WorksCorporate_

Hitachi Origin Park is a new landmark for Hitachi, Ltd., comprised of four facilities: the Kodaira Memorial Hall, the Founder's Hut, the Omika Club, and the Omika Golf Club. In particular, the Kodaira Memorial Hall is a future-oriented memorial hall designed to enhance engagement among all employees and general visitors. It allows visitors to experience the aspirations of founder Namihei Kodaira, conveying the company's roots to all employees, and also provides exhibits that allow local residents to learn about the history of social innovation, in which the company has continuously challenged itself to solve social issues with the spirit of "harmony, sincerity, and pioneering spirit." Furthermore, as a place to "think together about future social issues," an interactive theater has been set up, allowing visitors to reflect on the themes of past displays and express their displays for the future. The Founder's displays, the starting point of the company's founding, has been restored as a symbol of Hitachi Origin Park. The environment of the actual machines has been recreated, and documentary footage and 3D sound effects have been added to create displays that allows visitors to experience the atmosphere of the time and engrave the spirit of the company's founding into their hearts.

This project was implemented based on machine tools collected and utilized by Sankyo Seisakusho Co., Ltd., with the aim of cultural preservation and educational use, and to leave them as a valuable asset for future generations. It will be Japan's premier displays space for machine tools, bringing together numerous historical machine tools that embody the history of modern industry. Visitors can deepen their understanding of the transformations and achievements of machine tools, which were the leading runners of their time that brought about industrial change, organized by system and era, and can actually touch the machines and mechanisms to make new discoveries and learn. In addition, the lighting symbolically enhances the machine tools, which are the heart of displays. Our company participated from the research stage and, under the supervision of the director, was in charge of space concept design, lighting design, graphic concept design concept design and production construction. [Customer's voice] The graphic concept design, color scheme, and especially the balance of the lighting were well done and created an antique atmosphere. <Our project members> [Sales] Takayuki Tsujii [Research] Shuta Fukahori, Takayuki Tsujii [design, layout] Shuta Fukahori [Production and construction] Kazuo Maeda, Yurina Nishizono

Established in April 2021 in Ginza, Tokyo, by the Tokio Marine Group as a base for "agile development," which involves repeated testing and improvement in short periods, this facility brings together engineers and designers from Tokio Marine & Nichido Systems and serves as a workplace aimed at developing insurance and services utilizing digital technology. The facility is a renovated version of four floors of an existing building. The first floor is an entrance gallery with an attached user interview room. The third and fourth floors are office spaces for Tokio Marine & Nichido Systems. The fifth floor is configured as a co-working space to promote collaboration both inside and outside the company. It is concept design not as an office to work in, but as a communication-centered space where a chain of creative activities is born—a "social hub for creativity." With the Tokio Marine Group's message that "insurance is born from adventure and exists to support people's challenges" as the central theme of the facility, the selection of materials and artwork was based on the themes of ① adventure, ② challenge, and ③ diversity, and concept design aims to exude an attitude of challenging anything without fear of failure. Named G/D Lab., this facility aims to accelerate the integration of insurance and digital technologies, and we hope it will become a place that supports new adventures for the future. [Social Issues/Client Issues/Requests] The client had adopted "diversity" as a keyword to express the concept of a "creative social space" where various people gather, so the goal was to design an environment that is comfortable and flexible for anyone who gathers there. [Solution] From the perspective of creating a comfortable environment, the lighting plan for the work area incorporates the concept of circadian rhythms, and fixtures that allow for timer settings of color temperature and illuminance from morning to evening are used. In addition, most of the furniture is movable to flexibly accommodate diverse working styles. Some of the furniture materials use "Kami-Poli Board," a recycled board upcycled from waste paper and waste plastic, making it an environmentally conscious design. <Our Project Members> [Sales & Project Management] Yasuhiro Urashima [Planning] Ryusuke Nomura, Yuya Okamoto [design, layout] Manabu Yamanobe, Shunta Nakamura, Shunsuke Ami [Production & construction] Kentaro Hirano, Katsumi Chikada, Kazuki Misawa

This project involved creating a customer touchpoint space in conjunction with the relocation of Fujifilm Business Innovation Japan (formerly Fuji Xerox) to its new headquarters. Our company was responsible for the planning, design, layout of "Bridge for Innovation," an experiential showroom located on the 17th floor of the Toyosu Bayside Cross Tower, where the new office will be situated. This project required a showroom that could identify directions for solving customer challenges and lead them to success, while simultaneously considering the future of the workplace. Our answer was "Agility of Variable Space." In the solution experience area, no fixed walls were erected, and the space was composed entirely of highly agile movable furniture, thoroughly pursuing a variable and movable space. [Social Challenges/Customer Challenges/Requests] It was necessary to enable flexible operation so that furniture layouts could be quickly arranged to match the business strategy. [Solution] To accommodate a style of operation that involves daily updates of diverse booth configurations tailored to product characteristics and customer characteristics, seven types of movable furniture were planned. Partitions that completely block the line of sight, partitions that allow only half of the view to pass through, and overlapping partitions that create even more variations in transparency are all incorporated. Furthermore, by not constructing fixed walls and instead using different colors for the floor and ceiling to make the boundaries of the space more noticeable, natural zoning is made possible. Flexible infrastructure such as power supplies is also installed under the floor, making it easy to change the function in the future. The thorough pursuit of variable and movable space was also a challenge to organically control the function of space without building walls. <Our Project Members> [Sales/Project Management] Natsuko Murakami, Shioto Kawashima [Planning] Keita Kobayashi [design, layout] Ryo Onishi, Nobuaki Saka, Yoriko Uemura [Manufacturing/ construction] Shunsaku Kimura, Riku Murata

This is a new style of community lounge realized through the direct management of Sunshine City Co., Ltd. in a vacant space on the 3rd floor food and beverage area of Sunshine City Alpa. Our company was in charge of planning support, design, layout, and construction. The space consists of a lounge area where workers can do desk work and a kitchen area where different businesses operate during lunchtime, making it suitable for a variety of scenes such as work, meals, relaxation, and events. In addition, there is a cafe space where "BYRON BAY coffee," which is popular for its organic coffee, has opened, making it a place that connects "people to people" and "people to things," where diverse people gather and a hub for promoting new communities, a lounge space that deliberately does not prescribe its use. The facility name "SOLARIUM" means "sundial" in Latin, and it is an original name that is appropriate for this place where various people gather and interact depending on the time of day. [Social Issues/Customer Issues/Requests] Due to the changes brought about by the COVID-19 pandemic, the options for places to work have increased, so there was a need to propose a flexible community lounge that could accommodate these changes. This project required flexibility in space and opportunities for communication, proposing a co-working space with an attached kitchen, made possible by its location on the food and beverage floor, and a community lounge that could be used not only by workers but also by local residents. [Solution] All main tables are fitted with casters to accommodate various situations. In addition, to ensure a comfortable environment for working or eating, a variety of seating options are available to suit different purposes and moods, including box-type seats for individual work, a sofa area for taking a short break, and a high counter for casual conversation over coffee. To convey that this is a place for connection with the local community, we commissioned artist FACE, a Toshima Ward native who is active globally, to create artwork on the themes of "diversity" and "the city of Ikebukuro," which is boldly laid out on the glass surface of the space. By refreshing the previous image of Sunshine City in a positive way, we express that this is a place that takes a step forward and embraces new values. <Our Project Members> [Sales/Project Management] Minami Hiramatsu [design, layout] Manabu Yamanobe, Noriaki Tamura, Kan Fujimura [Production/ construction] Takashi Kodama

Aisin AW's history of developing Japan's first purely domestic automatic transmission and car navigation systems, as well as the passion and technology of our predecessors who rose to the top of the world, will be handed down to young employees and stakeholders. In the main space, we developed six stories using MANGA expressions favored by young people and symbolic scenes in order to convey the hardships of the company from imitating Europe and America to building its own technology through fumbling, in a way that brings us closer to the perspective of employees at the time. We created a displays that encourages people to empathize with each other in a way that is as easy as reading Manga, and that lets them feel the passion of their predecessors. In addition, we intentionally utilized a 40 year-old building that still retains the breath of life of the employees of that time. We retained parts of the building as stage equipment for displays, and created opportunities for dialogue among employees and customers by using AT pallets and grating materials actually used in the factory as fixtures and stages. In the old conference room area, small rooms are connected to create a large, long and narrow space, and the entire space is used as a timeline to introduce the transition of product technology. The AT pallet, which AW has used to deliver its products to the world, was used to create a stage that employees can feel both familiar with and proud of. This space is a huge AW chronology where you can intuitively feel at a glance the greatness of AW's technology, which continues to make the world's first and best products. < our company Project Members > [Creative Direction] LHC: Mitsuhide Yoshinaga [design, layout] LHC: Yuzo Kosaka, Yushi Tanaka, Akihiro Murayama [Shaping] Kenichi Kishikawa [Sales/Project Management] Takuya Fujioka, Yukari Tange [Production/construction] Hayao Ito

At the Kyushu Aso Factory, Koikeya's first production base in Kyushu, they have established the "Koikeya GOGO! Factory" as part of their efforts to bring smiles to the people of Kyushu, including Kumamoto. This facility allows visitors to experience Koikeya's history and commitment since its founding, while taking a factory tour and making their own original potato chips. Through factory tours at the Kyushu Aso Factory, the facility is designed to appeal to the local community and showcase the charm of Koikeya. [Social Issues/Customer Issues/Requests] Mashiki Town, where the factory is located, was affected by the Kumamoto earthquake. Koikeya wanted to create jobs by operating the new factory and contribute to the recovery and revitalization of the region by producing not only high-value-added products but also their standard products. As part of their efforts to bring smiles to the people of Kyushu, including Kumamoto, they planned a facility where visitors can experience Koikeya's history and commitment since its founding, while taking a factory tour and making their own original potato chips. [Solution] To convey the image of the "new Koikeya," which was rebranded in 2016, as a "long-established potato chip company," we used a noren (traditional Japanese curtain) at the entrance and placed a large graphic called "Koikeya Cultural Philosophy Diagram" that allows visitors to learn about the company's history. Furthermore, when visitors enter the facility, they are greeted by a bright, white space, expressing Koikeya's spirit of "Go Go!" to create "even more delicious" products. In the original potato chip making experience, visitors can enjoy the experience in a "chef style" using a U-shaped counter, emphasizing communication with visitors. [Customer Feedback] Despite the extremely short deadline, you created a facility of high quality. You understood our commitment and the corporate image we aim for very well and expressed it in the finished product. We expect that it will be very effectively used as a place for communication with the local community in the future. <Our Project Members> [Sales & Project Management] Hitomi Ariga [Planning] Tomoko Yanagihara, Mina Mochizuki [concept design] Noriaki Tamura, Akika Yamada [Graphics] Taishin Terumine [Production] Tomoaki Morita

Keiyo Gas has renovated its Ichikawa showroom in Ichikawa City, Chiba Prefecture, into a community space open to local residents. The name "KeiyoGAS Community Terrace (commonly known as "Terrace")" reflects the desire to create a place for everyone to belong through a "veranda = terrace" that serves as a point of contact between people, the town, and daily life, and to pursue the company concept of "Towards the next 'happiness!'" The interior of the building is also concept design with the "veranda = terrace" concept in mind, creating a place for everyone to belong, accepting the free activities and diverse ways in which local residents can spend their time. Furthermore, under the facility slogan "Illuminating the town with children and adults," we have implemented mechanisms that allow users to participate in community building and initiatives that support local life and activities. Through these efforts, we aim to create a community that grows together with citizens and the local area.

"Technology to create a comfortable forest" The Panasonic Center Osaka Re-Life Salon is a space that embodies the wish for people to relax and become well-being, using Panasonic technology to create a comfortable forest. By combining various technologies such as sound, video, material processing, and airflow control with natural materials, it expresses the cycle of heaven and earth in the natural world and invites you to a comfortable feeling that resonates with the five senses. [Social Issues/Customer Issues/Requests] Our role was to embody the message of the facility's theme, "Enriching Life Even More," using Panasonic technology. [Solution] We incorporated healing elements that enrich life and structured the entire space around concept design concept of a "forest." By incorporating Panasonic technology into a space composed of natural elements, it has become a space where you can actually experience comfort. By combining concept design and technology and embodying the space, we created a place that conveys the message of the entire facility. [Customer Feedback] Panasonic's spatial solutions technology has been physically incorporated into the concept design forest, creating a space where more customers can naturally experience it. It has become a salon area where many customers naturally gather, and we feel that it is functioning as the face of the entrance to Panasonic Center Osaka. We are grateful to NOMURA Co.,Ltd. 's sales, design, and construction teams for working together with us from the planning stage and providing a great deal of support in realizing this space. <Our Project Members> [Sales & Project Management] Yusuke Mori, Hidenobu Kumagai [Planning] Masahiko Ohi [design, layout] Asako Hashimoto, Hiroaki Mori [Production & construction] Masao Ogawa ~Related Links~ [Related Achievements] ・Panasonic Center Tokyo ROOM S ・Panasonic Museum Konosuke Matsushita Historical Museum ・Panasonic Center Osaka "Re Life Story: A House Connected to Nature Where You Can Play Innocently and Immerse Yourself in Nothingness" ・Wonder Life-BOX 2020 (Inside Panasonic Center Tokyo) ・Panasonic Center Osaka

NOMURA Co.,Ltd. opened a new office in March 2021 in the Daiba Garden City Building adjacent to the Head Office building (Odaiba, Tokyo) to accommodate the new normal era. NOMURA Co.,Ltd. The Group's goal is to activate communication and better creativity among employees while taking advantage of the Group's diverse work styles and values. NOMURA Co.,Ltd. The Group launched a project in 2019 to consolidate Group company locations with the aim of creating an environment in which employees can work together more closely and synergistically. Facing the changes in work styles and social issues arising from the Corona disaster, we sought to create a realistic office space for the New Normal era with the three keywords of "health," "experimentation," and "brand" to create the "way of the future work. We believed that the function of the office in the new normal era would change from a "workplace" to an "innovative space that triggers communication," where a diverse range of people from inside and outside the company can gather and actively exchange ideas and opinions in a way that only the real world can offer. To this end, the communication space "RESET SPACE_2" was designed based on the concept of a "Unique Park," a park-like space that can be used by all employees to accommodate diverse and unique work styles. The space is made of 100% fair wood. CONFERIUM is a proposal for a new meeting room area, and is an attempt to "act displays in the way we work" by daring to actively showcase unique meetings. The know-how used in the displays space is applied to the office space, for example, by darkening the common corridor to make the conference room stand out as displays. The creative office area has adopted a group address system. The creative floor is designed to allow concept design work with an awareness of the "concept design feeling" of scale and materials, which is a major advantage when conducting concept design work. By clarifying the purpose of the space, we were able to create a sophisticated space at a low cost. This project was planned, designed, construction and managed by the NOMURA Co.,Ltd. group.

Kiuchi Construction in Shizuoka constructed a new office building as a 100 year anniversary project. In one corner of the gallery, we were asked to create a gallery to introduce displays's 100 year history for the purpose of recruiting and communication with clients. Showcasing the history of 100 years from the company's founding to the present and the trajectory of its challenges in construction technology, we aimed to deepen the understanding of Kiuchi's history and create a space that can be effectively used as a communication tool for Kiuchi's next 100 years. [Social Issues/Customer Issues/Requests] ・ Kiuchi Corporation's characteristics were expressed well and the facility was requested to have a dignified appearance. ・ We were requested to present information that is easy for recruiters and clients to understand, and also to remind subcontractors of projects they were involved in in the past and create conversations with Kiuchi employees. ・ With respect to displays, we were requested to guarantee renewability. [Solution] Concrete was chosen as the core of the space expression to express the characteristics of the company, which has its own factory and has achieved development by actively engaging in the concrete business. The concrete that supported displays's growth is also used as fixtures, giving a sense of the weight of history and creating an impactful glimpse. The wall is a graphic sheet chronology that shows the history of the company, which has always responded to the needs of the times and grown while overcoming the waves of economic boom and bust from its founding. In the central showcase, we present diorama models of the milestones in our 100 year history. Instead of displaying the completed architecture, we created a model of the construction scene to make it easier to understand as an illustration. In addition, by elaborately representing the people involved in the construction work as models, we created a displays with a sense of presence that makes it possible to hear the sounds of the site, as well as the breathing and voices of the people of Kiuchi Construction and its partner companies. < our company Project Members > [Sales] Ken Kumagai [design, layout] Yoshihiro Kitamura [Production/construction] Kazuo Maeda

The Yamato Group History Museum, also known as the Kuroneko Yamato Museum, was established to commemorate the 100th anniversary of the Yamato Group's founding. This history museum, which showcases the Yamato Group's 100-year history and future initiatives, is located within the Yamato Konan Building, a next-generation hub for the group. It brings together a variety of functions, including a history museum, a research institute exploring the future of logistics, a training center for human resource development, and a café supporting the social independence of people with disabilities, all centered around a delivery center. The museum features a unique spatial structure, characteristic of a logistics company, where visitors can trace 100 years of history and the changing times as they descend the spiral roadway around the building's perimeter, where transport trucks travel, creating another spiral displays space above and below it. The exhibition is structured into four eras, from the company's founding to the present day. It aims to be displays that blends space and experience, allowing visitors to relive 100 years of Yamato Group growth by experiencing the changes of the times through the streetscapes that served as the stage for history, the offices at the time, and the state of society and daily life, while also touching upon the struggles of service development "visually displays" and the thoughts of managers and employees that were embedded within it.

Seiban Co., Ltd., the schoolbag manufacturer familiar from its "Angel's Wings" TV commercials, opened the "Seiban Museum Park" in 2020, its 101st year in business. This new facility combines a large directly managed store and a schoolbag museum at Head Office and schoolbag manufacturing plant. The first floor houses the "Factory Shop," the largest directly managed store in Japan, and the schoolbag factory, while the second floor features the "Seiban Museum," Japan's first schoolbag museum. At the entrance to the "Factory Shop," a giant schoolbag sculpture, a popular photo spot, welcomes visitors. The sales floor features roads, slopes, stairs, and balance beams designed to resemble a school route, allowing children to enjoy choosing a schoolbag as if they were going to school for the first time. The "Seiban Museum" features spaces designed to resemble classrooms and laboratories in each area, showcasing the history and culture of schoolbags, Seiban's passion for manufacturing, and the performance and appeal of their products through diverse displays. There is also an area where visitors can tour the factory line where schoolbags are actually manufactured. This attractive facility allows three generations of families to enjoy seeing, touching, and experiencing school bags. Our company was responsible for all aspects of the project, from the planning stage to concept design and construction.

AGC invested a total construction cost of approximately 20 billion yen to construct a new R & D building at the AGC Yokohama Technical Center (Tsurumi Ward, Yokohama City). AO (AO/AGC OPEN SQUARE), a collaborative space to accelerate internal and external collaboration, opened on November 19, 2020. The centerpiece of the project is the an open collaborative space with areas based on the concepts of,, and "AO Lab." It consists of four spaces: AO Gallery, a collaborative displays with external partners that utilizes AGC's materials and technologies; AO Park, where users can interact with products, value, and the latest topics created from AGC's seeds and user needs; AO Studio, a displays area where users can experience AGC's cutting-edge materials and technologies; and AO Studio, a collaborative laboratory where users evaluate samples and build prototypes together with external partners. our company was in charge of co-creation displays planning, concept design design and construction at AO Gallery. [Social Issues/Customer Issues/Requests] We received a request to create a gallery where visitors can experience new attractions of AGC through co-creation displays with external partners utilizing AGC materials and technologies. [Solution] By combining AGC's cutting-edge technology and hardware with our company's creativity, we have provided a space where we can co-create the glass of the near future. < our company Project Members > [Project Management] Shinnosuke Saito [Planning, design, layout] NOMLAB: Keisuke Yoshida/Wataru Nagano [Production] So Kirigakubo < Related Releases > ・AGC and NOMURA Co.,Ltd. collaborate to hold "GLASSMART" exhibition < Related achievements > ・NOMLAB GLASS MOTION ・NOMLAB PRISMINATION~ Ikita Glass Space ~

"Sho-u-kan" is a part of the former residence of Count Abe, the former lord of the Fukuyama Domain, built in 1892 in Nishikata-cho, Hongo-ku, Tokyo. In 1971, Tokio Kasuga, the founder of Green Stamp Co., Ltd., relocated and restored it in Karuizawa, and it has been used as a memorial hall for the Green Stamp Karuizawa dormitory. In 2020, Sho-u-kan was renovated at the same time as the newly renovated annex, to be used as a retreat facility by both Green Stamp Co., Ltd. and Kennedyx Co., Ltd. Our company was in charge of the design and interior administration of the Sho-u-kan renovation, including seismic retrofitting, as well as the installation of FF&E (First Floor & Energy) equipment throughout the facility. [Social Issues / Customer Issues / Requests] Since its initial relocation, various additions and renovations have been carried out, and the connection to the other building is only made at the point of a corridor, and structural stress has been placed on the building, resulting in settlement. The entire facility was aging, and in the case of Sho-u-kan, it was difficult to use in winter due to the climate of Karuizawa. Also, although it originally had tatami mats, the frequency of its use had decreased due to changes in the lifestyle of Japanese people. However, there was a desire to renovate it while preserving as much of its original appearance as possible. [Solution] Based on an investigation of Sho-u-kan, it was restored as much as possible to its simple form from when it was relocated, and a seismic diagnosis was conducted to reinforce the structure to withstand seismic forces equivalent to those stipulated by the Building Standards Act. It faces the annex across a courtyard, giving a sense of unity to the entire facility. While respecting the original design as much as possible, the aim was to extend the period of use, including winters other than the coldest period, by installing insulation and air conditioning equipment in the unseen parts. Underfloor heating was installed and the flooring was changed to hardwood, and the walls added for seismic reinforcement were made to express the original image of the walls, fixtures, etc., and the upper half of the space was preserved as much as possible of the original design. <Our Project Members> [Sales] Kayu Tatsumi [Survey, design, layout, and interior administration] NAU1: Norio Koito [Production and construction] Mikiya Fujitaka