WorksAll Achievements

This is a plan for an urban tourist hotel set in Susukino, Sapporo. Susukino, a downtown area that represents Sapporo, is filled with the charm of "food" from all over Hokkaido, overflowing with delicious happiness, and aimed to create a lobby space that stimulates your appetite. We created a space and experience with motifs related to food, such as a signboard wall of a fictitious store with the motif of the Susukino entertainment district, and a neighborhood map that imitates a wooden box for shipping seafood.

"OMO5 Kyoto Sanjo" has opened on Kyoto Sanjo Street, where Kyoto is packed with fun things to see, buy, and eat. As a mechanism to fully enjoy "Kyoto Sanjo", there is a townhouse tower that conveys the history of Takasegawa and information on shops, a town walking map that allows you to enjoy two different courses along the Takasegawa and Sanjo retro town, and a walking map around Sanjo. In the lobby, we have set up content that leads to walking around Sanjo, such as an artwork with the letter "San" lined up with old maps from three different eras, and an art panel frottage of Sanjo no Michi. In addition, in the renovation of the guest room, we have created a small rise where suitcases can be stored, and have devised ways to use the space widely by consolidating the bed and sofa areas.

加西市鶉野町に残る約1.2kmにおよぶ滑走路跡は戦時中につくられた飛行場のもので、ほかにも多くの戦争遺跡が周りに点在し、今日まで残されています。加西市地域活性化拠点施設「soraかさい」はこれら遺跡周遊のための交流拠点としての役割を担い、その中の「鶉野（うずらの）ミュージアム」は戦争の史実を伝えるフィールドミュージアムの中心としてつくられました。施設の基本計画は株式会社オオバと、設計からは株式会社いるか設計集団も加わり3社の共同企業体で受注し、当社は主にミュージアムの展示を担当しました。その後、単独で展示製作を受注し、期間は計画から完成まで約6年におよびました。完成にむけては、検討委員会を経て、加西市様をはじめ、長年調査を重ねてこられた郷土戦史研究家、保存会、監修の先生方、原寸大飛行機模型制作会社など、多くの方々と共につくりあげました。滑走路上に建つこのミュージアムでは、この地に深く関連のある2機の原寸大飛行機模型展示を核としつつ、短くも濃密な鶉野飛行場の歴史を紹介しています。この地のもつストーリーと場所性を生かした、鶉野ならではのミュージアムを目指しました。この地の記憶を紡いでカタチに残し、継承していくことがこのミュージアムの使命であり、平和について考え、人々をつなぐ場となることを願っています。

恵比寿ガーデンプレイスの商業棟で営業していた三越恵比寿店が幕を降ろし、新名称「センタープラザ」として生まれ変わりました。 2022年秋のグランドオープンに先駆けて、B2階に「フーディーズガーデン」が立ち上がり、その一角に旗艦店となる「セントラルスクエア恵比寿ガーデンプレイス店」がオープンしました。 当社は「フーディーズガーデン」オープンに至るリーシングから店舗デザイン、内装施工、商品陳列什器の制作までをサポートさせていただきました。 【社会課題／お客様の課題／ご要望】 株式会社ライフコーポレーション様より旗艦店セントラルスクエアの開業に向けて、出店場所である恵比寿ならではのエッセンスを取り入れつつ、セントラルスクエアのブランドを踏襲し、今まで以上に魅力ある店舗づくりを行いたいとのご要望をいただきました。 【解決策】 店舗ファサードのデザインに恵比寿の歴史的モチーフである、ビール工場、駅舎から着想を得た「レンガ壁」を取り入れ、恵比寿の歴史を彷彿とさせる素材を活かし、旗艦店らしい格調あるファサードデザインを実践しました。 店舗内のデザインには、セントラルスクエアで使用されているグラフィック、サインデザインのフォーマットを活かし、セントラルスクエアのイメージを踏襲し恵比寿ならではの店舗づくりとセントラルスクエアのVI（※）との融合を実現しました。 (※)VI：Visual Identity（ヴィジュアル アイデンティティ）の略。ロゴマークやシンボルマークの図案を指す。 ＜当社プロジェクトメンバー＞ 【開発・リーシング】 川井 政和 【営業・プロジェクトマネジメント】 饗庭 健介 【デザイン・設計】 松本 麻里、蛭田 彩子、岡田 愛裕美、佐藤 あや、開澤 あゆ子 【サイン・グラフィック】 蛭田 彩子、伊藤 友美 【制作・施工】 黒澤 幸司、大原 由香、山川 雄一 ／ ノムラアークス：岡﨑 裕大

株式会社ビジネスブレイン太田昭和（以下、BBS）は創業から50年以上続く「経営会計」のコンサルティング、システム構築・運用、ビジネスプロセスアウトソーシングを提供する会社です。 新しい働き方に適応するためのオフィス面積の縮小と、またカーボンニュートラル社会の実現に向けた配慮などから本社移転が行われ、当社はエントランスと来客会議室エリアのデザイン・設計・施工を担当しました。 レイアウト計画においては、クライアントの経営会計を支えてきた「歴史」と、イノベーションやデジタル革新を支える「近未来」の2つのキーワードを軸に構成しています。また、日本発のコンサルティング企業としての重厚感や100年存続企業に向けた思いも込めています。 BBSらしい「歴史」と「近未来」を表現するため、「歴史」については積み重ねてきた時間をサイズの異なる木リブで表現し、空間全体のベースマテリアルとしました。また、「未来」については木リブと対比させる形でフロア中央に核となる光のBOXを配置し、木リブ同様に繊細なラインのオリジナルガラスフィルムと間接照明を使い表現しています。 ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】 川島 啓史 【企画・デザイン・ディレクション】 柏瀬 久子 【企画・デザイン】 江藤 沙耶香 【制作管理】 山﨑 勇輔

2020年6月にJR 横浜駅西口に開業した「ニュウマン横浜」は、東京・新宿に次いで2店舗目のニュウマンとして、JR 横浜タワーの1階～10階に位置しています。 内装デザインは Atelier Tsuyoshi Tane Architects 、サインデザインは 10inc. が担当。当社は内装基本・実施設計および設計監理業務、サイン設計施工業務、環境内装施工業務、テナントB工事、内装監理およびA・B工事統括管理業務を担当しました。横浜の新しい商業施設として賑わいを創出しています。  フロアごとにコンセプトを掲げ、ファッション、ビューティー、フード、ウェルネス、カルチャーといったあらゆるジャンルを横断した、ライフスタイル提案型の115のショップで構成されています。 館内を歩いていると目を引く環境デザインは、国際的に活躍する建築家・田根剛氏が担当。各フロアで異なる特注タイルを30万枚も使用し、屋内でありながら街を歩いているような空間になっています。 ＜当社プロジェクトメンバー＞ 【開発】前川 盛次 【営業】西田 進之介 、崎本 浩成 、安藤 隆太郎 、近藤 真史 【設計】原嶋 正樹 、ホラ ラトゥル 、大西 明子 、萩原 淳也 、小室 加津彦 、賀澤 美夏 ／ NODE：根来 宏文 、猪股 輝子 、伊藤 史哉 、二位 裕之 【制作 ・施工】戸田 圭亮 、辰田 修平 、山本 壮吉 、松本 有未子 、幸繁 武司 ／ ノムラプロダクツ：高場 賢治 、臼井 宏仁 、有山 輝 、高田 陽生 、村井 里帆  ※2022年3月1日からノムラプロダクツはノムラアークスに業務統合しています。

数々の歴史的建造物と豊かな自然が趣にあふれた、大阪の堂島川沿いに佇む東洋紡ビルの改装計画です。堂島川は“水の都”と呼ばれた大阪を代表する魅力的な景観の河川であるため、この立地の心地良さを味わいながら、生き生きと働くことができる場を目指しました。広場は、川沿いのデッキが建物まで延びているかのような外構で、シンボルツリーとして揺らめく柳の木を配置することで、川風を視覚的に感じられます。ファサードには、堂島川の雄大さや波の疎密から着想したデザインを取り入れました。ビル外壁を柔らかなウエーブ意匠で包むことで建物との調和を図りながら、新しい街のシンボルともなるよう意図しています。ロビーラウンジはファサードと協調した意匠とし、内外の連続性を持たせ、さまざまなかたちのソファやオリジナル音響を採用することにより、快適さを創出しています。また、中央の柱に温度や風など外の環境を可視化するビジュアルアートを施すことで、川風の心地よさを屋内でも感じることができるよう演出しました。各フロアには、多様な表情を見せる堂島川の写真を、またトイレ空間には波を繊細に表現したオリジナルのアートを配し、フロアごとの異なるカラーパレットが見る人に驚きを与えます。 

東洋製罐グループホールディングス株式会社は、金属、プラスチック、紙やガラスなどの素材を生かしたさまざまな包装容器を製造し、世界有数の総合容器メーカーとして、人々の生活のあらゆるシーンを支える製品を提供してきました。 本社15階のイノベーションギャラリー改修プロジェクトとして、本施設を“日常の、仕事の、未来のキッカケになるさまざまな情報や人が出会い、コミュニケーションする場所”をコンセプトにデザインしました。 【社会課題／お客様の課題／ご要望】 今回の改修を通して、イノベーションギャラリーを顧客との対話を創出し、活性化させるための情報発信施設とすること。 東洋製罐グループ各社のコア技術をはじめ、最新の技術や取り組みについて発信し、包装容器に関する最新情報を入手できる場所として社内外に認知される施設としたい。 以上のご要望をいただきました。 【解決策】 最新の技術や取り組みを通して、包装容器の「今」を発信するトピック展示コーナーを設け、タイムリーに運用しやすい仕組みとして、モジュールデザインを取り入れました。 またグループ各社コア技術展示コーナーを設け、各社の強みである「コア技術」と、東洋製罐グループの「総合力」を直感的に伝える空間デザインとしました。 ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】 山田 佳紀 【企画】 飯塚 篤郎 【デザイン・設計】 上田 薫、山田 明加、暉峻 大信 【制作・施工】 児玉 崇

This project involved design, layout of the showroom for the Tsu Factory, which is the core of Panasonic Corporation's founding business of wiring device production. We aimed to gain further trust from customers by having visitors experience the hidden technical capabilities and cutting-edge production system behind the wiring device products in displays room and factory. displays room is composed of sections on "history," "product introduction," "Tsu Factory introduction," and "Factory technology and production capacity introduction," and is designed to link with various parts of each building on the premises. We considered everything, including the factory tour, to be elements that make up the showroom, and aimed to turn the entire factory into a showroom by creating a path from displays room to the manufacturing building. [Social issues/customer issues/requests] In order to build the theme of the facility, "trust," with customers, our role was to materialize through experience how visitors could deepen their understanding of the Tsu Factory's technical capabilities, factory production capacity, and history. [Solution] Based on the keyword "trust," we picked out the strengths of the Tsu Factory that are incorporated into the products, and created points that would give visitors notice and surprise through displays. By connecting each point, displays is structured so that visitors can gradually deepen their understanding as they proceed along the route. We created a space where the "trust" between visitors and the factory can be deepened throughout the entire experience. <Our project members> [Sales/Project Management] Hikaru Sato, Yu Takahashi [design, layout] Hiroaki Mori, Minamo Maeda, Mayumi Shigematsu [Production/ construction] Kazuya Fujii, Masaru Oishi

Since opening as a whisky museum in 1998, the number of visitors has exceeded 600,000, due in part to the airing of TV dramas and the arrival of the highball boom. As the facility has deteriorated and the way displays are displayed has become outdated, the decision was made to renovate the former Whisky Museum in the first phase of the project while also reviewing the entire Yoichi Distillery tour facility. The Yoichi Distillery is an important point of contact where visitors can experience Nikka, and it is also a sacred place for whisky fans. However, the previous tour facility was not at a level commensurate with its importance, and the fact that it has not kept up with the changes and evolution of the world was a major issue in the current renovation. The main theme of the renovation is to create a story about the ideal whisky making of founder Masataka Taketsuru, or Yoichi as the origin of Nikka, and how it will move forward into the future, and to foster understanding and empathy for the Nikka brand. [Social issues / Customer issues / Requests] 1. The purpose of the renovation is to further improve the understanding and satisfaction of visitors, increase the number of Nikka fans, and strengthen the brand. ② With the growing popularity of whisky, we will renovate displays to meet the needs of the expanding user base and diversifying visitors. ③ We will reorganize the exhibits to accommodate the increasing number of foreign visitors. ④ We will target visitors who are interested in whisky. ⑤ We will displays everything from the basics, such as the manufacturing process, to the details and trivia, but we would like the exhibits to be intuitive and not comprehensive. These were the requests we received. [Solution] In planning and designing this exhibit, we made a major shift in our thinking from the general and comprehensive whisky information provided by the whisky museum, and tried a completely new approach to displays. Based on the concept of "Learn about the essence of Nikka Whisky through the brand stories of Nikka's four products," we focused on the four brands that represent Nikka and turned each brand story into an displays experience. We aimed to create an experience where visitors could learn about the essence of Nikka Whisky and basic knowledge of whisky while following the brand stories. displays include footage of various people working at the distillery giving talks and introducing the important role of the blender, and for the first time ever incorporate displays design that whisky fans have never seen before. displays commentary includes trivia information for the main target audience, and many displays also include content that reveals the secrets of the manufacturing process that gives shape to the individuality of the products. Regarding multilingualization, displays commentary will be written in Japanese and English as a base, and digital technology has been introduced that allows visitors to read translated commentary on their personal mobile phones to accommodate Chinese visitors, who make up the majority of the visitors. <Our project members> [Sales/Project Management] Matsubara Tadayuki [Creative Direction] Tamura Keiyu [concept design Direction] Suzuki Fujie [concept design Planning] Yamada Akira, Shirodo Kensaku [Planning] Yanagihara Tomoko, Iizuka Atsuro [Production] Iwasaki Tsukasa, Umemoto Ikushige

"Koniwa House" A place where babies can spend relaxing time with their families and friends. The interior, which feels like a picture book, has a diaper changing space, a nursing space, and a kitchen and living room where you can feed your baby milk and baby food, making it a space that makes you feel like you are visiting a friend's house. "Komorira no Mori" A play area where babies, kids, and families can spend their time in peace and relaxation. It is divided into an area where babies and families can relax in peace, and an area with exciting play mechanisms for children who are starting to become active. In the center of the spacious space, there is also a base camp corner where parents with children of different ages can have a panoramic view of the whole area. [Social Issues / Customer Issues / Requests] The request was to create a space for parents and children that goes one step further than the achievements of LaLaport Hiratsuka, so that people with children in Numazu City and Shizuoka Prefecture can have a relaxing day as well as shopping. [Solution] We planned and concept design the space with the intention of creating a space where childcare could be shared regardless of gender or age, rather than just for mothers to look after their children. In addition to creating an extraordinary concept design that would make it enjoyable for both adults and children to come here, we also took care to ensure that families with children of different ages could find a place for siblings and ensure their safety while looking after the baby. <Our project members> [Sales] Ikuta Hidefumi, Mitsui Hiroshi [Planning] Team M: Matsumoto Mari, Nishimoto Aya [Design] Matsuzawa Kei [construction] Yamada Yusuke

Fuji World Heritage Center, which preserves for the future the value of Mt. Fuji, inscribed on the World Heritage List as "an object of faith and a source of art," underwent renovation in the spring of 2022. The renovated facility offers a wealth of displays materials with easy-to-understand explanations, displays panels that make it more enjoyable to understand the attractions of Mt. Fuji is "an object of faith and a source of art" to visitors, including many foreigners, we have created a spatial experience that works with smartphones and tablets, and a displays guide system "Fuji Guide" with built-in multilingual (7 languages) commentary and voice commentary. displays guide by "Guide" was produced. The "World Heritage Mt. Fuji VR," which can be experienced through 360° images by wearing VR goggles, traces the path of faith walked by pilgrims in the past from the Misaka Pass, which has been depicted in ukiyoe woodblock prints, to the top of Mt. Fuji, which is usually unseen, from a dynamic viewpoint, and to make people want to visit the site. Social Issues/Customer Issues/Requests] Since its completion in 2016, displays has been lacking in materials and explanatory text for international visitors due to the fact that it is an interactive displays experience. SOLUTION: displays graphics were re-laid out to be easier to understand, explanatory text added missing information, and a gentle route was shown by placing panels in consideration of the displays route. displays In the guide system, all existing applications were converted to web browsers, and multilingual support was provided so that visitors with different cultural backgrounds can easily understand the explanations. In addition, 3D maps and 360-degree still image content were used to enhance the experience. In terms of operation, a simple-to-use CMS (content management system) was built, making it possible to easily respond to any modifications to the explanatory text. For the VR production, we used content that traces the path of the Fuji faith in VR, and adopted a simultaneous playback system that takes into account the realistic images shot by a drone and the operational aspects. ＜Sales and project management] Maria Uemura [Digital contents planning] Hiroki Mima, Aya Watanabe, Ayaki Kanehara, Sakaki Miyahara, Minori Hayashi [design, layout] Kaoru Akazawa [Production: construction] Akinobu Takahashi [System design: construction] Ayaki Kanehara, Minori Hayashi - Related Links - [NOMLAB] ・山梨県立富士山世界遺産センター Fuji World Heritage Center

HERALBONY Co., Ltd. defines art created by artists with intellectual disabilities as "unique" and applies it to various objects, experiences, and settings in society. In collaboration with Hyatt Centric Ginza Tokyo, located on Namiki-dori Street in Ginza, we provided spatial concept design and construction support for the guest rooms. [Social Issues/Customer Issues/Requests] HERALBONY's fashion brand, "HERALBONY," aims to expand its scope as a "lifestyle brand" by dissolving the invisible boundaries between people and fields that are often difficult to connect with in everyday life, such as "welfare" and "disabilities." This collaboration room marked the first step in the lifestyle brand's efforts to decorate spaces. This space not only served as a hotel guestroom concept design but also created an opportunity to integrate art into everyday lifestyles. [Solution] We woven the space together so that guests could experience a rich time in their guest rooms, as if they had entered an ever-expanding world of art. This would turn the guest room experience into a hub, evoking stories of how art blends into the time spent at home. We envisioned the space being a place where many conversations and discoveries would be sparked as guests looked at the art that blends into various places. <Our project members> [Sales and project management] Uedate Chisato [concept design] Yamaguchi Akane, Onishi Ryo, Yoshimura Mineto, Kato Kei [Production and construction] Hatano Atsushi, Yoshida Risa, Oda Satoshi ~Related links~ [Release] ・ NOMURA Co.,Ltd., Ltd. cooperates in spatial concept design. Exhibition "HERALBONY / Unconventional Future" is currently being held to great acclaim. ・Nomura Co., NOMURA Co.,Ltd. 's social good activities: Case study of Hyatt Centric Ginza Tokyo HERALBONY ART ROOM Changing society through the resonance of art and spatial concept design [nomlog] ・Changing society through the resonance of art and spatial concept design- HYATT CENTRIC GINZA TOKYO HERALBONY ART ROOM

Panasonic Laboratory Tokyo (PLT) has been renovated as an R&D base in Tokyo that practices new ways of working in the With/After COVID-19 environment. PLT was established in Ariake, Koto-ku, Tokyo in April 2016, and then moved to its current location in Shiodome Hama-rikyu in December 2018. It has been operated as a "co-creation lab" that conducts co-creation innovation activities such as AI-HUB and Robotics-HUB, which collaborate with both inside and outside the company, centered on engineers who develop advanced technologies that are close to people as the "Hitotics Laboratory". In the With/After COVID-19 environment, we are not limiting the place of work to the office, but are realizing new ways of working, including online. In addition, we have redesigned the office with the concept of "SHARE" in mind, and reviewed the value and functions required for the office, based on the position of the office as a base for practicing co-creation innovation with both inside and outside the company since its opening. "SHARE" means "sharing" various things such as "thoughts and experiences," "information and context," and "friends and encounters" of the people who work together at PLT. PLT is a facility where the residents take the initiative in constantly updating themselves, as an R&D base for "questioning, feeling, and sharing" well-being in daily life and work, and as an office for invigorating co-creation innovation activities, with the office renovation marking the start of a new "SHARE." <Our project members> [Sales/Project Management] Ryo Sugaya [Planning/ concept design] Sayaka Koga, Ryosuke Naga, eiei haymanmyint [Production/ construction] Yosuke Ito

The Fukushima City Creative Business Salon Development Project was a project that was commissioned by our Tokyo Head Office and the design was taken over by our Tohoku Branch, with a competition held in July 2021 as an open proposal. The project aims to renovate the permanent displays room of the Fukushima City Industrial Exchange Plaza on the second floor of the complex facility Corasse Fukushima at the west exit of Fukushima Station, close to JR Fukushima Station, and to develop a co-working space and shared offices as a new business exchange hub, and to renovate it into a facility that can be used comfortably by businessmen, freelancers, university students, etc. The floor area is approximately 755 square meters. Photography is particularly popular in Fukushima, and a gallery has been set up on the wall of the co-working space to display the rich local nature and seasonal scenery and seasonal almanac taken by citizen photographers, as well as culture and art that displays the rich sensibilities of Fukushima people. concept design concept of this salon is the "Shikisai Gallery," which combines the seasonal almanac of Fukushima with the rich color sense of Fukushima people, and we have created a gallery that can be viewed in a more relaxed manner, as a gallery created together with Fukushima citizens. [Social Issues / Customer Issues / Requests] While a spacious layout was required in the post-COVID era, the zoning method and number of seats were also required to take profits into consideration. The floors, walls, and ceilings of the shared office, business exchange space, coworking space, and meeting room were required to have a taste for each environment, and the layout and furniture selection was required to suit the convenience of each user, such as businessmen, freelancers, and university students, as a facility that can be used comfortably by a variety of users such as businessmen, freelancers, and university students. [Solution] As a creative place to create new businesses, the large facility area was utilized to develop the entire space into two zones with two different images. The business exchange space was designed as a zone with an active, bright, natural, and comfortable cafe image, with the walls and floors of the corporate PR displays based on white, creating an environment where you can feel the warmth of wood, and was composed of easily movable furniture for various purposes such as seminars and networking events. The coworking space was designed as a calm lounge zone based on gray, with a sharp environment with dark brown and dark wood on the niche walls, and the furniture was configured to suit the various conveniences of each individual, such as sofas and big tables for relaxing and counter seats where you can concentrate alone. In addition, we enhanced the functions of the corporate PR displays space as a way to build connections with the local area and form a community, and added the "Shikisai Gallery" displays, which we will be creating together with Fukushima citizens, with the aim of creating new connections between the people who use the facility and the city. <Our project members> [Development] Akihiko Nishimura [Sales and project management] Keisuke Yoshida [design, layout] Takayuki Kobayashi, Kenichi Suzuki, Makio Miura [Design management] Kazunobu Nakamura [Production and construction] Johei Saito