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.
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.
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.
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 work across commercial spaces, branding, and product development. I would like to design more projects that combine spatial design with service and brand strategy.
A truly good design fulfills its purpose, provides measurable value, and resonates emotionally, succeeding functionally, aesthetically, and strategically.
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.
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.
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