Works#Award Winning

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.

For humans, whose natural habitat is land, spending long periods at sea is stressful both physically and mentally. To balance this, the design actively incorporates land-based elements that are in opposition to marine elements. These elements include the verticality of plants growing vertically against the horizontality of the drifting sea surface, the straight lines of buildings and windows against the curves of waves and fish, and the weightiness of trees and rocks against the floating concept design of ships and bubbles. The exterior deconstructs and reconstructs the company name, creating a Japanese pattern reminiscent of lanterns and kumiki (latticework). <Our Project Members> [Sales/Project Management] Ryo Fujime, Keita Suda [concept design /Basic Planning] no.10: Keita Aono, Shohei Suzuki [schematic design / working drawings / interior administration] no.10: Shohei Suzuki

~More than just a place to wait for trains, a station as a community space where everyone can feel comfortable~ Based on the concept of creating a place that fosters community, workshops and surveys were conducted with local residents from the planning stage. User needs were made apparent and reflected in the design. To create opportunities to experience various cultures through books during the time spent in the station, a corner where books and picture books can be read has also been installed. In order to convey the charm of local resources through the use of the station, the locally produced "Obi cedar" was actively used in various parts of the space, and the design and production of a space in which users can experience the charm of Obi cedar through their own experience was planned and produced. [Client's challenges/requests] The Nichinan Station, which was a place only for getting on and off trains and lacked any sense of community before the renovation, was to be transformed into a place that fosters local community and allows people to feel the "charm of the region". [Solution] In order to convey the appeal of local resources through the use of the station building, we collaborated with a local design firm, Ryohin Keikaku Co., Ltd., and actively incorporated locally produced "Obi cedar" into various parts of the space. To create opportunities for users to experience the charm of Obi cedar, we used wood for the station building's facade and window frames, while harmonizing it with the forest spreading behind the station building. In addition, we implemented a signage plan that makes the station's presence recognizable from a distance, and produced a space that harmonizes and integrates with the surrounding environment and the station building, with wood as the main material. [Customer's Voice] People other than JR users have started to visit the station building, and it has been renovated into an attractive space where local people can gather. We would like to continue to use it as a place for the local community, such as by holding events using the station building in the future. <Our Project Members> [Sales] Reiko Ibe [Planning, Production, Workshop concept design, design supervision] Mari Matsumoto ~Related Links~ [News Releases] ・ NOMURA Co.,Ltd., Ltd. opens a renovated old house facility as the first in a public-private partnership project to revitalize Nichinan City, Miyazaki Prefecture ・Nichinan City, Miyazaki Prefecture and NOMURA Co.,Ltd. conclude a "Comprehensive Partnership Agreement on Regional Revitalization" ・Nichinan City, Miyazaki Prefecture and NOMURA Co.,Ltd. sign the "Regional Revitalization Business Personnel Exchange Program" ・ NOMURA Co.,Ltd. takes on the role of a creative partner in community co-creation for urban development [Media Coverage Information] ・2019.07.05 "Construction Communications Newspaper" ・2020.04.01 "Nichinan TV" ・2020.04.07 "Miyazaki Nichinichi Shimbun" [Related Achievements] ・Plus D Nichinan Branch ・Kiraku Obi Goya Residence ・DENKEN PJM Photography: Park concept design Co., Ltd.

The public relations and displays space was set up alongside the G20 summit, which brought 30,000 officials and press from around the world to Osaka. It featured a floating, cutting-edge technology displays area inspired by a futuristic miniature world floating on the sea, a live kitchen reminiscent of street food stalls, and a bright white cultural area expressing hope from reconstruction to the Olympics. The three different areas were seamlessly connected and merged to concept design a new style of presentation that allowed visitors to relax and enjoy present-day Japan. [Social Issues/Client Issues/Requests] The client requested that we express Japan's innovative technologies and ideas that realize a virtuous cycle of environmental conservation and growth, creating a new era that is rich for both people and the planet. [Solution] At the G20 Osaka Summit, we actively implemented waste reduction initiatives based on the concept of "3R" + "Renewable Sustainable Resources," and in the public relations displays, we realized cutting-edge technology and spatial concept design related to the marine plastic waste problem. The displays was structured to show Japan's technologies and initiatives for plastic resource recycling in stages: "Reduce," "Replace," "Reuse," "Recycle," "Collect," and "displays." With concerns that by 2050 the ocean will contain more plastic waste than fish, we created a floor design depicting a beautiful ocean to convey Japan's commitment to protecting this state of the sea. <Our Project Members> [Sales & Project Management] Yuji Hayamizu, Yasuo Ogawa, Shigeyuki Ishiyama [design, layout] Yutaka Hanaoka, Takayuki Kobayashi [Production & construction] Yu Kimura, Yoichi Miura, Yukari Takahashi, Shigeki Ueno, Yuka Tabata, Yuki Higashihara

The first global flagship store of the brand "SHISEIDO". Based on the concept of 'Japanese Digital Garden', you can experience the world of the brand theme, 'ALIVE with Beauty', by fusing technology with the human touch that stimulates the five senses. The three-story space is composed of the themes of "1F: Play with Beauty", "2F: Create Beauty", and "B1F: Awaken Beauty". The 1st floor is centered around the water artwork that symbolizes ALIVE, and is dotted with testers that allow you to experience and purchase without contact, allowing you to freely enjoy and discover your own unique beauty. The 2nd floor is a calm space centered on natural materials, where professionals will bring out the beauty of each individual. The B1F is a mysterious and tranquil space where you can experience meditation and recharge your new beauty. In this way, all kinds of experiences related to beauty are provided to suit the needs of each user.

[The aquarium is based on the theme of "Shikoku Aquascape," the diverse waterscape of Shikoku, which is surrounded by the sea on all sides and is home to many clear streams and countless reservoirs. The Seto Inland Sea, Japan's world-class beautiful archipelago, spreads out before your eyes. Visitors can enjoy a rich time watching dolphins living in a pool that seems to blend in with the beautiful sea. The museum's environment is decorated with "sound, light, and scent" and "the flow of time," allowing visitors to "enjoy the change of expression. We aimed to create an aquarium that awakens visitors' senses by bringing them into contact with the history and culture of living creatures and people. The aquarium was to be a place of integrated customer satisfaction, not just a place to displays see living creatures. The Shikoku Aquarium is the gateway to Shikoku. The Shikoku Aquarium is the gateway to Shikoku, so it was necessary to create an environment that was appropriate for such a facility. Solution: We proposed an environment where visitors can "enjoy expression. displays The concept of the staging was "Touring the story of water and life. We created a variety of contents to promote a new Shikoku-like atmosphere. The welcome booth was designed by Nihonkaisui, which has been dealing with marine resources, to convey the charm of Shikoku's sea to visitors to the Shikoku Aquarium. We designed the booth to express the form that can be derived from a combination of the Shikoku Aquarium's goal and Nihonkaisui's corporate philosophy. The booth is composed of an aquarium tank using artificial seawater, a company product, and a video presentation inspired by salt art. displays The booth was designed to harmonize salt, the company's main product, with living creatures, and was highly rated by visitors. The booth was highly evaluated by visitors, and we feel that it made a significant contribution to the enhancement of our corporate image. ＜Our project members】 【Sales and project management】 Tatsuya Fujii, Teruko Takai 【design, layout】 Kaoru Sone, Sho Inanobe, Yuichiro Ishida, Shohui Gao 【Production・ construction】 Takeshi Suezaki / Nomura Techno: Shigeo Nagao / Nomura Products: Yoshiyuki Yamazaki

The Lake Biwa Museum opened in 1996 with the mission of building a better coexistence between the lake and people together with the local community. From 2015, it underwent renovation work over three phases, totaling six years. This third phase involves the renovation of displays Rooms A and B. displays Room A, titled "4 Million Years of the Lake and Us - Lake Biwa in Constant Change," introduces the changes in Lake Biwa, displays nature, and its living creatures 4 million years ago, along with their relationship to the current environment. In each section, through numerous fossils and geological specimens collected since the museum's opening, and reconstructed dioramas that allow visitors to experience past environments, the museum conveys the story of Lake Biwa and its living creatures, which have been constantly changing, as well as the charm of the Lake Biwa field. displays Room B, titled "20,000 Years of the Lake and Us: A History of Nature and Life," explores how humans have interacted with nature, using "forests," "watersides," "lakes," and "villages" as its backdrop. Using the "dragon," a symbol of nature from a human perspective, as a guide, the exhibition traces the environmental history centered around Lake Biwa, explaining how it connects to our lives today (displays Room C).

"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

In response to a rapidly diversifying society driven by advanced technology, Panasonic believes in and proposes a balanced lifestyle. They believe that by seamlessly reading, understanding, and grasping the condition of a person's skin, hair, and health in their daily life, and providing personalized care that anticipates their needs, they can offer an intuitive and balanced lifestyle. In the concept space at this displays, visitors experienced a series of stories, from how information about a resident is collected, integrated, and analyzed by the objects and spaces surrounding them, to how products with beautiful and universal concept design provide optimal care for that person. <Social Issues/Customer Issues/Requests> Newly planned and developed well-being products were unveiled for the first time at IFA. We were commissioned to concept design the concept displays space, striving to create a space that goes beyond a simple product displays, allowing visitors to interpret the product's concept and user experience. <Solution> Through detailed interviews and discussions with the London concept design Centre, which was responsible for concept development, we utilized new AV technologies and building materials to design a space that not only gains visitor understanding but also leaves a lasting impression as a user experience. <Customer Feedback> Even though the product and concept were still in the early stages of concept creation, before they even existed in the world, they were involved from the very beginning, helping us consider what kind of output would be most effective. Despite the short lead time, we were able to work together and complete the project by the deadline. <Our Project Members> [Sales] Makihide Ono [design, layout] Daisuke Nishida [Production/ construction] Yoichi Miura

Based on the concept of "PLAY THE FUTURE," this playground allows visitors to experience the future mobility society, "Human Connected," by becoming residents of the future and exploring various interactive content. Rather than depicting the connected city gradually becoming a reality, the design creates a highly abstract environment based on white and grids, and combines video projections that envelop the entire booth with stage productions to create an experiential space that stimulates visitors' imagination and their anticipation for the future. <Our Project Members> [Sales/Project Management] Shigeyuki Ishiyama [design, layout] Noriaki Tamura, Kazuya Maruyama, Kan Fujimura [Production/ construction] Jun Endo, Fumiya Sasaki ~Related Links~ [Related Achievements] ・Toyota Booth at the 45th Tokyo Motor Show

An experimental museum for the sustainability of people and global society. The frontrunners who have gathered at Hosei University have accumulated practical knowledge for living freely, with a pioneering spirit. The HOSEI Museum inherits this history, looks to the past and future of global society, and aims to become a magnetic field where knowledge can interact, connecting people inside and outside the university across disciplines, in order to realize a rich and just society. Our company has been consistently involved in everything from site selection to planning, research, consulting, logo concept design, content concept design, and displays design construction, and we continue to expand our operations to other campuses. [Social Issues/Customer Issues/Requests] The HOSEI Museum was established as part of the university's long-term vision (HOSEI2030), and was planned with the aim of contributing to the development of education and research by widely displays, making public, researching, and studying the history of the school, educational and research achievements, and academic resources possessed by Hosei University. [Customer Voice] We have worked with NOMURA Co.,Ltd. to connect the abundant academic resources of the university and aim to create a museum that will serve as a base for disseminating the Hosei brand. This museum is a place where current students can learn about the rich history and unique character of our university, and where alumni can reflect on their student days and look towards the future together. We also hope that this museum will be a place where people outside of Hosei University can consider together the meaning and value of a university's existence in society through the example of Hosei University. <Project Members> [Sales/Project Management] Kentaro Takahashi [Research/Planning] So Watanabe, Naoko Nakase, Chiho Kuroda [Consulting] So Watanabe, Shunsuke Shimizu, Naoko Nakase [design, layout] Shunsuke Shimizu, Kyoko Kosugi, Yuri Nakagawa [Production/ construction] Ken Hirao [Replica Production] Nomura Techno Co., Ltd.: Nobuyuki Endo

A storehouse in the samurai residences of Kakunodate, Akita Prefecture has been renovated into a lodging facility. The concept is "KURA STAY," and the hotel is a cultural experience hotel where the lifestyle of the time has been preserved in the storehouse. The hotel consists of three storehouses, the "Bushigura," the "Gakkogura," and the "Tamonogura," for rent. The space incorporates Kakunodate's traditional crafts of birch crafts and Iburi-gakko production scenes, textile art such as plant dyeing, and samurai family crests, providing a local cultural experience throughout the stay. In addition, decorations have been provided in cooperation with local shops, and information is provided within the facility, which also serves as a tourist hub to encourage travel.

This project involves converting displays room within the Panasonic Center Tokyo into a VIP reception conference room. (Not open to the public) By utilizing the spatial composition that leverages human perception, 4K video is subtly incorporated into the space as if it were a material or landscape. Combined with ceiling height control and skylight effects using advanced lighting technology, the space is given a sense of spaciousness, pursuing a "comfortable atmosphere that encourages lively conversation." As the center receives many VIPs and state guests from both Japan and overseas, icebreaker elements have been incorporated throughout, such as ceiling designs inspired by the Japanese art of origami, video expressions reminiscent of a dry landscape garden, and scents that evoke a sense of Japanese aesthetics. Furthermore, handwritten patent application documents imbued with the founder's aspirations have been transformed into artwork and placed on the wall behind the head of the room, imbuing the space with soul. In conjunction with the lighting control, the scene can be switched according to various purposes, such as welcoming guests, dining, or meetings using multiple screens. While making full use of Panasonic's cutting-edge technology, we focused on understated expression to create an overall calm atmosphere, building a spatial value that combines novelty and high quality. <Our Project Members> [Sales/Project Management] Kei Yamazaki [Direction] Akane Yamaguchi [concept design] Shigemi Shimizu, Kiyoho Tani [Production/ construction] Hiromitsu Furuichi, Yuta Kumazawa

Jojoen, a renowned yakiniku (Japanese barbecue) restaurant founded in 1976, has planned its largest flagship store to date. At its founding location in Roppongi, many foreign customers visited the restaurant at the time, and the name of the restaurant comes from the sound of meat being grilled, which is pronounced "Jojo." Expanding on this idea from the sound of grilling meat, the concept of tone was adopted, and the finishes of materials such as Nishijin-ori (Kyoto textile), acrylic, stone, and glass were given characteristics that evoke a sense of rhythm. In addition, the piano booth was designed to visually appeal to the spread of sound during performance, creating a symbolic form. Drawing inspiration from the brand's history, this project strengthens the relationship between food, space, and sound. concept design aims to create a space that resonates with the five senses of customers and allows them to feel the happiness of food even more. <Social Issues/Customer Issues/Requests> - To create a presence and sense of luxury befitting a flagship store. - To plan seating that can accommodate various occasions. <Solutions> -concept design utilizes the characteristics of materials such as wood, stone, Nishijin-ori, and acrylic. We planned seating arrangements that can accommodate various occasions, including private rooms, semi-private rooms, pair seats, hall seats, and circular sofa seats. <Our Project Members> [Sales & Project Management] Yasuhiro Tsuruta [design, layout] RENS: Ryutaro Matsuura, Yuka Kurachi, Takuro Ishizawa [Production & construction] Mikiya Fujitaka, Takashi Yokoyama, Mariko Yamamoto