text: いくつかの断片的な要素 “欠片” を空間に与え、物質存在のおおわくを肯定することで、人や物の在り方、繋がり、分離といった関係性を辿ることが可能となる。空間要素を入手したピンと張り詰めた静寂な空気が漂う場所で、ディテールや質感と対話をします。
  This collaborative installation features spatial designer Reiichi Ikeda and Japanese paper artist Hatano Wataru, where each of their thoughts is translated into a spatial apparatus.
  By introducing separated elements, "fragments," into the space and affirming the general framework of material existence, it becomes possible to explore the relationships of presence, connection, and separation among people and objects. In a place filled with a tense, quiet atmosphere obtained from spatial elements, one engages in a dialogue with details and textures.
  "3D SNAP" is a shop where you can scan your beloved dog with a special 3D camera and create a one-of-a-kind figurine of your dog using a 3D printer.
  Our planned store is in Higashi-Azabu, Minato Ward, and it will be in a compact space of 16.5 square meters.
  For the facade display, which serves as the core element of the space, we are producing a round object that will serve as the backdrop for the display stand. The round object symbolizes the single "point" of one's "unique memory."
  Additionally, drawing inspiration from the nearby Tokyo Tower, a neighborhood landmark, we incorporated elements of its truss structure into the design of our reinforcement materials.
  Elements such as the counter opposite the central scanning booth are crafted with flowing curves to evoke a gentle impression and built from pure white material to make their presence more subtle.
  Despite its compact size, the space embodies the shop's relationship with the local area and clearly communicates its purpose.
  Architectural design of a weekend home for a family living in the city center
  The plot is situated along the coast in the south of Yokosuka City in Kanagawa Prefecture, allowing the gentle ocean breeze to blow through the trees.
  A beach is also very close to the site, and on weekends it bustles with locals who enjoy the sunset or activities at the sea.
  The building is designed as an extension of the ocean and white sand of the beach created by Mother Nature,
  and is positioned to make the oceanfront seem like a private beach.
  As a weekend home, the building concept is based on the feel of a villa, with a main building, multipurpose annex and garage provided for different purposes. The separated buildings are connected by a floating plate with attached eaves.
  A large part of the building is made of granite, selected for its visual similarity to a sandy beach and cut from a stone slab to the size of 500x500 mm blocks to fit the frame's pillar pitch.
  The walls and ceilings are finished with original plasterwork containing sand aggregates to also fit to the beach motif, and a gradient texture is applied.
  By using the same materials for outdoors and indoors, the design avoids a separation of these two spaces.
  At the client's request, tropical plants like olives and fountain palms were planted, which contrast with the existing trees in the neighborhood while giving a harmonious color palette and make the exterior blend in with its surroundings.
  Kiso stone from Gifu Prefecture was chosen for the decorative stones scattered throughout the grounds to match the beige color scheme of the sand.
  The main dining area features a U-shaped counter and a large custom-made griddle to provide enough space to entertain up to ten guests while enjoying the view of the ocean.
  Kansai-based SAI was asked to transform a large part of the wall surfaces and the kitchen hood with original textures into objects that match the spatial concept.
  The pendant lights in the dining rooms and bracket lights in the bedroom are custom-made originals.
  The same materials were used to create a resemblance to a sandy beach covered by seawater, but different finishes were employed to add contrast.
  Renovation plan for a two-story wooden residence in Fukuyama, Hiroshima.
  A large atrium is installed in the living-dining area. In addition to the first-floor living room, a sub-living space has been created to allow for choosing different places to spend time depending on the situation.
  The most symbolic element of this project is the "pillar" design using copper plates. Copper has been used in Japanese architecture, such as for roofing materials, due to its suitability for Japan's climate and environment. With the intention of continuing to protect the residence, the pillars are seen not as newly created elements but as inheritances of time, thus enhancing their significance.
  Each room's walls have been adorned with artwork based on the theme of "accumulated layers," created by the Kuroya washi paper artisan, Mr. Wataru Hatano. These artworks, when illuminated by natural and artificial light, provide various expressions to the space.
  To achieve a sense of openness for the second-floor ceiling, a skeleton structure was planned. Using styrofoam and narra veneer boards on the rafters, an insulated yet visually appealing exposed ceiling was created.
  On the garden's fences, "Yamato-bari" was used to ensure privacy while allowing airflow through the gaps created by the unevenly placed boards.
  At the owner's request, maple trees are planted, so the arrival of autumn every year becomes quite exciting.
  スタジオスタートから10周年を迎えた空間デザイナー 池田励一/ REIICHI IKEDA DESIGN がプロデュースするヘアサロン「LAAN」のデザイン計画。
  Design plan for hair salon LAAN produced by Reiichi Ikeda, a spacial designer celebrating 10 years since the opening of his studio
  Located in Tamatsukuri, Chuo-ku, Osaka City, developed from an area full of life home to a blend of both residences and workplaces.
  With the condition of being located in the uplands of Uemachi, the spacial design includes a motif of the rolling hills in the area. Objects in the image of red soil, gray soil, and trees form the zones.
  In addition, benikamo stone, characterized by its redness, is scattered around inside and out, with the sense of reality that stretches around the exterior also being brought inside.
  While planning to make the facade all glass, as the exterior faces to the west, conflicting issues surrounding taking measures for the setting sun, the openness, and the comfort of the cutting area, but by bellow folding the lace curtains around 40mm, it allows you to feel both a sense of privacy and openness, while also reducing the glare from the sun.This is achieved thanks to the depth of the bellows, even when they are open.
  Moreover, by dyeing this lace material red, it is characterized as an extension of the earth.
  At the big table area made from magashiro wood you can enjoy tea after procedures. This area also functions as a cashier and showcases products on sale such as an original pendant light made in the image of red soil and minerals built up in layers, in addition to other products.
  The entire interior has high ceilings and the aperture has been given a surface that is thinned to the limit with the goal of creating a partial skeleton-like image. This allows the addition of an unfiltered skeleton layer on the ceiling, achieving a clear-cut contrast and also guarantees a sense of freedom to the interior.
  In addition, original works by up-and-coming artist and masters student at Kyoto University of the Arts, Mana Kawamura are integrated to enchant visitors.
  Becoming ingrained in the local area, it provides time for people to upgrade their everyday to something that much more elegant and beautiful.
  A weekend house design for a married couple living their second life.
  Located in Jinseki, Hiroshima, about an hour and a half north of Fukuyama, sitting atop a plateau with an elevation of about 400 to 700 meters, overlooking a beautiful landscape.
  The main house, annex, and barn are built in a row from east to west, and the design this time mainly focused on renovating the main house and barn.
  Over 100 years have passed since the main house was built, and one key point of this project was how to make the most of its existing condition.
  During the inspection, we found that although there was a second floor, there are no stairs, and it is only accessible by climbing an old wooden ladder, and on the outside, there was an upper and lower roof which had been covered with red roof tiles until a few years ago.
  After judging it to be built in the Igura-zukuri style of the Kamo region in Hiroshima, we decided to start the renovation by returning it to a one-story house with an open floor plan, that from the outside looks like it has two-stories.
  The barn, which we designed as a guest room, was used for cattle in the past, and unlike the main house, it has no vertical and horizontal planes. The wooden frame was also constructed rather roughly, making planning the design extremely difficult.
  For the floor plan zoning of the main house, we made use of the Igura-zukuri characteristics of having four rooms arranged in squares partitioned by sliding screen doors, and an entrance and bath near the earthen floor in the southeast side.
  The toilet that was located on the northwest side was moved near the bath, more considerate of modern living.
  To make the most of the four spaces arranged in squares, we designed a dining room with an original 10-seat table to enjoy meals with large groups, a sunken hearth space with a sunken kotatsu table, providing a connection with the unchanging scenes of the past, an expanded living room area, with Naguri chiseled flooring on the veranda, and a Japanese-style room with a raised tatami floor for tea ceremony or playing the shamisen. We brought in Wataru Hatano, a papermaker from Kurotani Washi, to apply Japanese paper to the ceiling, walls, and sliding screen doors.
  For the kitchen and bathroom, we used the natural green color of Towada stone to contrast with the black and beige tones for an organic effect.
  The pillars, beams, and kamoi that support the entirety of the 8m open space had been smoked black by the charcoal from the hearth, and we followed this style by finishing them in a dark charcoal stain.
  At first glance, the area is separated into four separate squares, but we overlapped the floor material and furniture placement to sublimate them into a single connected space.
  The standard method for lighting design when renovating this style of old Japanese house is to install wiring duct rails on existing beams and create direct light using spotlights.
  Instead, we scattered downlights along copper-colored pseudo-beams placed between the existing beams to serve as both indirect and direct light, using this modern technique to lead the way to richer living.
  For the barn design, while adjusting the uneven floor level of the cattle shed, the beams had to be set low for the conducting wire.
  When planning the barn, we made the necessarily low set beams into the main span by a process of adjusting the uneven floor level height in the barn. Next in our planning we placed the necessary furniture, and the large beam hanging in the center became the symbol of the space which was created with our ancestors’ help.
  The 1,350mm high headboard in the bed area can be adjusted with a crank to a U-shape, enclosing the bed area and enhancing the sense of privacy when sleeping; its purpose is to gently divide the space.
  The single-flower vases placed here and there were made by cutting and reusing the soot-colored bamboo from the ceiling of the former sunken hearth in the main house.
  The main and inner gardens in the north and south of the grounds are planned as the second phase of construction, which will begin after the snowy winter season.
  We designed the free address space inside the headquarters of Nippon Shinyaku, a pharmaceutical company headquartered in Kyoto Prefecture.
  It was planned for a corner of a vast site near Nishioji station, where several office buildings stand side by side.
  To commemorate the 100th anniversary of the company’s founding, the project began in late 2019. However, it had to be stopped temporarily due to the unprecedented spread of the novel coronavirus. It was finally completed in the summer of 2021.
  Given the current environmental conditions, in which buildings do not face public roads, as they did in the past, we were conscious of the need to connect the interior, as it was left, to the exterior.
  First, we increased the boundary between the inside and outside by incorporating diagonal lines ub the form of a V-shape for the glass walls, which previously ran parallel. Then, we made the boundary area between the inside and outside ambiguous by taking the floor tiles, which had originally been designed for an outside environment, and allowing them to overflow into the inside space, even biting into the V-shaped glass walls.
  What’s more, the process of repeated expansion throughout the company’s long history turned the exterior of the building a reddish-brown. This view of the site and its colors express the ongoing process in this change in color, as though it is changing the building’s interior as well.
  In order to categorize the scene, we incorporated the idea of the “tsuzukiai” present in the sukiya style of building. Thus, steel frames that trace the outlines of the fusuma (Japanese paper sliding doors) are scattered along the span of the skeleton beams. As such, these walls are not just function, like ensuring privacy or sound insulation. Rather, they aim to create an open space while controlling the consciousness of lookers on to emphasize the gentle form of the individual areas.
  It is perfect for spending your time as you see fit.
  This project is run by the Tokyo branch of ROHM Co., Ltd., an electronic parts manufacturer based in Kyoto with expertise in LSI and transistors.
  It is developed in collaboration with the furniture manufacturer Cassina ixc.
  Based on the concept of “@work2.5” proposed by Cassina ixc. as a middle ground between the second place (workplace) and third place (public spaces)
  zoning designs for collaborations spaces and magnet spaces were created.
  Taking inspiration from the most popular architectural feature of office spaces, which is raised floor and grid ceilings, we tried a design based on a 640x640mm grid ceiling, with constraints that come with that rule.
  Firstly, we installed cylindrical steel pipes at the grid intersections for the whole floor.
  Connecting the dots, we divided the main categories using glass walls and drywalls sound-proofed with glass wool.
  For spaces like collaboration spaces that don’t require privacy, we installed display devices as objects that subtly separate the space, connecting the dots in a similar way.
  Additionally, a wavy table is installed in the center to express a crossover of different spaces,
  while subtle organic elements are also thrown into the mix to affirm the square image of the office.
  We hope it will become a place where people can feel comfortable stepping out of their second place.
  Renovation project of a 3-story steel frame single-family house in Tamatsukuri, Osaka. Situated in a convenient and relaxing location in the city, it is connected to a wide road and has sufficient amounts of natural light. While the renovations came with architectural limitations, we explored methods only achievable through renovation to reach the goals of the project.
  While the building is 15 years old and is relatively new, it was not what we would call an insulated house. As it is on a corner plot facing northeast, we focused on external insulation to reduce room temperature fluctuations by adding layers of urethane to the external wall. Additionally, as the existing number of window sashes was excessive, we blocked off some and installed a new large double-glazing fixed window for more effective insulation and to allow warm light from the north side into the building.
  The 1st floor consists of the entrance and a home office while the 2nd floor constitutes the core area consisting of the living room/dining room/kitchen that has exposed ceiling joints constructed using deck sheets and earthen floors connected to the outside, which maintains harmony between the connected spaces. Furthermore, the vertical structure of the building that is composed of 3 levels+rooftop allows the “layers” to naturally “partition” and “connect” the living spaces at the same time on a compact plot of land, essentially separating different life activities by vertical movement. In addition, the private area on the 3rd floor is carpeted, creating a sense of comfort when stepped in.
  Begin your new “layered” style of living, made possible due to urban residence where vertical mobility has become a necessity.
  Design of a weekend home for a family living in Tokyo
  From this terrain, built from reclaiming forested mountain land in the Miura Hills of Yokosuka, Kanagawa Prefecture, one can enjoy a view of Enoshima Island, Mount Fuji, and the Izu Peninsula across Sagami Bay.
  Moreover, the process of clearing the land by cutting through rock has created a beautiful landscape free of adjacent buildings.
  The house plan was designed with consideration for connecting the interior spaces with the rich environmental surroundings, including of course the view of Mount Fuji from the dining room.
  Instead of the usual idea of a terrace attached to the living room, we imagined the dining-living area as an extension of the outdoors terrace, using the conception of flow from outside to inside as our focal point.
  The terrace floor is built from 600 Basaltina squares, arranged in a grid that extends directly into the interior, which connects outside and inside in a borderless way and draws attention to the spatial expansivity.
  Furthermore, we used a special white wall pointing in the direction of Mount Fuji that catches its shadow, and with the cooperation of Perrotin Tokyo, we placed Daniel Arsham's "TIME" on the wall.
  We strove to create a weekend home capable of bringing the rich land to life.
  Interior design for the growing leather brand Aether, known for its ladies' purses made from high quality real leather.
  The store is located on one street corner in Ginza, a luxury retail area famous for its concentration of flagship stores of high class foreign brands.
  We decided to use the brand's own concept "In myself, bloom" as our main inspiration. Cute floral patterns and feminine coloring and textures are clearly expressed in the goods, so we thought it was important to have an open plan in which customers could get close to the brand and make a connection to its way of thinking.
  This time, instead of employing the conventional method of combining different textures in order to create a space, we wanted to create a feeling of femininity that you could take in in one glance. So, while imagining a scene full of flowers and suffused with pink, we were conscious of creating a space created from "color".
  The salmon pink walls have flower petal detailing, while the r–curves make for gentle flow lines despite the compact store interior.
  It is also fascinating to see the pink contrast that has appeared in the Ginza streetscape attracting the attention of pedestrians.
  焼きたてチーズタルト専門店「BAKE CHEESE TART」のショップデザイン。駅に直結したビルの一角にあり、環境デザインが「自然」をモティーフにデザインされていることから、与えられたスペースもその延長上にある空間を目指した。直接的に「自然」を連想するキーワードを持ち込まず、自然には自由な旋律を描く動きの中にも一定の動きとなる”リズムが”あるものと捉える。その動きを”トランス”の130PBMと仮定し、彩度を排除した真っ白な空間の中に、鉄板を曲げたリブを130の倍数のリズムで壁面に散りばめることによって、空間装置として表面化した。また彩度を失った空間の中にも「自然」というキーワードの名残を感じられる様、露骨な自然素材を各所にちりばめ、視覚的な遊びを加えている。連結する店舗群から独自の存在感を放ち、今日も店の前に列が続くのを楽しみにしている。
  Shop designing for a cheese tarte specialty store “BAKE CHEESE TART”
  It is located at a corner of a commercial building connected to a station, whose environmental design is based on “nature” as a motif, so we aimed to design its facility to be a space on the same concept.
  We didn’t set keywords directly associated with “nature”. We think nature has a constant rhythm within its free and formless set of motions, thus we expressed it as a space equipment by assuming their motions as “Transformer 130PBM”, placing ribs made of bent iron plates here and there on the wall in a very white space eliminated with a chroma.
  The space has lost its chroma, but people can still feel some “nature” as a keyword in the space by having obvious nature-related materials to add a visual play.
  We are looking forward to see a long queue in front of the shop, having an original existence totally different from other ones in the same building.
  つまり ”意識のデザイン” ということになる。先入観と固定概念をうまく利用し、意識のみをコントロールすることで、既存機能に形無いしつらえが担保されました。ここにくるお客様が、どんな意識を抱くのかが楽しみです。
  This was a project to renovate an old Japanese-style house for weekend residence.
  The planned site was a quiet residential area where many temples such as Nanzenji in Kyoto have been built and the Shirakawa River flowing nearby.
  There was a long approach to the site that made use of flagpole land, and after passing through the main and middle gates, there was the old Japanese-style house and a vast garden in the back.
  As the owner of the house and the times changed, some rooms incorporated the Western-style, which were scattered throughout the house.
  The planning process started with the idea of returning the house to the original Japanese architecture that it had when it was first built, eliminating unnecessary styles and decorations while maintaining and renewing the modern living environment.
  The first floor's Japanese-style rooms and balconies were kept in their existing texture, and the main dining and living areas were placed adjacent to them.
  The old and new lifestyles could exist side by side, and since all the areas were bordered by the same garden, a space that harmonizes in a strange way was created where the natural garden scenery in the background could be enjoyed at the same time.
  In addition, as requested by the client, the dining room was made to have a big table that can seat ten people, as well as installing counter seats for communication, a sofa space for relaxation, and a terrace for dining in the garden, all of which were designed to welcome geishas and guests.
  On the second floor, the corridor leading to the master bedroom and the guest room were covered with tatami mats, and from the top of the stairs, one could get a sense of privacy.
  The aim of this project was to take over the good form of the Japanese house built by the ancestors and give it a form suitable for modern life.
  単なる非日常を演出するのではなく、コンスタントに繰返される日々に “花を添える” を空間コンセプトに、
  Under a shop concept “Unique Design,” we develop the hair design focused on fashion.
  Our concept for space is characterized by adding flavor to constantly-repeated daily life, not by setting extraordinary life.
  We build an open and avant-garde atmosphere studded with the detail featuring flower petal as motif.
  Moreover, we aim to unify space device’s role with visual role; not only do we consider VI as a part of space but we also transmit from object detail to paper detail.
  For the logotype design that is the core of a shop, this is one of the elements that originated the name F.
  Salvador Dali who was born in Figueres, Spain was a painter and surrealist; we interpreted his surrealism as possibility of space and designed it in Italic letter reversed as reflected in a mirror.
  We sincerely hope that this space filled with the owner’s thoughts will be able to offer “polish” to our valued customers’ everyday life.
  This is the shop design of KURA CHIKA that is the only retail shop directly run by YOSHIDA KABAN.
  Tachikawa KURA CHIKA is on the 2nd floor of GRANDUO next to JR Tachikawa Station.
  Now the KURA CHIKA is grand re-opening with the renovation of Granduo.
  As GRANDUO is a suburban-type shopping mall, many families are expected to visit our shop
  Therefore, we created the shop design based on the concept of family gathering “LIVING.”
  We aimed to let customers feel like archiving everyday memories on “LIVING”; a keyword “CABINET” was taken into space as interior device and dotted as the object equipped with functions．
  Furthermore, we have been particular about “Made in Japan,” so we have proactively incorporated Japanese materials such as “shikkui”(plasters) and “genshoseki”(type of slate) in order to emphasize the willingness as the company in business for 80 years.
  「OMIYAGE SHOP」は、ユニークで気の抜けたデザインをお土産感覚で手にして着て欲しいという思いから、「Pourton de moi」のセカンドラインとして立上げられたブランドです。
  ”OMIYAGE SHOP” is created as a second brand of “Pourton de moi” from we want you to get like a souvenir.
  this shop have a limited period. and, Each of the objects that make up the space is selected packaging materials are those to have deliberately limited to endurance time,it`s enhanced the limit.The wood box is to protect the rule of packing box and changing just materials.Less condition of depth that would disadvantage near the escalator, I noticed that you have a role that connects sense to take hands stopped at the souvenir sense, the people and shops.
  The only requirements are “please do not make a wall”.
  Rather than make the wall side by side only line,i wanted to make a wall with a line that connect the dots. Originally,by show pillars that are hidden in the work deliberately, we blur the image of the wall.Thereby, “the wall, such as not a wall” will continue to be built.Also,objects that exist only in the column that does not lead to have become a thing to be aware of one of the space forming. This is because induce and because if occupied consciousness.I was can reconsider the “wall”.when you saw the element was lined furniture,perhaps have seen is another furniture from the background you`ll be deprived of vision.First even space meaningless, has a purpose, changes to the required location that role is given.
  The first was composed all directions, in the concrete, it was just a normal space.Nail salon, it must have that room that has several functions required, to partition establish a lead.In ordinary wall it can not only be directed against the conductor. However, such as those touching the always hand with the “storage furniture” One of the obtained function, by making dotted the furniture in a position closer to the action range, is now one that does not require a wall.And,When you saw the lined furniture, another of the furniture will be deprived the focus been visible from the background.
  大阪の景色を大きく区分けるように流れる淀川から少し北に位置するここの場所は、南と西、ふたつの方角に向けて窓がかまえられ、外と中の相互の情報がオープンとなるものでした。オーナーはその窓に向かって、カッティングチェアを設けることになるのかなぁ、とある程度の想像をすでに持っていて、僕も同じく共感を持てたので、その想像だけを一旦預かることにしました。カッティングエリアをエクステリアとして扱う感覚で窓側に放ち、その他の機能を中心部に集約させて一つのフェーズとして捉えながらも、外の情報と外光を空間の真ん中に集めるような感覚でプランニングを進めることにました。そして、中心にプロットするボリュームはフラットな面ではなく、曲面を帯させ、やさしく受け止められるものとします。植田志保氏を招き、その曲がりくねった壁に、単に壁に着色する というものでなく、外からの送り込まれる光自体にふでを入れる様に、光に彩色して頂くことになりました。植田氏の想い描く「いろ」が、曲がりくねった動きに従いながらも “ 光が色を帯びていく” 新しい一つの風景をつくってくれたような気がします。
  Little individual place is located in the north of Yodo river, window is present toward the south and west, the information in and outside was the place to look to open.The owner towards the window, it’s going to be to put the cutting chair, the imagination of the extent the phrase is already have, since I was also able to have empathy, it was decided to keep the imagination only once.Place the window side in the sense of dealing with the cutting area as exterior, is regarded as the other features of one is allowed to aggregate in the center phase, it was planning in the sense like gather outside of information and external light in the middle of the space.Then, the volume is plotted in the center is not a flat surface, curved surface to the band, it was to be taken gently.It invited Shiho Ueda, in the tortuous wall, rather than simply those that coloring on the wall, and as put the brush to the light and is fed from the outside, now that I am painted in light. Draw feelings of Ueda “color” is, to me to create a new one of the landscape that “go tinged with color light” while follow the tortuous movement.
  This boutique carries various unique brands in Horie, Osaka.At the first visit to this long narrow site, the trussed ceiling structures caught my eyes in the space which had only white painted walls.The trussed structures showed a presence in the blank environment, and I felt the sigh dotted with them was already made up as a good design.I planned my design should be an extension of this existing sigh, and worked on it based on the concept of “structures + structures”.I partitioned the boutique with trussed design panels at the same places as where the trussed ceiling structures are on just to link to them. After I made interior constructions linked to the building ones, just the shape of the structures became to handle the general public flow line.I tried transforming the functional part of the building constructions to the design element, and gave dynamic image to the boutique.
  The brand concept of REAC is “Daily Life”, the client said.I think people keep making only small changes in daily life.I designed REAC to be a place which always welcomes any visitors.Therefore, I just quite naturally enhanced the brand characteristic, not tried to add up-and-coming design against reason.The shop is located in a shopping center, and gets no sunshine at all, and also the space is wide but shallow.It is seemingly an unfavorable condition, but I planned to daringly complex the flow line. I sprinkled objects which are just like things between walls and furniture in the shop.It keeps visitors stay longer, and the optical barrier works as a small daily felt excitement.I also considered a color scheme for the entire space, and used antique finish to fit the intensity of brand concept.I hope that REAC will be a part of your daily life repeating every day.
  MOOL is a beauty salon in a quiet residential area of Kobe.
  This shop design brings back the picture of people who enjoy dressing up.The salmon-pink walls are reminiscent to human skin, and the random shape gives you an idea of haircut with scissors.The superimposed different materials on the walls are just like clothes which the construction wears.You flex your style to suit the situation such as a person to meet, the place to go, the weather, or the mood on the day.The style of hair is sort of like a helm for the coordinates in your daily life.It means that it is not only the style from the neck up, but also the balanced style from head to toe in a coordinated fashion on the day.So that means “fashion”.I am sure that it is delightful to let your imagination run with yourself in the mirror.I hope you will enjoy another “fashion” at this salon.
  This design is for a casual French restaurant located in a quiet neighborhood at some distance from downtown Shiga.The pleasure of French dinner I think is to take your sweet time with conversation and wine at a special seat.Our new approach to this design is to show the contrast of sense between when you are walking and when you are seated.We created a border line at the eye level on the every wall in this restaurant.It doesn’t only run between the mortal finish and the plywood, but also controls the level of each pendant light.All the guests escorted from the entrance and seated must be surprised at the view of 100 centimeters high.The materials on each side of the border line are replaced each other on the walls of the room for a large group at the back of the restaurant.This visual shift works well to make guests aware of the continuity of design, and to inflate their expectations.This restaurant which moderately keeps casualness would be loved by the local population.
  This is an interior design for a hair salon in Osaka, Japan.
  The interior design was by Reiichi Ikeda of reiichi ikeda design, and the graphic design including the logo design was by Yuma Harada of UMA/design farm.The two companies shared the concept with each other, and comprehensively directed the hair salon together.Generally, a hair salon has a conventional traffic line of waiting, shampooing, cutting, and so on.To specially add the uniqueness as a spice, I dotted with some visually standardized box-shaped objects such as furniture and a spot that have roles.The angle of the diagonal lines which constitute the facade and the interior visual effects follows the concept of the logo “IRO”.“O” in the logo “IRO” is rotated 23.43 degrees to be parallel to the axis of the earth.Even though the Japanese word “IRO” means colors in English by ordinary, we considered it as what gives us the seasonal indications with the Sun instead of as being colorful.The light streaming through the diagonal lines and its shadows are shifted from season to season.Additionally, the moire effect caused by the overlapping lines helps to bring out the visual movement in the design.
  This is an interior design for a clothing store and an atelier of the fashion brand
  “wonderland” in Osaka, Japan.On my first visit, what made me feel as if it is outside even though there was the ceiling was that there wasn’t an entrance to define the border.I made it a point to keep this strange and unique feeling, and tried making new interiors.I mean that I did not simply change the interior design to a radically new one, but I maximized the effect of the existing elements.People very differently picture a world behind a closed door.So, by setting up an entrance at the unimagined point, I expected a favorable effect on the “shift of the border”.The area made by the shift of the border gets you a bit confused, and you will lose the idea where you are, in or out.As a result, you find yourself coming in the shop.
  This is an interior design for a specialty boutique in Osaka, Japan.The owner has an own world view and wants to share it with others that people should enjoy various fashion regardless of rules and genres, just like going off on adventures.I constructed a design concept out of the kyeword, going off on adventures, and designed a boutique where you can freely walk around in as going around the globe.I considered partitions as what can connect areas to each other, and I controlled the number of areas by using them in this space with too much good visibility.The use of the undecorated chain-link fence is very clear, and can be a special element to differentiate the areas.The unique space gives you curiosity and a sense of anticipation as an dventure does.