Works#Award Winning

In conjunction with the expansion of the East-West Free Passage in the Sendai Station Renovation Project, we promoted environmental design in the facility for the new East Wing expansion of the Espal Sendai Store East Wing and the renovation of the existing building schematic design under design administration of JR East, which is in charge of design administration. The plan was to expand the floor space of Stellnet I T and grand open the 2nd and 3rd floors of the main building in March 2016, and to open the 1st floor of the main building in March 2017 and Stellnet II in June 2017. We assisted working drawings and construction operations for the first three floors of the main building and schematic design for Stellne.

[Project Summary] The main store of Saito Confectionery was damaged in the Great East Japan Earthquake. After that, the flagship store with a confectionery workshop, "Sanriku Kasho Saito Main Store," was opened in the center of Ofunato, the base for reconstruction, as "Kamome Terrace," with an even more powerful confectionery workshop. With the aim of realizing President Saito's idea that "we want to propose a new type of veranda that values the relaxing feeling of being on a veranda as a place to entertain visitors with sweets," our company was in charge of everything from the basic concept to construction. We helped create a consistent flagship store, from architectural concept design to interiors, signs, and videos, as well as creating a logo mark and VI concept design for shoppers and business cards. [Customer's Issues] ?@We want to make the store not just a store, but a base for local interaction and tourism. We want to create a mechanism for this. ?AWe want to appeal to the wide range of products through branding that does not rely solely on our main product, "Kamome no Tamago." How do we zone the four brands operated by Saito Confectionery (Bread Workshop COCOA, Western Confectionery Le Pommier, Japanese Confectionery Sanriku Kasho Saito, Nostalgic Taste Saito Mochiya) in an easy-to-understand and unified way? We want to set up a workshop for sweets (Hikari no Asa) that will be released at the same time as the B opening. We want to consider how to present the manufacturing process, safety, and security, paying attention to the specifications and finishing to ensure hygiene. [Solution] We set up a cafe space that resembles a veranda where customers can gather, centered around a kids' space that will be a large symbolic feature that evokes the image of "Kamome no Tamago" that looks good on social media. In addition, we set up a multi-purpose kitchen space where original Kamome no Tamago [DECO Kamome no Tamago] can be made in a visible area from the store, as a highlight to attract customers. All spaces are separated by glass, so customers can watch the making of the products next to the ones being sold, and we made various efforts to create a space that appeals to safety and security. <Our project members> [Sales and project management] Hiroyuki Uesugi [General direction] Hiroyuki Iizumi [design, layout] Kiwamu Okamoto, Takashi Morifuji, Toru Fukiura [Sign and video direction] Mayo Tenma [Production and construction] Manabu Fukuda, Masaya Sawaguchi

[Project Summary] A spatial installation by the Italian luxury watch brand "PANERAI". First, a transparent "shell" watch was concept design that condenses Panerai's characteristics such as the index with a single stroke of the numerals and the square-shaped case, and then it was stretched to a length of 16 meters by extrusion molding. This long and thin "shell watch" is sliced little by little to make a watch by hand, and visitors can take the finished product home with them. The "age" of the visitor is converted into "mm" and cut out, so watches of various proportions are naturally produced. A circular atelier space is prepared for each work process such as polishing, sandblasting, and assembly, and the way the watch is gradually completed while interlocking and interlocking is performed like the gears of a clock. One watch is produced every five minutes, and the long and thin "shell watch" gets shorter little by little during displays period, and the installation ends the moment they all disappear. In other words, this "shell watch" is also a device that makes you perceive time like an hourglass. We thought that by converting "time" into "length" like "selling watches by weight," it would be possible to experience time and even to "take home a moment of your own." This property was designed by our company's concept design team "onndo(※)." *What is "onndo"? Operated by nomura and nendo design office It is our creative team that has a business partnership with "nendo," a concept design office headed by the world-renowned designer Sato Oki.

[Project Summary] This is a PR project for SK-II's super prestige series MASTERPIECE PITERA. In order to experience the world of MASTERPIECE PITERA, the space was designed with a series of steps, where visitors pass through a facade that imitates the package and then enter the bottle. The materials that cover the space were also carefully extracted from the characteristics of the package and bottle, and replaced with the space. Sparkle, reflection, and three-dimensionality were extracted from the distinctive bottle, and expressed by layering 52 polycarbonate screens of different widths with original film attached. By using polycarbonate, we were able to simultaneously solve problems related to the load-bearing capacity of the building, which could not be solved with glass or acrylic, and interiors restrictions such as the use of non-flammable materials. An original video image of PITERA was projected on the central table, and the identity was further emphasized with flickering ripples and reactive ripples that involve interaction, creating an attractive experience as if you were entering the bottle.

[Project Summary] The venue design for "HANA SO," a solo exhibition by Akane Teshigahara, the fourth-generation head of the Sogetsu Ikebana School, held to commemorate the 90th anniversary of the school. Usually, displays are decided in advance, and the space is designed to make the most of them. However, for this displays, the head of the school proposed the reverse process, in which the flowers were arranged based on inspiration from the space. In addition, the displays venue was the terraced rock garden "Heaven" created by sculptor Isamu Noguchi, so it was essential to make use of the spatial characteristics of the space. Therefore, we decided to create an expression like "mirror ivy" by cutting a 0.5mm-thick mirror-finished stainless steel plate into a series of diamonds, and covering the rock garden while folding each one. The ivy reflects the surrounding scenery while revealing the texture and expression of the rock garden below. The colors and outlines of the flowers arranged in the gaps are diffusely reflected, creating a visual effect like a kaleidoscope. In this way, by inserting a new layer between the two "works" of flowers and rock garden, we hoped to bring about a new kind of fusion and harmony, as if the flowers were gently embracing the rock garden. This property was designed by our company's concept design team "onndo(*)". *What is "onndo"? Operated by nomura and nendo design office It is our company's creative team that has a business partnership with "nendo", concept design office headed by the internationally acclaimed designer Sato Oki. Photography: Ota Takumi

[Project Description] "A house connected to nature where you can play innocently and immerse yourself in nothingness" is a second home proposal for the ReLife generation (male in his 50s, occupation: pastry chef). "I want to continue to grow with excitement. I want an environment where I can deepen my creativity no matter how old I am." The idea was developed with the image of a "secret base where you can return to your childhood." The living space was designed to allow you to play "innocently" with family and friends while sitting or lying down, and a circular window room where you can become one with nature and immerse yourself in your own world "mindlessly." The house was designed with an abundance of "earthen walls" with excellent texture and functionality, and effective use of lighting effects. You can experience a space where your creativity deepens from the two "nothingness" of "innocence" and "mindlessness." We assisted with the planning, concept design, and construction. [Customer's Issues/Requests] With the theme of "a secret base where you can return to your childhood," the challenge was how to express a space where everyone can gather and play, and a space where you can immerse yourself in your own world mindlessly by yourself, in one living space. [Solution] In one large space, we made generous use of earthen walls, which have excellent texture and functionality, to create a comfortable space. Within this, the space where everyone can gather and play "innocently" is created as a stepped stage using interior counters from Panasonic materials, and a large table is placed in the middle to create a space where everyone can gather. In the other "mindless" space, a circular window room is placed, which serves as concept design accent within the living space, creating a space where you can feel and immerse yourself in nature. <Our project members> [Sales and project management] Mori Yusuke [Planning, design, layout] Takahashi Kenji [Production and construction] Ogawa Masao

[Project Summary] This is a renovated facility with the aim of introducing the history of the evolution of Japanese, American and European automobiles from their birth to the present through their relationship with society. The previous displays style, which had Japan and Europe and the US on separate floors, has been replaced with an integrated displays that conveys how Japanese car manufacturing has developed in one world history. The museum features a graphic arrangement that does not distract from the appreciation of cars, such as catchy message slogans and photographic presentations that provide the background of the era, and has created a museum where visitors can intuitively understand the emotional world of car concept design that has developed along with the evolution of technology. [Customer's Challenge] The challenge was to create an integrated exhibition that would convey how the Japanese automobile industry has developed in relation to society, such as the social needs and challenges of each era in world history, and to displays the value and appeal of the cars. [Solution] We paid attention to an explanation plan that would be easy to understand for a variety of visitors and deepen their understanding, and to an effective vehicle arrangement. The history of Japanese cars and Western cars, which was previously separated by floors, is now presented as one world history, and an integrated displays that allows visitors to intuitively feel the history of the development of automobiles. Our goal was to create displays structure that would allow visitors to naturally learn, as they walk around displays, what role Japan has played in the 100-year history of automobiles. [Customer feedback] By using transparent partitions such as mesh tarpaulins and ball bead curtains to explain the displays zones and create a spatial presentation, we were able to make use of the open space that is a characteristic of the original building, while also dividing the exhibits into zones and presenting the space with large graphics, thereby enriching displays content and improving the quality of the space. [Project members] Sales and project management: Tanaka Ryo Direction: Yoshinaga Mitsuhide design, layout Kosaka Yuzo Sign and graphic concept design: Kawashima Asako Production and construction Nakano Kazuaki

[Project Summary] This project involved a complete beautification and renewal of the existing Seibu Chichibu Station building, with the aim of creating a new, lively base for regional tourism that would bring together the diverse charms of the Chichibu area and promote them to the world. The diverse charms of the Chichibu area are promoted through the selection of materials unique to Chichibu, such as locally produced cedar wood and paper lanterns, and the creation of an original logo. We assisted with the concept, basic architectural and interiors concept design, and design supervision. [Client's Challenge] The station building was required to increase the expectations of customers about to visit tourist spots, and to leave a lingering impression on customers returning from tourist spots, making Chichibu tourism more memorable and contributing to the sustainable development of the region. [Solution] We aimed to create a station building that would bring together the diverse charms of Chichibu, such as its rich nature, inherited culture, and vibrant festivals, and be loved by the local community, and to be a "place" that communicates and connects with visitors. Against a background of "ink color" that exudes dignity, the local culture is expressed through the use of locally produced "Chichibu cedar" wood and the local industry of "paper lanterns." The delicate latticework of the "woven pattern" that weaves together the scenery and culture, and the "Chichibu crest" that changes with the seasons add color to the space, making it a place where you can feel Chichibu everywhere. In a space that emphasizes the climate, history, and culture of Chichibu, we planned a "place" where the local area and tourism are connected and new experiences and communication are born. [Our project members] [Development] Toshiyuki Shirai [concept design] Toshihito Kato, Takashi Myochujo *The opening year listed below is the year the renovation work was completed.

[Project Description] With the aim of fostering the "Tokyo 2020 Olympic and Paralympic Movement," strengthening the communication of Panasonic BUSINESS that leads to "business contributions," and strengthening the brand's appeal to younger generations, we aimed to improve Panasonic's brand value by using Panasonic's digital solutions as part of the Cultural Olympiad to hold an Olympic-approved special exhibition themed on Japanese culture. <Our project members> [Sales] Kohei Katagiri, Kei Yamazaki [Planning] Akane Yamaguchi [concept design] Akane Yamaguchi, Yoshitaka Hirayama [Production and construction] Kazuhiro Sano

[Project Overview] Seibu Chichibu Station, the gateway to Chichibu City, Saitama Prefecture, where more than 300 festivals are held annually, opened in April 2017 as a new complex hot spring facility called "Seibu Chichibu Ekimae Onsen Matsuri no Yu" from Seibu Chichibu Nakamise Dori. Based on concept design concept of "festival," which symbolizes the Chichibu area, it has hot springs, a food court, and souvenir shops. As a facility where you can fully enjoy the features of the Chichibu area, it becomes a new base for sightseeing in the Chichibu area and creates bustle. our company was involved in development planning consulting, basic concept design, environmental design supervision, staging, decoration, graphic concept design, signs, facility logo concept design, etc. [Customer's Challenge] In order for visitors to enjoy the diverse attractions of the Chichibu area, which has seasonal sightseeing spots, such as turf cherry blossoms in spring and night festivals in winter, we supported the commercial planning through the food and beverage planning of the food court where visitors can enjoy Chichibu's unique menu and ingredients, and the sales of sweets and goods in collaboration with famous local shops, in order to create a synergistic attraction with the main hot spring facilities. We also cooperated with the realization of Concept concept design through the design supervision of the architecture and interiors of Matsuri no Yu. 【 Solution 】 By cooperating with concept design and design supervision throughout the entire project, we were able to realize the expression of the facility concept of "festival" and synergistically contribute to the enhancement of brand value through extremely smooth relations and close communication with not only the business but also design and construction companies. < our company Project Members > [Development] Toshiyuki Shirai [Sales/Project Management] Tetsuo Mori [Research/Planning/Consulting] Kenichi Sakazume, Tetsuro Yasuda, Ai Ichikawa [design, layout] Toshihito Katoh, Takashi Myochujo [Production/construction] Masato Takeuchi

[Project Summary] The Fukuoka Airport Domestic Passenger Terminal Commercial Facility "Green Blue" project is currently underway, aiming for completion in the spring of 2019. As the entire airport is redeveloped under the park concept, we are in charge of the environmental planning for the commercial zone. We aim to create a place where not only tourists but also the people of the city can gather, like a park with an integrated whole. This time, we were in charge of the design and construction of the food hall "The Food Times", which will be the highlight of the initial opening. [Challenge/Theme] ■ concept design concept "Captain's Base" "A private base for captains who fly around the world" With this concept, we took inspiration from maintenance yards and airplanes and developed it into concept design of each zone and detail. By giving it a story-like quality, we deepened the appeal of the space. ■The best trip starts from the best "If the waiting time is fun, the trip will be even more wonderful". Based on this idea, we created seating spaces with different personalities for each zone, and sprinkled in concept design that add a sense of playfulness, so that guests can spend their waiting time according to their own purposes. [Solution] In the north zone near the boarding gate, we placed a high counter zone where you can casually have a drink and board the board immediately. In the southern zone, airplane parts are displays, creating a museum-like space. It is planned so that visitors can spend time touching airplane equipment that they normally do not get to see. In addition, the central hall seats are equipped with original lighting inspired by the truss structure of a maintenance yard. The random movement creates a fun and lively atmosphere. The space at the back is modeled after a captain's study. Notes detailing the desire to become a pilot are written on a blackboard on the ceiling. [Our project members] [Sales] Goto Naoki [Consulting] Suzuki Sahoko [Design] Matsuura Ryutaro / Deguchi Tomohiko / Omura Kosuke [working drawings] Matsuo Satoshi [construction] Kanayama Mitsuaki / Tsumagari Toshihide

UNIQLO CITY TOKYO proposes a way of working inspired by the power of global cities and the connections between people. It is designed to fuse digital and analog elements in the best way possible, and to provide opportunities for dialogue through spatial tools that allow all employees working here to become agents of change. The architectural concept design and schematic design were carried out by the overseas design firm AWA. We assisted with working drawings (partial schematic design), interiors, electrical and air conditioning construction, signage, custom FFE work, and commercial work. At UNIQLO CITY TOKYO, all creative functions, including product concepts, research and development, concept design, and marketing, are concentrated on the top floor of the logistics warehouse, where approximately 1,000 employees work. The overseas design firm AWA's design concept is to "provide a space that encourages employees to explore and collaborate, and stimulates their imagination." Within this, what was required of us was to communicate closely with AWA, create working drawings, and coordinate with each of the related companies while meeting the set delivery deadline to deliver a high-quality office space measuring 16,000m2 per floor.

[Project introduction] We created a projection mapping project with the theme "The Four Seasons of Hida Takayama" to commemorate the 80th anniversary of Takayama City's establishment and the 140th anniversary of the merger of Hida and Mino, set at the "Takayama Jinya National Historic Site". Takayama Jinya was the administrative center after Hida became a direct territory of the shogunate during the Edo period. Of the more than 60 district magistrate and magistrate offices that were said to have existed throughout the country at the end of the Edo period, Takayama Jinya is the only one whose original building remains. It was designated a national historic site in 1929. This time, in the large hall (a room built in the shoin style) inside Takayama Jinya, we will be holding a limited-time "Hida Shin Projection Mapping" project with the theme "The Four Seasons of Hida Takayama". We assisted with research, planning, concept design, exhibit execution, interior execution, and website production.

[Project summary] "Nihonbashi Toyamakan" is a comprehensive information receiving and transmitting center that can sell products, provide tourist information, and hold exchange events, with a restaurant where you can experience the taste of Toyama as its main focus. Materials and traditional crafts from Toyama Prefecture are used throughout the space, and it is a new base that conveys the beautiful nature, diverse culture, and food charm of Toyama that are the background, rather than simply selling products, and conveys "quality living in Toyama" that makes people think "I want to visit Toyama Prefecture". We assisted with consulting, design, layout, building execution, event management, and PR support. [Challenge/theme] "A place to convey quality living in Toyama" The theme was to not only get things, but also to convey experiences, leading to the revitalization of industry, tourism, etc. [Solution] We put into practice the proposal to "revitalize the facility by introducing a new purpose that will be a centripetal force." Utilizing our CSV solutions for creating public spaces, "Forester Project" (*1) and "Japan Value Project" (*2), we were able to realize a plan and design that would not just be a product center, but one that can be utilized for the various regional revitalization measures that Toyama Prefecture is aiming for, such as tourism, industry, and immigration. For the wood used for the tables and chairs that are actually used, our designers visited sawmills in Toyama Prefecture and selected local materials, including cedar and keyaki, for the building. "Forester Project" (*1) A project to create facility development that creates a strong impression of the regional brand while supporting forestry by producing facility interiors, furniture, and fixtures using domestic materials that are characteristic of the region. "Japan Value Project" (*2) An initiative to collaborate with businesses across the country that handle traditional techniques and materials, and provide a place to promote them by incorporating their specifications into the facility. <Our project members> [Development/Project Management] Fujinaka Ryuichi [Sales Promotion] Sato Noboru, Tanaka Nobuyuki [Planning] Suzuki Megumi, Fujinaka Ryuichi [Creative Direction] Suzuki Megumi [design, layout] Hanaoka Yutaka [Sign/Graphic concept design] Ito Hisae (Cloth) [Production/ construction] Marumori Yukio [Other (Event Planning, PR Support, etc.)] Fujinaka Ryuichi

<Project Description> The Tulip Shikisaikan is celebrating its 20th anniversary and has renovated its permanent displays. In the "Wonder Garden," you can see tulips sprout and bloom all year round, and in the "Under Farm," you can explore the mysteries of tulips with the latest technology. We assisted in the design and construction of the renovation. ◆Wonder Garden Tulip Palace Approximately 500 cut tulips are displays on a 3.7m-high wall made of curved glass. You can have a mysterious experience surrounded by tulips. Palette Garden A garden where 5,000 tulips bloom all year round! The tulips spread out on all sides like a kaleidoscope. Growth Story Enjoy the process of tulips growing with the seasons. ◆Under Farm You can become small and see the growth of tulips from the perspective of a bulb. Images projected on the ceiling will introduce it in an easy-to-understand way. You can also learn about history, breeding, and cultivation tips. <Our project members> [Development] Fujimori Isao, Ishikawa Atsushi [Sales and project management] Ishikawa Atsushi [Planning] Shimokuni Yuki [design, layout] Fukano Tomonori [Video direction] Goto Akinori [Graphics] GyoGyoMaaMa Creation Office Mizutani Ayashi Nakajima Yumi [Production and planning] Fukushima Tsutomu, Hiraishi Akio [Production and construction] Okuda Atsushi, Yamada Koichi, Tadokoro Chinami [Design cooperation] KAZAANA design studio, Hori Tomoe, Hatakeyama Yasushi, Tomoaki Hori Yasuaki Hatakeyama [Production cooperation parties] Horaisha, Nippon Electronics Service, Plantscape, Kyoda Creation, TV Asahi Create 4d, Endo Shomei [Photography] Shin Photo Work, Miyamoto Shinji