuild—it was an act of carrying forward memory itself.That’s what architecture can do when tradition and technique come together in the right way.

Reviving the natural paint “Kumezo”.“Kumezo” used to be a common natural coating for protecting wood, but it faded away when synthetic paints took over. I learned about it through conversations with local craftspeople and from old documents, and we worked together to bring it back.It’s made from a mix of soot and red iron oxide combined with natural preservatives. It’s low-impact environmentally and can be recreated in other places, which gives it broader potential too.But it’s more than just a finish—it gives wood a warm, soft depth that grows richer over time. That gradual change brings a subtle presence to the building and, in a way, became one of the links connecting past to future in this reconstruction.

Reflecting community memories in the design.Kouunji has always been part of people’s lives—for ceremonies, festivals, or just a place where kids played. I wanted the new design to honor that relationship.So I gathered memories—what people recalled seeing, hearing, feeling. The moment when the roof comes into view as you climb the hill, the darkness under the big eaves, the breeze through wooden latticework, the soft light filtering through shoji screens, the sound of footsteps on gravel, the echo of chanting—those kinds of details.I took those impressions and translated them into the design, turning fragments of memory into spatial elements. That helped embed the building into the emotional and historical landscape of the community.

The roof and cedar: design inspirations.I wanted the building to feel like it belonged in the landscape—not flashy or radically new, but familiar and welcoming. That’s why I went with a simple roof shape and local cedar for the exterior.After the 2011 earthquake, it made sense to switch from heavy roof tiles to metal to improve earthquake resistance, without compromising the look. The cedar siding, protected by deep eaves, will age beautifully over time.The façade, with its gentle and rhythmic latticework, fits into the temple grounds but also has its own quiet presence. Altogether, the design reflects a deep respect for the region’s history and environment.

Layout and flexibility.The layout is pretty straightforward: two large halls branching off from a central entrance space. That makes it easy to host different kinds of events—rituals, meetings, meals, or just a waiting area for the main hall.I designed the walls with sliding panels so the rooms can be opened up or closed off depending on the need. In an emergency, the space can function as a temporary shelter, with areas for sleeping, cooking, bathing, and storing supplies.There’s also a corridor linking to the main hall next to the Kyakuden, so they work together during large events. That kind of flexibility is something I think modern temple buildings really need.

Ground reinforcement and structural strategy.The old building had tilted due to uneven ground settlement, especially since the site is on a terrace edge. Soil tests showed that while the surface layers were unstable, there was solid ground about 10 meters down.So I drove steel pipe piles all the way to that layer and built the foundation on them. That created a stable base that will keep the building secure for years to come. I also used traditional joinery techniques in parts of the above-ground structure, especially where reclaimed timber was used, combining old wisdom with new engineering. I think this is a great example of how tradition and technology can work hand in hand.

Designing for the senses.Absolutely. I always try to design with all five senses in mind—not just how things look, but how they sound, feel, and even smell.It’s about more than just materials or visual beauty. It’s how light filters in, how air moves, how sounds echo, how scents linger—those subtle, layered experiences are what give a space its richness. They invite people to pause, feel, and connect with themselves.I don’t think of architecture as something to “figure out.” I think of it as something to be felt. And that belief is very much alive in this project.

Impact and significance moving forward.I think this award sends a strong message—that temple architecture isn’t just about preserving the past. It can also be a foundation for the future of its community.I hope the way we approached this project—balancing tradition with modern needs—can serve as a reference point for similar efforts around the world, not just in Japan.

A Vision That Integrates Spirituality and Community Functionality. Kouunji Kyakuden was designed to combine spirituality as a place of prayer and gathering with practical functionality that supports the daily life of the community. Through the selection of materials rooted in the community and a focus on people's memories, the dual nature of a "spiritual place that calms the mind" and a "place that supports the daily life of the community" with a clear structure and excellent functionality is integrated into this architecture.This quietly standing architecture will surely speak to visitors in a variety of ways through all five senses, and when the memories of the local people are shared with future generations through this architecture, transcending time, I believe that my design philosophy will have been realized.

The philosophy of Chisoku is a philosophy that can be applied to various phenomena such as modern daily life and outlook on life.Many modern people have become junkies, giving priority to temporary desires and eating more than they need, or exploiting others more than they need to make a profit. As a result of pursuing one's desires without having an overview and rational self-control, people are exhausted because there is no "blank space" in the limited time and space.Now, by turning Chisoku's philosophy into an architecture, I thought it was necessary to have a "blank space" in which to step out of that endless loop and rediscover what is truly necessary for one's life.We need the space of "φ empty set" in mathematics.That's why this project was inspired by the client's request for a living space for single people, and aimed to create an ``architecture with blank spaces'' that would provide an opportunity for people to genuinely reevaluate their lives.

For this project, it was important to include ``blank time and space'' in the private room other than daily functions.It is possible to fill a private room with daily functions and share the heteronomous "margin time and space" in the city, but this is not an autonomous space.In Japan's urban areas, there are restaurants, laundry facilities, stores where you can get everything from delicatessen items open 24 hours a day, and old-fashioned public baths in older areas.Since these heteronomous living functions can be used as appropriate, this apartment was intentionally designed to minimize the living functions in the private rooms. This is based on the belief that there is a need for an ``autonomous blank space with possibilities'' no matter what kind of constraints there are, be it mental, time, or space.

Since minimizing the number of equipment booths for daily life functions was an important step in this project, a dimensional investigation into human behavior patterns was necessary. First, I cleared the manufacturer's guaranteed construction dimensions for essential equipment such as the toilet bowl, washing machine, bath/shower booth, refrigerator, and heat source for cooking. Next, I set the dimensions of the unit space while checking the behavior patterns when using each device. After that, I set up a multifunctional space by combining several behavioral patterns into one space.As a result, the small and multifunctional design allows residents to save time without having to walk around, creating more free time.

This project organized the service life of each piece of equipment in stages and rationally matched the materials to it.First, in order to maximize the reliability of basic living space, I selected strong reinforced concrete, which is said to have a service life of 70 to 100 years.Next, I housed equipment such as air conditioners and electrical appliances with a useful life of around 10 to 15 years, as well as underfloor piping, in a compact booth. As the material for this booth, I selected wood, which can be made into panels and has good workability.The result is a visually organized and beautifully integrated architecture.

I believe that minimization, multi-functionality, and sharing will be the keywords for architectural solutions for crowded urban living spaces. People who live together in urban areas share things that can be shared publicly, and minimize personal elements. I believe that the blank space created as a result of such organization in an individual's living space is useful not only for that individual's living space, but also for the region or city.I also believe that each space must be multifunctional for a prosperous urban life. Recently, I think that if we can provide a variety of architectural options such as shared houses where individuals gather and live in groups, we can create a diverse and rich urban environment even if it is crowded.

This project was dedicated to compacting the equipment booth with the aim of creating the blank space full of possibilities. Therefore, it is up to each resident to decide how to use the blank space.Because it's close to a music college, one of the residents, a music college student, spends a lot of time practicing here, and an individual designer uses it as a creative space. Some people have movie nights and parties with their friends while projecting images on the screen, so the blank space is a true white canvas where they can pursue not only community-oriented activities but also self-pursuits.

Based on such research, we set the minimum dimensions to provide the necessary and sufficient functions.Rather than giving one space to a single function, I experimented with methods and arrangements that would allow one space to be used for multiple functions.In addition, when considering specific dimensions, I took into account the standard dimensions of building materials and designed a design to reduce waste materials.

This area had a large population of elderly people and was an area with a high concentration of old small wooden houses and apartments, so improving earthquake resistance, fire prevention, and crime prevention was an issue.In such an area, the client requested the rebuilding of an apartment for single-person households, and in order to increase profits, this project needed to improve the issues in this area and differentiate it from other facilities.At the beginning of the design, I set the height of this building to the maximum within the local height limit, and built a deep The depth is set to a depth within the ground that allows for natural drainage without the need for pumping up.The choice of a reinforced concrete frame was a logical choice to realize them.As a result, the soundproofing was improved and new generations, such as students from the nearby music college, moved in, leading to greater diversity in the local population.

The sense of territory and needs of single-person households vary from person to person and from time to time. There are ways to secure and share spaces in cities and regions to pursue one's own potential and community interaction, but this project aims to create blank spaces in which to pursue one's own potential and foster mutual relationships with the local community. It was an important attempt to keep it contained in one's personal space.

Considering the purpose and meaning of people gathering in urban areas, it is inevitable that communities will emerge.In that case, instead of designing urban housing that has all the functions, there may be a way for cities and urban housing to complement each other's functions. Although there are other styles such as shared houses where groups live together, this Amar bari's living space configuration is considered to be a one of the prototype for the challenge of urban housing.

Edomae sushi was originally eaten standing at street corner stalls, but as time went on, restaurants began to pursue more sophisticated equipment and customer comfort. However, in order to pass on the tradition, the essence remains the same: serving customers with high-quality sushi and making them happy.Therefore, the project's challenge was to create a more sophisticated and high-level design that would make seafood more attractive, make adjustments that would make it easier for the chef and staff to provide hospitality, and create a space where customers could spend their time comfortably.Among the challenges, adjusting the height of the viewpoints of customers, chefs, and staff was an important issue. This is because Japanese hospitality is based on respect and communication tailored to the guest.Therefore, when a customer is seated in a tatami room, the staff also sit at eye level and provide hospitality.In order to embody this philosophy at the sushi counter seats, I solved the problems with the chef's floor, such as waterproofing and drainage pipes, and then adjusted the floor level on the customer's side.The project was designed to naturally inherit traditional ideas and customs, rather than embellishing or making a statement.

Even in Japan, it is common for sushi restaurants to have a rustic glass display case with refrigerant pipes in a stainless steel frame mounted on the counter, separating the chef from the customer. On the other hand, small privately owned sushi restaurants store seafood in old-fashioned wooden boxes with ice, making it difficult to see the ingredients, but there is no functional problem in managing seafood ingredients.However, this project also gave a high priority to the customer's perspective. Therefore, by specially designing a frameless showcase made of highly transparent glass, we were able to create an intimate sushi counter with reduced noise from the customer's view.

This space has become an attractive and unique space with an excellent harmony of textures created by each material and the finish of the craftsman. As a result, this sophisticated space plays an important role in guaranteeing the authenticity of the Edomae sushi that this restaurant provides.Additionally, the collaboration on this project served as a valuable opportunity to pass on the skills of these craftsmen in their respective fields.

First, it was important to share with the client the historical evolution of Edomae sushi and what kind of restaurant style would be appropriate for the future.The actual staff etiquette and facility equipment were complex, but through prototyping we discovered that rather than dealing with them in a complicated way, we could simplify them and have a higher possibility of tolerance. Ta.The discoveries we made during this process about the chef's behavior at the sushi counter and the customer's perspective were extremely helpful in the specific design stage, including selecting materials, setting dimensions, and lighting plans.

Tsukiji Sushiiwa was located close to the former Tokyo Central Fish Market, and was also located right in front of the historic Tsukiji Honganji Temple.However, no one could have predicted what the cityscape would look like after the Tokyo Central Fish Market was relocated for the Tokyo Olympics 2020.Based on this historical trend, this project also aimed to pass on the townscape of the Tsukiji area to the future. Plastered walls, window lattices, and Japanese paper shoji screens were adopted as landscape elements for the townscape that will be inherited.

In fact, the tatami room is often used for business meetings and families, so it was necessary to create a private and quiet space. On the other hand, the counter seats needed to be an intimate and open space where people could enjoy interaction with the chef and the customers at the counter, and the table seats needed to be a casual space where visitors could feel at ease.When designing this space, it was important to create a well-balanced layout that would allow each customer to enjoy sushi in their own diverse styles.In addition, since the staff will respond to each customer's purpose and sitting style, it was important to have a functional design that would not cause stress or waste to the staff.

While it is important for the sushi counter to showcase the fresh seafood and the chef's skills, it was most important that the design integrated it into a space that felt intimate to the customers.In order to achieve these goals, I tried to provide sufficient functionality and eliminate waste. This meant focusing on carefully selected materials and thoughtful dimensional design.In addition, appropriate lighting design was essential. Like a stage performance by an actor or dancer, like a glass case in a jewelry shop or patisserie that displays jewelry and chocolates, and so that the audience can enjoy a comfortable time... It was designed based on the philosophy of Edomae sushi.

Even in Japan, there are many sushi restaurants that are efficient in terms of management and convenient for cooking, but there are not many that are well-balanced and integrated with customer comfort in mind.I believe the secret to my success is my design method, which involves first sharing the challenges faced by the chef, diner, and customer, and then carefully solving each problem one by one through design.

Although Japanese cuisine was born from ingredients and cooking methods that are unique to Japan, I believe that a flexible approach to ingredients and cooking methods will remain effective even as we develop globally.In the design field as well, essential designs that not only stick to traditional styles and materials, but also understand Japanese culture and flexibly solve its situations and problems will be highly valued in the future. I think it will have a big impact.

To achieve visual clarity, I simplified the components and organized the functionality.To give you an easy-to-understand example, I designed a box for storing seafood in the frameless glass showcases, a box for seaweed, and cooking utensils such as cutting boards all made of hinoki cypress, the same material used for sushi counters.I also arranged for cooking that is not directly related to nigiri sushi to be done in the backyard kitchen.It was also important to design effective lighting so that each element would have an appropriate presence on the sushi stage.