Works#Award Winning

[Project Description] This is the first store outside of Hokkaido for Ishiya Confectionery Co., Ltd., a Hokkaido-based confectionery manufacturer famous for "Shiroi Koibito" (White Lover) cookies. Unlike the Shiroi Koibito brand, which can only be purchased in Hokkaido, this store is a new brand created for store expansion outside of Hokkaido that does not sell the flagship product, Shiroi Koibito, and this is its first store. Positioned as an antenna shop that takes advantage of its location in Ginza (GINZA SIX), this store will serve as a stepping stone for future store expansion. [Client's Challenges/Requests] The most important thing in terms of concept design expression is that it conveys that it is a Hokkaido-based confectionery manufacturer. The newly developed product line uses a wide variety of local ingredients to create unique products, and we felt that a message was needed that clearly expresses that the roots of its appeal lie in Hokkaido. Therefore, we proposed making an impression with a design that uses "snow" as a motif. [Solution] This white design covering the wall is a deformed and patterned snowflake that has been cut into panels. This design evokes the scenery of Hokkaido, has a pop feel that matches the atmosphere of the confectionery packaging, and also serves as a neutral background to complement the wide range of colors in this merchandising. Inside the showcase, which is the focal point, a small stage was installed to enhance the visibility of the products, and the same cutting pattern was applied to its rising surface. This expresses the scene of confectionery displayed on freshly fallen snow, increasing its appeal to customers browsing the floor and making the products, which represent Ishiya Confectionery Co., Ltd.'s new endeavor and are imbued with thought, even more attractive. <Our Project Members> [Sales] Hyo Inoha, Tadayuki Matsubara [Design] Yoshihiro Kitamura [Production] Shigehito Katsumata, Hajime Komura

[Project Description] This project involved renovating the second-floor office area of a pre-cutting factory in Takaoka City, Toyama Prefecture, into a reception area, library lounge, and showroom. The aim was to create a space that fulfills the role and function of an office while preserving the unique atmosphere of the factory. The theme is "Forests where people walk together" and "Wooden spaces where people can live richly," with the concept of understanding the growth of trees and supporting the coexistence of wood and people. [Client's Challenges/Requests] ● To create a creative space where people can gather and interact, with "wood" as the keyword. ● To create mechanisms that allow people to feel closer to wood by deepening their knowledge and understanding of wood and by actually touching it. ● To consider not only seeing and touching wood, but also holding workshops to promote wood education and interaction with craftsmen. ● The wooden parts of wooden houses, mainly the structure, tend to be hidden by floors, walls, and ceilings in daily life, making it difficult to take an interest in them. In such a situation, the aim was to create mechanisms that allow people to experience the wood material itself, processing technology, manufacturing staff, and product quality processed by Woody Parts with all five senses. [Solution] The reception area was designed so that employees and visitors could view the space with a sense of depth. This is symbolically expressed in the tables, lighting, and bookshelves that make up the library lounge. In the showroom, mesh material was used on the walls so that displays walls would not disrupt the atmosphere of the former factory space. Taking advantage of the spaciousness of the space, presentation spaces for B2B and B2C were prepared. In order to allow for clear presentations, the showroom was not designed to be explanatory, but rather a space that visually presents handiwork and technology, resembling an art gallery. Emphasis was also placed on the ease of updating information so that it would not become outdated over time. In the future, the aim of this office is to create a space where, in addition to the traditional "manufacturing" using wood, "experience creation" related to "living" will be born. [Customer Feedback] ●There has been an increase in conversations that are not about products (things), such as the scent and texture of wood. ●The number of visitors has increased, not from on-site staff of existing customers, housing companies, but from management, architects, and planners. <Our Project Members> [Sales & Project Management] Takuya Kitai, Yoshiki Yamada [design, layout] Hiroaki Koshizen [Production & construction] Kentaro Hirano Photography: Nakasa & Partners Co., Ltd.

[Project Description] As part of Panasonic Corporation's 100th anniversary celebration, the "Konosuke Matsushita Historical Museum" was newly constructed and opened on March 7, 2018, the 100th anniversary of the company's founding. The aim was to allow visitors to experience the management philosophy and worldview of Konosuke Matsushita, the founder of Panasonic, and to widely pass on his "spirit." [Client's Challenges/Requests] The challenge was how to pass on Panasonic's management philosophy, the numerous achievements, words, and spirit left behind by the founder to the company's employees, and how to provide learning and insights to visitors, including the general public. The space was designed to allow visitors to relive the 94-year life of founder Konosuke Matsushita by following the "path" set as displays theme, and the concept was "a place where you can meet Konosuke Matsushita." [Solution] First, a space was created in which visitors can freely stroll around and concentrate on their thoughts, using "Shinshinan," a place loved by the founder, as a motif. Each displays element is expressed in layers according to depth, and the structure was designed so that visitors can select information according to their individual interests. <Our Project Members> [Sales & Project Management] Shohei Baba [Planning] Tomoko Yanagihara [design, layout] Hideaki Hata, Sachiyo Yoshikawa, Naruhito Suga, Takaki Mizuno [Sculpture concept design] Kenichi Kishikawa [Production & construction] Masao Ogawa Photography: Nakasa & Partners Co., Ltd.

Project Description] This project is a first floor corporate PR and awareness facility for Yamaha Head Office 's new Building No. 21. The goal was to create a "place" where visitors could gain new insights and discoveries no matter when or how many times they visited, by appealing to the full range of Yamaha's technologies, know-how, and sensibilities cultivated over the company's long history. The theme of concept design was to create a facility where visitors can "see," "hear," and "touch" Yamaha's DNA, its present, and its challenges for the future. The challenge was to create a space that would convey Yamaha's corporate stance and showcase its musical instruments in a way that was different from that of a physical store. displays The main street was to be the axis of the building, and the zoning was to clearly separate light areas from dark areas. We feel comfortable with your extensive track record, and the detailed project progression and on-site construction have resulted in the completion of a wonderful facility, thank you very much. ＜Our project members＞ [Sales/Project Management] Takashi Sakamoto, Kensuke Feiniwa, Kyoko Watanabe [design, layout] Keiu Tamura, Noriaki Terunuma, Atsuko Nakazawa [Planning/Signage/Graphics concept design] Tomoko Yanagihara, Mitsuka Kobayashi [Production/ construction] Atsushi Yanome

[Project Description] This facility is an innovation facility created with the aim of co-creating new value by bringing together people, technology, and wisdom, in addition to being a space to introduce and experience the technologies that Ajinomoto has cultivated so far, with the goal of solving the challenges of business partners and social issues. [Client's Challenges/Requests] Until now, technology introductions to companies have been on a visit-based basis, which limits the number of technologies that can be explained at one time, and it is difficult to convey the actual product introductions and the value of the technology. Therefore, there was a need to create a place where the appeal could be made more efficiently and effectively. Furthermore, there was a need to create an environment in which the potential value of the technology could be effectively conveyed and customer needs could be efficiently understood by allowing customers to "see, touch, and feel" the technologies that are owned. [Solution] In composing the space, we built a variable system based on the following ideas: ① fixed form (not having a fixed shape in terms of time or space), ② bidirectional (dialogue is the main focus, not objects or technology), and ③ unfinished (changing along with the evolution and changes of the world), thereby realizing highly flexible planning. This allows us to appeal to customers efficiently according to their needs and also enables unexpected connections and discoveries. Furthermore, as a concept design concept, we aimed to create a space (innovation space) that encourages free and flexible thinking by combining circles and organic curves, based on the theme of "Ferment" (to ferment, to revive, to stimulate). <Our Project Members> [Planning] Yuichi Saito, Tomoko Yanagihara, Keita Kobayashi [design, layout] Keiyu Tamura, Kensaku Shiroto [Creative Engineers] Kenichi Kishikawa, Ken Yanagisawa, Katsuji Oguchi (Nomura Techno) [Production & Construction] Jun Endo [Sales & Project Management] Ayako Konda, Atsuko Matsubara, Yasushi Shimizu

[Project Description] The "Heijo Palace Invitation Hall" is a guidance facility located within the Suzaku Gate Plaza of the Heijo Palace Site National Historic Park. It conveys the significance and splendor of the Heijo Palace Site Historic Park, a "special place" where you can feel the Nara period today, and invites visitors to the park and temples that retain the atmosphere of the past. [Client's Challenges/Requests] In order to invite visitors to the Heijo Palace Site, we aimed to create a "guidance displays that increases interest in the Heijo Palace Site and leads to a moving experience at the actual site." [Solution] We aimed to invite visitors to the field by spatializing and experientially impressing them with the "specialness of the Heijo Palace Site," which is difficult to see at the site. The zone is broadly divided into three parts: "The Present State of the Heijo Palace Site," which guides visitors through the current park; "The Appearance of Heijo Palace," which allows visitors to learn about and experience the activities of Heijo Palace in the past; and "Beyond Time," which interprets Heijo Palace and Kyoto in the past from artifacts. By changing the approach in each zone and impressing the specialness through the five senses, displays is designed to lead to a moving experience at the actual site. <Our Project Members> [Development] Haruya Miwa, Kazuya Hashizume [Sales & Project Management] Haruya Miwa [Planning] Shigeo Fujii, Yuka Sueda, Setsuko Nishimura [design, layout] Takeo Akamine, Tadashi Yuasa, Tomoyo Tsukiyama [Signage & Graphics] Yoshito Inoue, Satoko Hasegawa [Production & construction] Hayato Ichimanda, Goro Yamano, Ryohei Yamaoka, Yoshito Inoue, Katsumi Yamada, Satoko Hasegawa, Nanae Hori [public relations] Takeo Akamine, Shigeo Fujii, Yoshito Inoue, Satoko Hasegawa [Review Engineer] Kazuya Hashizume

[Project Overview] The museum, boasting a collection of masterpiece chairs and posters, places more emphasis than ever on concept design, aiming to become an experiential creative museum that "connects art and concept design." There are six displays rooms of varying sizes. Our company was responsible for the design and construction of the wall cases in the special displays room on the second floor. In addition to permanently displays approximately 50 chairs from the collection of about 240 chairs, we developed displays system for concept design displays room, which boasts a collection of approximately 13,000 posters. We also handled displays of works and materials by Shuzo Takiguchi and Simon Goldberg, which were donated when the museum was the Toyama Prefectural Museum of Modern Art. In the hall, we developed an experiential "interactive art" installation that creates light art through body movements. [Client's Challenge] The museum possesses a rich collection of 20th-century art and an unparalleled collection of concept design (chairs, posters). The goal is to create an experiential creative museum where visitors can freely explore this museum, deepen their knowledge of one genre, and not only grasp things in relation to various genres, but also develop a deep understanding and critical thinking skills. [Solution] We created distinctive displays spaces tailored to the theme of each displays room, including displays fixture planning, color scheme planning, lighting plan, and video/sound plan, resulting in memorable art and concept design experiences. Furthermore, we introduced "interactive art" in the hall, where visitors create light art through body movements, contributing as an element of an experiential, imaginative museum that connects art and concept design. <Our Project Members> [Development] Atsushi Ishikawa [Sales/Project Management] Atsushi Ishikawa [design, layout] Yasushi Kasuga [Production/ construction] Shunichiro Nagayama [Video] Akinori Goto

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 Overview] Saito Confectionery's main store was damaged in the Great East Japan Earthquake. Subsequently, in the central urban area of Ofunato, a base for reconstruction, they reopened "Sanriku Kasho Saito Main Store" as "Kamome Terrace," a flagship store with an attached confectionery workshop, with even more power. With the aim of realizing President Saito's wish to "propose a new form of 'engawa' (veranda) that values the feeling of relaxation as if you were on a veranda, as a place to welcome visitors with sweets," our company was in charge from the basic concept to construction. We assisted in the creation of a flagship store in a consistent manner, from architectural concept design and interior to interiors, video, logo mark creation, shopping bags, business cards, and other VI concept design. [Client's Challenges] 1) They want the store to be more than just a store, but a hub for community exchange and tourism. They want to create mechanisms to achieve this. 2) They want to appeal to customers with a wide range of products through branding that does not rely solely on their main product, "Kamome no Tamago" (Seagull Egg). How can we clearly and consistently zone the four brands operated by Saito Confectionery (COCOA Bakery, Le Pommier Western Confectionery, Sanriku Confectionery Saito Japanese Confectionery, and Saito Mochi Shop with Nostalgic Flavors)? B We want to include a workshop for the confectionery (Hikari no Asa) that will be released at the same time as the store opens. We want to pay attention to specifications and finishing to ensure hygiene, and consider ways to present the manufacturing process, safety, and security. [Solution] A large symbolic kids' space, inspired by the "Kamome no Tamago" (Seagull Egg) that is visually appealing on social media, was created, along with a cafe space reminiscent of a veranda where customers can gather. In addition, a multi-purpose kitchen space where customers can create their own original Kamome no Tamago (DECO Kamome no Tamago) was installed in a visible area of the store, making it a major attraction. All spaces are separated by glass, allowing customers to see the confectionery being made next to where it is sold, creating a space that appeals to safety and security, among other various measures. <Our Project Members> [Sales & Project Management] Hiroyuki Uesugi [Overall Direction] Hiroyuki Iizumi [design, layout] Kiwamu Okamoto, Takashi Morifuji, Toru Fukiura [Signage & Video Direction] Mayumi Tenma [Production & construction] Manabu Fukuda, Masaya Sawaguchi

[Project Overview] This is a spatial installation by the Italian luxury watch brand "PANERAI". First, a transparent, shell-like watch was concept design, condensing Panerai's characteristic features such as the indices made with single-stroke numbers and the square-shaped case. This shell was then stretched to a length of 16 meters using extrusion molding. Watches are then made by hand, gradually slicing this elongated "shell watch," and visitors can take home the finished product. As the visitor's "age" is converted to "mm" and cut out, watches with various proportions are naturally produced. A circular atelier space is prepared for each work process, such as polishing, sandblasting, and assembly, and the way these spaces mesh and work together to gradually complete the watch is like the gears of a clock. One watch is made every 5 minutes, and the elongated "shell watch" gradually shortens during displays period, ending the installation the moment it all disappears. In other words, this "shell watch" also serves as a device to make us perceive time, like an hourglass. We thought that by converting "time" into "length," like selling time by weight, it would be possible to experience time and even "take home your own time." This project was handled by our concept design team "onndo (*)." *What is "onndo"? Operated by nomura and nendo design office, onndo is our creative team that has a business partnership with nendo, concept design office headed by the globally acclaimed designer Oki Sato.

[Project Overview] This is a PR project for SK-II's super prestige series, MASTERPIECE PITERA. To allow visitors to experience the world of MASTERPIECE PITERA firsthand, the space was designed to create a flow where visitors pass through a facade modeled after the packaging and then enter the bottle itself. The materials used to create the space were carefully selected from the characteristics of both the packaging and the bottle, and then incorporated into the space. From the distinctive bottle, we extracted shimmer, reflection, and three-dimensionality, and expressed these by layering 52 polycarbonate screens of varying widths, each covered with an original film. By using polycarbonate, we were able to simultaneously overcome issues related to load-bearing capacity for the building and interiors restrictions such as the use of non-combustible materials, which could not be resolved with glass or acrylic. An original video inspired by PITERA was projected onto the central table, and by incorporating interactive, shimmering ripples and reacting ripples, we aimed to further emphasize its identity, creating a captivating experience as if one had stepped inside the bottle.

[Project Overview] This project involved the venue design for "HANA SO," a solo exhibition by Akane Teshigahara, the fourth headmaster of the Sogetsu School of Ikebana, held to commemorate the school's 90th anniversary. While typically displays works are decided in advance, and the space is then designed to complement them, the headmaster proposed the reverse process for this displays: the flowers were arranged based on inspiration drawn from the space itself. Furthermore, since displays venue was "Tengoku," a terraced stone garden created by sculptor Isamu Noguchi, it was essential to utilize the unique spatial characteristics of the garden. Therefore, we considered cutting 0.5mm thick, mirror-finished stainless steel plates into a series of diamond shapes, folding each one to cover the stone garden, creating an expression resembling "mirror vines." The vines reflect the surrounding landscape while allowing glimpses of the texture and appearance of the stone garden below. The colors and outlines of the flowers arranged in the gaps are then scattered, creating a kaleidoscope-like visual effect. In this way, by inserting a new layer between the two "works" of art—flowers and a rock garden—we aimed to bring about a new fusion and harmony, as if the flowers were gently embracing the rock garden. This project was handled by our 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," concept design office headed by the globally acclaimed designer Oki Sato. Photography: Takumi Ota

[Project Description] "A home connected to nature where you can play innocently and immerse yourself in nothingness" is a second home proposal for the ReLife generation (a man in his 50s, occupation: pastry chef). The desire to "continue to grow with excitement and have an environment where I can deepen my creativity no matter my age" was developed with the image of a "secret base where you can return to being a boy." The design includes a living space where you can play "innocently" with family and friends while sitting or lying down, and a circular window room where you can become one with nature and "mindlessly" immerse yourself in your own world. The house makes extensive use of "earthen walls" which have excellent texture and functionality, and lighting effects are used effectively. You can experience a space where creativity deepens from the two "nothingnesses" of "innocence" and "mindlessness." Our company assisted with the planning, concept design, and construction. [Client's Challenges/Requests] The challenge was how to express a space where everyone can gather and play, and a space where one can immerse oneself mindlessly in one's own world, all within a single living space, based on the theme of a "secret base where you can return to being a boy." [Solution] As one large space, we made extensive use of earthen walls, which have excellent texture and functionality, to create a comfortable space. Within that space, we created a tiered stage using Panasonic's interior counter as a space for everyone to gather and play "innocently," and placed a large table in the center to create a space where everyone can come together. In the other space for "mindlessness," we placed a circular window room, which serves as a concept design accent in the living space and creates a space where one can feel and immerse oneself in nature. <Our Project Members> [Sales/Project Management] Yusuke Mori [Planning/ design, layout] Kenji Takahashi [Production/ construction] Masao Ogawa

[Project Overview] This facility was renovated with the aim of introducing the history of the evolution of automobiles in Japan, the United States, and Europe from their birth to the present day, through their relationship with society. The previous displays style, in which Japan and Europe were arranged on separate floors, was changed to an integrated displays that conveys how Japanese car manufacturing has developed within a single world history. A key feature is the graphic arrangement that does not distract from the appreciation of the cars, such as the creation of catchy messages and photographic presentations that show the background of the era, and the realization of a museum where visitors can intuitively understand the emotional worldview of car concept design that has developed alongside technological advancements. [Client's Challenge] The challenge was to create an integrated exhibition that would reveal the value and appeal of cars by conveying how the Japanese automobile industry has developed within the context of its relationship with society, such as the social needs and challenges of each era in world history. [Solution] Attention was paid to displays an explanatory plan that is easy to understand and deepens the understanding of diverse visitors, as well as an effective placement of vehicles. The history of Japanese cars and European cars, which were previously separated on different floors, were presented as a single world history, creating an integrated displays that allows visitors to intuitively feel the history of automobile development. displays displays designed so that visitors would naturally learn about Japan's role in the 100-year history of automobiles as they walked around. [Customer Feedback] By using transparent partitions such as mesh tarpaulin and ball bead curtains for zone displays explanations and spatial design, we were able to utilize the original building's characteristic of high openness while realizing zone divisions and spatial design with large graphics, enriching displays content and improving the quality of the space. [Project Members] Sales/Project Management: Ryo Tanaka Direction: Mitsuhide Yoshinaga design, layout Yuzo Kosaka Signage/Graphic concept design Gosako Kawashima Production/ construction: Kazuaki Nakano

[Project Overview] This project involves the complete beautification and renovation of the existing Seibu Chichibu Station building, with the aim of creating a new vibrant hub for regional tourism that brings together the diverse attractions of the Chichibu area and disseminates them to the world. Through the selection of materials unique to Chichibu, such as locally produced cedar wood and lanterns, and the creation of an original logo, the project communicates the diverse charms of the Chichibu area. Our company assisted with everything from the concept to the basic concept design of the architecture and interiors, and design supervision. [Client's Challenge] The client wanted a station building that would heighten the expectations of customers heading to the tourist destination and leave a lasting impression on customers returning from the tourist destination, thereby making Chichibu tourism more memorable and contributing to the sustainable development of the region. [Solution] We aimed to create a station building that brings together the diverse attractions of Chichibu, such as its rich nature, inherited culture, and vibrant festivals, and is loved by the local people and serves as a "place" that conveys and connects with visitors. Against a backdrop of dignified "ink black," the use of locally produced "Chichibu cedar" and "lanterns," a local industry, expresses the regional culture. The delicate lattice patterns of "Woven Patterns," which weave together landscapes and culture, and the "Chichibu crests," which change with the seasons, add color to the space, creating an environment where you can feel Chichibu at every turn. We planned a "place" where the local area and tourism are connected, and new experiences and communication are born, in a space that emphasizes the climate, history, and culture of Chichibu. [Our project members] [Development] Toshiyuki Shirai [concept design] Toshihito Kato, Masataka Myonaka *The year of opening listed below is the year the renovation work was completed.