Works#Climate Change/GHG Reduction

This project involves the repair and restoration of the world's only surviving German-made B6 steam locomotive, housed at the FUJI Nagoya Science Museum, and the development of a "Railway Plaza" where three railway vehicles, including an old-style passenger car, will be displays outdoors. Aiming to create a place where visitors can experience the dynamic power of a 1904-manufactured steam locomotive in operation and learn about the principles of science and technology and the history of manufacturing, this project spanned over 10 years, with our company handling everything from the locomotive's restoration survey to the conceptual planning, design, and construction. In addition to the repair, restoration, and long-distance transportation of the vehicles, we also incorporated design administration for the outdoor displays facilities and presentation techniques that link to the dynamic displays of the B6 locomotive using transparent LED panels.

We have newly installed a conference room and waiting lounge space for recruitment interviews at NOMURA Co.,Ltd. Head Office building. As we anticipate that those who use this space will be feeling nervous, we aimed to create an environment where everyone can relax and perform at their best, while also creating an atmosphere that will make interviewees think, "I want to work at NOMURA Co.,Ltd."

At the RITE Future Forest, a demonstration plant exhibited by the National Institute of Global Environmental Technology (RITE) at the 2025 Japan World Exposition (Osaka-Kansai Expo), we provided comprehensive production from planning, concept design, architecture, displays design and supervision to operational support. The facility is engaged in demonstration experiments of future technologies that are expected in the future by combining both DAC (Direct Air Capture)*1, which directly captures carbon dioxide from the atmosphere, and CCS (Carbon dioxide Capture and Storage)*2, which stores carbon dioxide directly from the ground. This project aims to create a new forest in the future, by capturing carbon dioxide emitted by humans with human power. In the Guidance Building, we also worked on architecture as a demonstration experiment for new technologies, and realized the world's first future wooden construction technology, the CLT*3-fold structure hanging method, based on the concept of the forest of the future. The hang-up method is a conceptual method in which triangular CLT panels that are tightly connected to each other by hinge hardware are laid on a horizontal surface, and a specific part is lifted by a crane to deform it like origami under its own weight to form a folding plate structure. This time, by using this construction method, it was also an architectural demonstration project to create a large space with a structure with an expressive expression and to promote the spread of CLT structures that have both concept design, functionality, and construction. As a result, an architectural space that exudes a sacred atmosphere that exudes a sense of tightness has emerged, and the CLT folding structure itself made of domestic cedar has become a unique building that realizes an acoustic environment like a concert hall that resonates with displays videos and performances. After the exhibition, there are plans to relocate to the RITE headquarters in Kizugawa City, Kyoto Prefecture in order to use it as a sustainable building. Through exhibiting at the Expo and subsequent utilization, we addressed various social issues such as reducing carbon dioxide emissions, minimizing waste, and promoting the spread of CLT structures. *1 Technology to reduce CO₂ concentration in the atmosphere by removing CO₂ from the atmosphere *2 Technology to collect emitted CO₂ and store it in the ground *3 Wood-based materials made by layering and bonding the ground sheets so that the fiber directions are orthogonal after arranging them.

AINEC has relocated Head Office to Frontier Meieki, an environmentally conscious and advanced office building located in Meieki, Nakamura-ku, Nagoya. The concept is "Hope of Light," reflecting the new beginning and hopeful future that the company will experience in a space where its symbolic color, "AINEC Blue," and light intertwine. The office space features an advanced design that fuses environmental considerations with concept design, and uses "light," "blue," and "environmentally friendly materials" as concept design elements to create a place that embodies the company's purpose and vision. Under the direction of Taki Tanaka, CEO of IZA, who is in charge of AINEC's branding, a symbolic "light" art installation was created in the reception area in collaboration with Takahiro Matsuo, CEO of LUCENT Inc (artwork), and Setsuya Kurotaki, CEO of NOiR inc (sound concept design). Furthermore, the gentle AINEC Blue envelops the entire office, fostering a sense of unity and connection among all those who gather here. In addition, for the raised access floor, the existing subfloor was cleaned and reused, reducing the environmental impact by eliminating the need for finishing materials. For the wall materials, cement tiles made from recycled waste such as coal ash from thermal power plants and used coffee grounds were used. Our company was in charge of the design and construction.

The Panasonic Group Pavilion "Nomo's Land" is based on the concept of "Unlock your nature," and is a pavilion that draws out the potential of children through technology that analyzes their sensibilities and experiences that stimulate the five senses. Utilizing the latest technology from Panasonic Holdings, the pavilion achieves a spatial design that harmonizes with the world of "Nomo's Land" by using tiles that evoke the tactile concept design of walking on natural ground, finishes made of natural wood with a metallic texture, and concept design methods that integrate 3D printing. In terms of sustainability, the pavilion incorporates advanced design and construction methods, including the reusability of tiles and biodegradable resin printing, and the spatial and experiential concept design approach is centered on what can be done for the future of children.

This is "Benoît Nihant Ginza," a project by Kaneka Corporation. This store is the first flagship store in Japan for "Benoît Nihant," a chocolate brand launched in 2005 by Belgian cocoa craftsman Benoît Nihant, who has a background as a former engineer. It serves as a place to acquire new fans in Japan and also functions as a base for Kaneka's brand dissemination. Benoît Nihant is characterized by its single-origin chocolates using "single-farm" and "single-variety" cocoa beans, and handles everything from roasting to finished products in its own workshop. The spirit and philosophy of "CRAFTSMANSHIP," born from the desire to be a "cocoa craftsman" before being a chocolatier, is reflected in the shop concept design. concept design elements were extracted from the scenery of the Belgian workshop, incorporating colors and textures such as the blue of the conching machine and the bronze of the scales as concept design elements, and a new brand key color was set for Japan. Furthermore, by incorporating Kaneka's "Kaneka Organic EL Lighting (Kaneka OLED Lighting)" into the store's lighting, we added a showroom function. Kaneka OLED Lighting is characterized by its soft, surface-emitting light and its ability to minimize shadows cast by objects. We concept design a space that successfully combines the two purposes of a chocolatier and a lighting showroom.

For the purpose of promoting Obayashi-gumi's efforts at the 2025 Japan World Expo (Osaka-Kansai Expo), we set up a visitor room in the Expo site office and planned a facility where Obayashi-gumi's stakeholders and guests of the Exposition Association will be attended. The displays structure is centered on a circular theater that evokes the image of the large roof ring of the Expo, and the surrounding area displays an overview of the Expo and explanations and mockups of the pavilion construction by Obayashi Gumi. displays The fixtures are made of wooden single pipes, and the graphics output by the plotter are displayed using clamps, expressing the "sense of the scene" that takes advantage of the background of the field office and the "sense of presence" that the Expo is being created in real time at this place, and the plan is to be updated so that the "now" of the site can be displays. In addition, we displays materials that reuse CLT panels used in the demonstration experiment of the large roof ring, graphics with the motif of drawing frames, and the latest construction photos, aiming for a displays concept design space that will grow with the site until the Expo is held.

NOMURA Co.,Ltd. Ltd. exhibited a booth at "SC Business Fair 2024," the industry's largest event bringing together shopping center stakeholders. Held at Pacifico Yokohama displays Hall for three days from January 24th to 26th, 2024, Nomura Co., Ltd. not only exhibited a booth but also held a free seminar on the first day of the event. The theme of this year's booth was "Sustainable concept design as Envisioned by NOMURA Co.,Ltd." As part of our social good R&D activities, we are developing a "Sustainable concept design Manners Book" that realizes aesthetic appeal, functionality, and environmental friendliness, and the booth was designed in accordance with the basic principles of the Manners Book. While sustainability initiatives are diversifying, we are also continuing to take on various challenges, such as developing upcycled materials. However, this time, we returned to basic materials that are indispensable for constructing spaces and that we will continue to be deeply involved with in the future, and focused on understanding the characteristics of each material. As basic materials, we used wood, cement, acrylic, copper, and iron, arranging the timbers of each material in a grid pattern while creating undulations in the space, allowing visitors to move around the booth and enjoy conversations. The proportion of each material used was calculated based on the embodied carbon emissions throughout the building's lifecycle, and we made efforts to allow visitors to visually perceive the characteristics of each material. Furthermore, by using clamps (*) instead of screws or adhesives for joining, the materials can be reused, and the amount of waste generated during demolition is drastically reduced, symbolically representing the fundamental concept of contributing to the environment. Our aim was concept design a booth where visitors could think together about future approaches to sustainable concept design, and where they could gain new insights and discoveries while demonstrating responsibility and gratitude for materials. *We are using the dedicated clamps from the "Tsunagi" project, planned and produced by Nikken Sekkei.

Building 15 at Sophia University's Yotsuya Campus opened in the fall of 2022 as a hub for adult education and community exchange, with the keyword "Transforming the city into a forest," aiming to contribute to achieving the SDGs and realizing a decarbonized society, as well as becoming a sustainable landmark for the region. Designed and construction by Sumitomo Forestry, this three-story fire-resistant wooden building utilizes "Kigurumi FR®," an original pure wood fire-resistant laminated timber made from Tama-grown cedar, for its main structural components. The facade, covered with a cross-shaped wooden lattice, is concept design that expresses the founding principles of Sophia University: "diversity," "interaction with others," "truth," and "tradition." The first floor will house a café open to the public, and as part of community contribution activities, space will be provided to nearby neighborhood associations for use as a disaster prevention warehouse. The second and third floors are used as classrooms for the "Professional Studies" course for working adults. Our company was responsible for design, layout, construction of the third floor, which is used as a classroom for the adult education course. Aiming to create a space that fosters wisdom through gathering, learning, and conversation, we also connected the story from the architecture to the materials that make up the space, and concept design using Nishikawa timber (cedar and cypress) from Hannō, which, along with Tama timber, has been used to build the city of Edo.

As a successor to the Muroran City Youth Science Museum (opened in 1963), Hokkaido's first science museum, a new facility has opened with "environment" as its theme. The aim is to create displays allow children and people of all ages to become familiar with science on a daily basis and feel hope for the future of the Earth and the region. The environment corner introduces environmental innovation projects that utilize Muroran's unique characteristics and strengths cultivated through manufacturing, as well as initiatives for a sustainable future. In particular, the main displays, "Watching Moruerani," is a virtual displays where visitors walk on satellite images of Muroran spread on the floor and use AR tablets to explore manufacturing sites, renewable energy sites, and natural spots. Visitors can experience scenery that is usually difficult to see in person, such as 360-degree videos of factories and drone footage of natural landscapes. The science experience corner consists of devices that allow visitors to experience the basics and principles of science. Some of the devices from the old building have been remade and reinstalled, carrying on the history of the facility and the memories of the citizens. The scattered devices are connected by experimental counters, creating a more intimate communication space, and playful elements are incorporated into displays, such as large playground equipment inspired by Muroran's natural environment.

Nishio Rentall, a comprehensive rental company focusing on construction machinery and event materials, has opened a research and development facility in Osaka to carry out technology development and demonstration experiments to advance sharing solutions in preparation for the Osaka/Kansai Expo to be held in 2025. It was built on the island. In the area of Building A-1, which we were in charge of, there is a pedestrian deck connecting the nearest station, Cosmo Square Station, and the Osaka Prefectural Sakishima Government Building, which is open to anyone including nearby residents other than employees. I was in charge of the shared space space and lobby that serves as the facility's reception desk.

L'Oréal Japan, the Japanese subsidiary of the world's largest cosmetics company, L'Oréal Group, has undertaken its first major renovation since relocating Head Office to Shinjuku Park Tower in 2006. Named "Beauty Valley" under the concept of "EN" (縁), the renovated office embodies the desire to create a place where beauty is born, connecting people with Japan, customers, business partners, and employees. concept design incorporates the four seasons (spring, summer, autumn, and winter) as themes for each area, and features furniture and decorations showcasing Japanese craftsmanship, incorporating Japanese beauty throughout. Furthermore, approximately 4,400 units of L'Oréal's products—around 60 different types, including eyeshadow, foundation, and lipstick—were upcycled before disposal, utilizing them in paints, lampshades, and tiles. While pursuing sustainable beauty, the office fully expresses L'Oréal's aesthetic by installing product display fixtures similar to those found in retail stores. Moreover, the office is designed in accordance with LEED standards, an international certification for sustainable buildings, ensuring energy efficiency and waste management, paying meticulous attention to details such as light, sound, and materials. Our company participated in this project as the overall construction company for interiors.

While conveying Panasonic Group's major policy, "Panasonic GREEN IMPACT," to visitors through displays, we embodied it in the overall spatial concept design, creating displays booth that minimized waste as much as possible. By considering the environmental impact, using minimal building materials and flooring, and making extensive use of recycled materials, we reduced the carbon footprint in terms of booth construction and logistics, and communicated the group's policy to the world. In addition, the symbolic signs placed in each area were concept design using products. By providing places for people to gather as symbols and constructing them with products, we were able to clearly appeal the message to both visitors and the media.

The first floor of the Panasonic Center Tokyo has been renovated into an interactive displays space where elementary and junior high school students can learn about the environment, think about it, and take action. In this space, while introducing Panasonic's long-term environmental vision, "Panasonic GREEN IMPACT," which is Panasonic's initiative to reduce CO2 emissions, the aim is for each child to find their own idea for "ACT" and become a partner in taking action on environmental issues. As a place where each individual can learn while searching for answers to the challenge of environmental problems, which have no clear answers, the various shapes scattered throughout the space represent the incomplete forms that the children will create themselves. In addition, by posing questions with four large signs, children can look for hints while experiencing game content and hands-on displays. In order to connect large-scale environmental problems to their own lives and actions, the content is set in familiar places such as homes and daily life. Furthermore, games that combine analog gimmicks such as "pushing" and "turning" with digital content, and collaborative work with peers have been designed to provide the fun and learning that can only be experienced through physical activity in a real space.

To provide guests with the hotel's concept of "experiencing Hokkaido," we planned the ultimate locally sourced hotel with sustainability in mind, while cherishing the culture and way of thinking that has been valued in this region. In the exterior, interiors, and structure, we not only used Hokkaido-produced wood, stone, and soil as building materials, but also aimed to use materials to the fullest extent by making furniture from leftover building materials. Furthermore, some of the furniture in the hotel lounge was made in Asahikawa, a town famous for its furniture, using Hokkaido-produced wood, and the regularly held market events are held in cooperation with local producers, creating connections between the hotel and the community in various ways, both in terms of soft and hard aspects. In the restaurant, we not only use Hokkaido-produced ingredients (agricultural products, seafood, dairy products, etc.), but also ingredients from producers whose faces we can see, and in the guest rooms, we have installed wooden speakers and record players in honor of Sapporo, the city of jazz, and have set up art with beautiful photographs of various parts of Hokkaido by five photographers, we have incorporated elements that allow guests to deeply experience Hokkaido through all five senses. Whether your destination is Sapporo or you're using it as a starting point, this hotel offers a unique and unforgettable experience in Sapporo, the gateway to Hokkaido.