Интервью с Seike Hisashi

For the first five years, I worked at IAO Takeda Architects Associates, a major architectural firm, where I was involved in the design process from start to finish. After that, I spent about a year and a half under the mentorship of architect Seiji Nii, learning the practices and etiquette of architecture.

At the age of ten, during a school lesson, I received praise from my teacher for designing a residential layout. On that occasion, I was introduced to a renowned architect who shared my surname. This is when I learned about the profession of spatial design. It was at that moment that my future dream of becoming a spatial designer was born.

I firmly believe that "design resides in the details," and this principle guides my approach to design. While clients often have specific preferences regarding colors and shapes, which I certainly prioritize, I also believe that unifying the details enhances the quality of the space. Equally important is maintaining balance. I consider balance to be crucial in every aspect, including color, material, and dimensions.

During the design process, I get excited when a satisfying inspiration strikes. Similarly, my enthusiasm rises when I experience results that surpass my initial expectations upon completion.

During my student years, I spent about seven years learning basketball. Through this experience, I learned the importance of consistent practice and gaining experience, as well as the ability to joyfully pursue tasks that others might find tedious.

I do not have specific plans, but I constantly seek work that allows me to discover unknown and inaccessible worlds. My interest in virtual spaces like the metaverse is part of this pursuit.

I want people to understand that there are designs that can only be achieved when you are young.

Just as the faces of a hundred people are all different, I believe that designed spaces should also vary according to their purpose and the people who use them. My ideal image of the best designer is someone who can create spaces using materials and methods of expression that suit their specific purpose.

In the morning, I look at the website of the store I designed, checking for updates and other information. Seeing how diligently the store is being managed encourages me.

I enjoy exploring unseen worlds, so I keep up with the latest information not only in architecture and interior design but also in virtual spaces.

In the realm of spatial design, I believe a good project is one that can convince all stakeholders through materials, shapes, layout, and other aspects involved in satisfying the end users.

I imagine moments when I come up with ideas beyond expectations while balancing client requirements. It is at these times that the axis of design is established, enabling answers to all aspects of the project.

Restaurants offer a non-routine space distinct from home within daily life. At times, this space becomes the main stage for its users, influencing their lives. Designing spaces for "food," which is crucial to living, brings me happiness.

I aim to achieve spaces that emphasize simplicity and highlight materials, inspired by the designs of architects like Tadao Ando and Yoshiji Takehara from their generation.

I believe Japanese culture forms the foundation of my design philosophy.

I primarily work independently, but I frequently consult with my partner who is also in a similar field. Space design involves collaborating with various materials and craftsmen, so I consider it essential to find and coordinate with these teams.

I often feel firsthand that Japan's valuable materials and traditional techniques are becoming unsustainable due to a shortage of skilled labor. Recently, I have been thinking a lot about whether there is a way to establish a sustainable framework through design to address this issue.

In Japan, there is no clear standard to measure the capabilities of designers, particularly in terms of their profession. Therefore, receiving awards like this serves as a confirmation that what I am doing is not wrong and also boosts my confidence. Additionally, encountering new works is also significant.

I believe that "design resides in the details," and this principle guides my approach to design.

Since the client is a new company embarking on a fresh journey, they wanted to express the aspirations of this new venture.

They plan to promote themselves as a company that will spread its wings and reach out to the world.

It took approximately three to four months to consider the design.

We considered a design that resonates with the concept of the client's company name.

Since it is the client's company, I assume it is utilized by the employees working there.

As with point 05, we considered a design that resonates with the concept of the client's company name.

The designs of architects from the generation of Tadao Ando and Yoshiji Takehara represent my ideal.

I believe that the client's products will be utilized by major corporations in manufacturing and sales.

This is an effort to resonate with the company's name concept.

The single character "X" in the client's company name signifies the pursuit of infinite new discoveries through its versatility in combining with various elements.

Ultimately, we produced and reviewed CG perspectives, among other materials, but the foundation was primarily based on hand-drawn sketches.

We aim to create spaces that prioritize simplicity and accentuate the qualities of materials.

I collaborated partially with the design firm "fabricscape," specializing in textile design planning.

I collaborated partially with "RE:STLABO," specializing in art greens.

It involves sharing the envisioned image with the client.

Based on the company's name concept, we conducted research into the type of workspace that the client desires.

Due to its extensive area, we faced challenges in balancing costs while ensuring the overall design permeates effectively.

Since the concept of the new company is to expand globally, we have aimed for it to be recognized worldwide, not limited to Japan.

I have learned to combine various materials and presentation techniques.

There are no questions at this time.

I studied interior design at university. During that time, I saw many restaurants and bars designed by designers that were popular. Around the same time, there were many works by architects like Tadao Ando and Yoshiji Takehara, and I visited various buildings.

When I was 10 years old, I was praised by my teacher for designing a house layout during a school lesson. At that time, the teacher also told me about a famous architect who shared my surname. It was then that I became aware of the profession involving spatial design. From that moment on, my dream for the future became to be a spatial designer.

I naturally decided to pursue this path as if it were the obvious choice.

I design restaurants, bars, retail stores, and offices. I aspire to design hotels.

I believe it is important to travel to various places, see things, and meet different people.

I consider it crucial to deeply understand and express the background and purpose of the usage.

I believe it's not just about surface appeal, but also about controlling the flow of air.

I believe in utilizing the power of design for positive outcomes, thereby steering the world towards a better direction.

I aspire to design everything I come into contact with.

I would like to pursue a job where I can showcase the positive aspects of Japan in various countries.

I consider it important to learn about many things and experiences.

I have many inspirations, but architects from the generation of Tadao Ando and Yoshiji Takehara are my idols.

I am fond of the SUPERLEGGERA chair designed by GIO PONTI. The first time I saw it in person, I was deeply moved and impressed by its beauty and impact.

I consider all of them to be the best, so it's difficult to narrow it down to just one proposal.

When I was young, I made it a point to visit various places, see things, and meet different people as much as possible.

It's hard to imagine, but I think I was working independently on tasks that could be completed by myself.

I consider design to be the very essence of vitality in my life.

Certainly, they are family to me.

Believing in oneself is crucial.

I am not adept at speaking eloquently.

Expressing that the work is perceived as the best for the client is paramount, so ensuring this perspective is not forgotten in our expressions.

I'm considering designing for the metaverse and virtual spaces.

A timeless design that will be talked about for generations to come.

Designing spaces that organize and express the client's sentiments with multiple layers of astonishment.

I believe that through the flow of air in a space, one can feel happiness and become kinder just by speaking about the space itself. I think it's possible to create and circulate such atmospheres.

I have started studying virtual spaces, and I am excited to see that virtual spaces are expanding more than I imagined, becoming commonplace worldwide.

I consider each option to be the best and therefore find it difficult to narrow down to just one proposal.

In Japan, I hope to leverage the power of design to ensure the continued utilization of traditional materials and techniques, which are currently at risk of being lost.

I believe that the resonance between virtual space and physical space will advance further through design.

It will take about 3 to 4 months.

Examining the surroundings of the project involves understanding its historical context.

Continuity is strength.

I believe it is healthier for trends to be determined by design because of its influential power.

I consider it a tool that accurately expresses images.

Primarily, we utilize Computer-Aided Design (CAD) for drawing blueprints and creating CG (Computer Graphics).

I consider it an important factor influencing the airflow within a space.

Regarding the design of Japanese restaurants.

I envision being involved in designs that can evoke such profound emotions.

I am someone who possesses perspectives that I do not have.

There are many, but architects of the generation such as Tadao Ando and Yoshiji Takehara are my role models.

I read a lot of books that Tadao Ando is featured in.

The design firm where I previously worked allowed me to participate in the design process from start to finish, regardless of the scale of the projects.

I would like to have a conversation with my college self.

In Japan, since there are no established evaluation criteria for interior designers, receiving various awards can lead to a sense of confidence.

I find the changing seasons in Japan both melancholic and captivating.

When I enter restaurants, I sometimes get cautioned by the staff because I tend to touch the walls or fabrics too much and observe them closely.

Every morning, I encourage myself by viewing the website of the shop I designed, checking for updates and seeing the effort put into its operation.

I believe that my confidence in becoming a great designer has been instrumental in getting me this far.

Observing the current flow of humanity, I feel that, like programmed into Earth's system, we might naturally perish as unnecessary beings to the planet.

As a typical old-fashioned Japanese person who struggles with speaking in public, I also constantly aspire to engage with and learn from various people as a designer. Therefore, I would like to candidly encourage others to approach me for discussions.

At the age of ten, during a school lesson, I received praise from my teacher for designing a residential layout. On that occasion, I was introduced to a renowned architect who shared my surname. This was when I learned about the profession of spatial design. It was at that moment that I decided my future dream was to become a spatial designer.

I founded TDW*ROOT in 2001. Initially, I worked as part of a unit team with a senior colleague from my previous company. It was through an interior design project we encountered that I began working independently in 2006.

For me, design is synonymous with the very essence of life itself.

I am thrilled whenever I encounter a genre with which I have had no prior involvement.

I am fond of the SUPERLEGGERA chair designed by Gio Ponti. The first time I saw it in person, I was struck by its beauty and felt a profound sense of awe and admiration.

The first practical design I created was for an Italian restaurant.

I am fond of materials such as plaster and concrete, which can be transformed into various shapes and textures by human hands.

It is when I discover the harmony between materials and space.

It involves considering how the materials used can resonate with the space.

I am excited by the prospect of imagining something that has never existed before.

Simultaneously finding relief and envisioning everyone's reactions, I experience a sense of excitement and anticipation.

It is the resonance between the creators and users of objects and experiences, encompassing both design and production aspects.

It pertains to the overall balance.

Believing in the power of design, I feel there is a responsibility to propose the force of design in an unequivocal direction.

I believe that design can further advance the resonance between virtual spaces like the metaverse and physical spaces.

I lack experience in exhibitions.

I am inspired by exposure to Japanese culture.

The designs of architects from the generation of Tadao Ando and Yoshiji Takehara, such as Ando-san and Takehara-san, embody my ideals. I aspire to create spaces that prioritize simplicity and accentuate the qualities of materials.

Having studied many buildings in Japan, I have been influenced by the simple yet distinct Japanese aesthetic in spaces.

The thoughts of the clients who will utilize the completed space are crucial. I endeavor to encourage them to articulate their ideas to us in as much detail as possible.

Same as number 20.

This also echoes a similar sentiment, as we seek to delve deeply into who will be utilizing the space, how they envision its use, why they chose our company, and other pertinent details. We use this information to flesh out the design accordingly.

In my home, I have a table and bench that I designed myself, while in my office, there is a Charles & Ray Eames' La Chaise.

If I were to describe my life in a day, I would consider the current moment akin to a brief afternoon break before exerting further effort until dinner time.

I believe it is important for young individuals to recognize the unique design opportunities available to them precisely because of their youth. I encourage them to fully embrace and enjoy the design process without overthinking, allowing themselves to engage with it wholeheartedly.

One advantage of my profession is encountering many excellent designs. However, one disadvantage is that I often find myself consumed by thoughts of design, which can lead to days passing by unnoticed.

I believe that "design resides in the details," and this philosophy guides my approach to design.

I consider the ability to joyfully pursue tasks that others may find tedious to be a valuable attribute.

When facing design challenges, I often recall the works of architects from the generation of Tadao Ando and Yoshiji Takehara for inspiration.

For me, contemplating design is synonymous with living, so I navigate through it without any particular management.

It usually takes about half a year.

I am often asked about the reason behind becoming a designer.

As each experience is significant, it is challenging to choose just one.

The clients for the submissions I provided this time range from major Japanese corporations to individual chefs.

It is a design job that involves constant discovery of new things. This is because there is joy in the realization of something previously unknown, even if it is just one thing.

As a relatively unknown designer in Japan, I have been able to sustain my career over the long term. I would like to create opportunities for aspiring designers to understand that even someone like me can encounter fulfilling work.

While I often serve as the starting point for ideas, there are many aspects that I cannot evaluate on my own. Therefore, I see myself as part of a team, collaborating with construction companies and craftsmen while seeking their input and advice.

Our works are utilized in various public spaces, and it is not conducive to fostering preconceptions about the image of these places based on design. Therefore, we are honestly unable to disclose them during the planning stages.

It is possible to make inquiries and contact us through our website.