Interviews with Ryoko Ogoshi

RON DESIGN is a Tokyo-based architecture and interior design studio dedicated to creating timeless, emotionally engaging spaces. We work across residential, hospitality and cultural projects, approaching each commission as a unique story rather than following a fixed style.

Our design process begins with listening carefully to our clients and understanding the memories, values and lifestyles that shape their lives. We believe every project should reflect its context, its people and its purpose.

Whether designing a private residence or a public space, our aim is to create environments that enrich everyday life, connect people and leave a lasting impression through thoughtful design, craftsmanship and attention to detail.

To me, designing is life, and it is my greatest joy. Every project is an opportunity to learn, grow and create something meaningful.

No matter how much AI advances, I believe the human capacity for design will never be surpassed. True design is born from lived experience, emotion, intuition and empathy. These qualities allow us to create spaces that resonate deeply with people and become part of their lives.

That is why I will always believe in the power of human creativity.

I enjoy designing spaces that evoke emotion and leave a lasting impression. I am always striving to create spaces with a sense of sensuality and quiet elegance—places that make people pause for a moment and say, “Wow.”

To me, the most memorable spaces are those that surprise, inspire and stay in people's minds long after they have left. That is the kind of design I aspire to create.

It is difficult for me to choose a single favourite project. I feel the same way a parent would about their children—you simply cannot rank them. Every project is precious to me because each one has its own story, challenges and memories.

I devote myself wholeheartedly to every design, regardless of its scale or type. Each project teaches me something new and becomes part of my own journey as a designer. Rather than having one favourite, I treasure every space I have created.

Weekend House in Tanoura

My favourite materials are Japanese traditional crafts and traditional techniques. They embody centuries of wisdom, craftsmanship and cultural identity, and I believe they are something Japan can truly be proud of.

Whenever possible, I enjoy incorporating these traditions into contemporary spaces, allowing them to evolve while preserving their authenticity. I believe they have the power to communicate the beauty of Japanese culture to the world.

I feel most creative early in the morning, when the world is still quiet. Before emails, phone calls, social media and daily distractions begin, my mind is at its clearest. Those peaceful hours allow me to think deeply, develop ideas and focus entirely on the design process. They are the most valuable and creative moments of my day.

When I design, I often imagine each space as if it were a scene from a film or a stage production. I visualise a single frame that captures the atmosphere, emotion and story I want people to experience.

I share this vision with my photographer and explain the mood I want to express, so that the photographs convey not only the space itself but also the narrative behind it. Sometimes I even play music during the shoot to create the right atmosphere. I believe architecture and interior design should engage all the senses and evoke emotions, just like a memorable scene in a great film.

When I design, I feel a constant sense of excitement. Designing brings me joy, and every new project is an opportunity to create something meaningful and unique.

In one word, it is joy.

The greatest joy for me is seeing people respond to a space exactly as I intended.

In one of my previous projects, there was a room called Man Cave. After the project was completed, my client shared a comment with me: "When I'm here, I lose track of time and feel as if I've become someone else."

When the atmosphere and emotions I intended to create become part of a person's actual experience, I truly realise the power of design. That is the greatest joy I feel when my designs become reality.

I believe a design is successful when it moves people emotionally and becomes part of their lives.

Awards and recognition are wonderful, but the true measure of success is when people continue to love and enjoy a space long after it is completed. If a design can change the way people feel, influence their behaviour or create lasting memories, then I believe it has truly succeeded.

The first thing I consider is not whether a design is beautiful, but whether it has a sense of sensuality.

I believe designers have a responsibility to create spaces that are not only beautiful, but also meaningful and sustainable.

Our role is to respect the environment, preserve cultural heritage and design spaces that will continue to be valued for generations. Rather than following short-lived trends, I believe we should create timeless designs that people will cherish for many years.

As designers, we also have a responsibility to pass on traditional craftsmanship and local culture to future generations, while embracing innovation in a thoughtful and responsible way.

I believe the design field will continue to evolve through new technologies such as AI and digital innovation. These tools will make the design process faster and more efficient, and they will open up new creative possibilities.

However, I do not believe technology can replace human creativity. Design is born from life experiences, emotions, culture and empathy. These are uniquely human qualities that cannot be replicated.

I hope the future of design will be a balance between innovation and tradition. By embracing new technologies while preserving craftsmanship and cultural heritage, designers can create spaces that are not only intelligent, but also meaningful and deeply human.

I have not yet held a solo exhibition of my work.

I hope to do so in the future because I would like to share not only the finished spaces, but also the ideas, stories and design process behind each project. I believe an exhibition is a wonderful opportunity to communicate the deeper meaning of design beyond photographs.

My inspiration comes from many different sources, especially travelling, spending time in nature, art, films, theatre and everyday life.

I aim to create spaces that feel like a scene from a film—spaces with a story, a quiet sense of sensuality and the power to captivate people.

My approach is grounded in the design methods I learned at a design school in London. I develop each project step by step, carefully listening to my clients and shaping every detail with patience and intention.

I live in Japan. Japanese culture, traditional craftsmanship and attention to detail are an important part of my design approach.

In the future, I would like to work on more international projects where I can express the beauty of Japanese culture and craftsmanship through contemporary design.

As the founder of a small design studio, I work independently.

Through Business-to-Business (B2B) projects, I often collaborate with companies. Working with larger organisations allows me to experience the strengths of teamwork and different professional perspectives.

I hope to be chosen by companies and clients who share my design philosophy and values. If possible, I would also like to work with them as the principal designer, creating projects together from the very beginning with a shared vision.

I begin by listening carefully to my client's story, lifestyle and aspirations. I then develop the concept and refine it step by step through sketches, drawings and discussions.

I follow the design process I learned at a design school in London. It has become the foundation of the way I approach every project.

1.Hand-painted Yuzen sliding doors by a Japanese traditional craftsman
2.Traditional Japanese hikite (sliding door pulls)
3.Artworks I have collected during my travels
4.An antique vase inherited from my grandparents
5.An EcoSmart Fire fireplace

I wake up early every morning. The quiet morning hours, when no one disturbs me, are the most creative time of my day. I use this time to think about ideas and develop my designs.

During the day, I have meetings with clients, visit project sites and work on drawings.

Don't place limits on yourself by thinking, "This is all I can be." Always keep dreaming and keep moving forward.

I am no longer young myself, but I still feel that I am on my journey. As long as you continue to dream, there is always another step to take.

The greatest reward of being a designer is the joy of creating spaces that move people emotionally.

The most challenging part is that good design takes time, patience and persistence. However, I believe every challenge helps me grow as a designer.

My golden rule is to create spaces that tell a story and leave a lasting impression.

I always strive to design spaces that captivate people and make them feel something.

I believe the most important skills are observation, curiosity and communication. A designer must understand people before designing for them.

I use CAD and hand sketches throughout the design process. My greatest sources of inspiration are books, films, travel, art and everyday experiences.

I start my day early and use the quiet morning hours for creative work. When I am deeply focused on a project, I often continue working late into the evening. I enjoy listening to Chopin while I design, as his music helps me concentrate.

It depends on the scale and complexity of the project. As I am involved in everything from architecture and interior design to FF&E and art direction, a project typically takes between one and four years from concept to completion.

The question I am asked most often is, "Where do you get your inspiration from?"

The most important experience in my career was studying interior design in London. Although my background was in architecture, learning interior design there made everything fall into place. It felt as though all the pieces of the puzzle had finally come together.

I also studied traditional Japanese timber architecture at graduate school and later completed professional training in the assessment and renovation of existing houses, similar to the work of a building surveyor. These experiences have become the foundation of my design approach.

My clients include private homeowners, property developers and private museum owners. I work on projects ranging from private residences to cultural spaces.

I most enjoy projects where I can be involved from architecture and interior design to FF&E and art direction. I enjoy creating a complete story and ensuring that every detail contributes to a single vision.

I would like to build on the experience I have gained so far by working on boutique hotel projects and more international commissions. I hope to create spaces where East meets West, incorporating the beauty of Japanese traditional craftsmanship into contemporary design.

I develop the design concept and prepare the drawings myself. To bring each project to life, I work closely with structural and building services engineers, FF&E designers, contractors, craftsmen and suppliers.

I am currently working on a small private museum project for a public interest foundation in Japan. The project brings together architecture, interior design and Japanese traditional craftsmanship. I look forward to sharing more about it once it is completed.

Please feel free to contact me via the enquiry form on my website.

I started my own business 12 years ago, and I am still pursuing my dreams. Even as I answer these interview questions, I feel encouraged by the people who have supported me along the way. I am sincerely grateful to the A' Design Award team for this opportunity, and to everyone who has believed in me and supported my journey.

I hope that one day I will have the opportunity to work on international projects and share the beauty of Japanese culture and craftsmanship with people around the world.

Thank you very much for giving me the opportunity to share my story.

While multi-location living is becoming increasingly common in Japan, this client had experienced life on a far broader scale, moving between cities across the world for many years.What struck me most was that the time spent in each city was not merely a series of temporary stays. The memories, experiences and relationships formed in those places had become an invaluable part of the client’s identity. Each city represented a different chapter of life, shaped by work, travel, encounters with people and experiences unique to that particular place.Rather than treating those memories as objects to be displayed through photographs or souvenirs, I wanted to weave them into the architecture itself. Individual rooms, and in some cases entire floors, were inspired by different cities that had played an important role in the client’s life. The intention was not to recreate those places literally, but to evoke the emotions and memories associated with them.This was achieved through carefully considered atmospheres rather than direct references. The quality of light, material textures, colours, spatial proportions and even subtle suggestions of air, scent, sound and human presence were used to trigger memories. The aim was that, in an unexpected moment, the client might be reminded of a particular street, a familiar cityscape or the distinctive atmosphere of a place once called home.For me, Nomad House Residential is more than a residence. It is a vessel for the cities, memories and experiences that have shaped the client’s life. It is neither a hotel for temporary occupation nor a conventional permanent home. Instead, it is a place where the client can reconnect with their own journey and sense of identity.Architecturally, designing a place of return between journeys means creating a home that offers continuity rather than permanence. Returning home is not simply about arriving at a physical location; it is about returning to the memories, experiences and personal history that define who we are.

I see renovation not as an act of adding new value, but as a process of discovering the value that already exists within a building.In the United Kingdom and across Europe, the continued use and adaptation of historic buildings is deeply embedded in the culture. Buildings are not regarded simply as physical structures; they are seen as repositories of history, culture and the passage of time.In contrast, Japan has long been associated with a culture of demolition and rebuilding. However, in recent years there has been a growing appreciation for the value of existing buildings and the importance of carrying them forward into the future.With Nomad House Residential, the more I studied the original construction documents and later examined the exposed structure during demolition, the more I discovered the remarkable strength and spatial potential of the building. The condition of the concrete was exceptionally good, and it became clear that this forty-year-old structure still had a long future ahead of it.For me, design is not about imposing a new identity on a building. It is about carefully reading and understanding the qualities and possibilities that already exist. That is why the first question is not, “What should we add?” but rather, “What is already here?”Buildings contain spaces, materials and craftsmanship that could only have been created in their own time. By respecting these qualities and adapting them to contemporary living, it is possible to create a depth and richness that cannot be achieved through new construction alone.Nomad House Residential was never intended as a project of preservation for its own sake. Rather, it was an effort to carry forward the accumulated value of the building and give it renewed relevance for contemporary life. For me, renovation is not about ending a building’s story; it is about allowing that story to continue into its next chapter.

I have always believed that an interior should be experienced as a continuous narrative rather than a collection of individual rooms. In Nomad House Residential, I sought to weave the client’s experiences and memories from around the world into the architecture, transforming the entire house into a journey.The basement was conceived as a New York-inspired man cave. To me, New York is not only a city of energy, creativity and cultural diversity, but also a place where countless stories and memories accumulate over time. This space was designed as a retreat where the client can step away from the demands of daily life and simply be himself.Descending into the basement is itself an experience of travelling back in time. I imagine the silhouettes of hurried pedestrians, the distant sound of car horns and the lingering energy of the city at night. It is intended to feel like stumbling upon an old tavern or a hidden jazz bar. Here, one can enjoy music, read in solitude, share a drink with friends or engage in long conversations. The space embraces both privacy and sociability, carrying a sense of urban vitality, intimacy, sensuality and a slightly dangerous charm.The second floor was inspired by London. Here, I wanted to create a bedroom with a sense of sensuality that conveys both dignity and intelligence. Rather than relying on overt luxury, the space expresses a quiet and mature elegance through the careful layering of materials, light, colour and shadow.The third floor was designed as a guest level and contains two guest bedrooms, each inspired by a different city. One room reflects Copenhagen, celebrating comfort, natural light and the quiet richness of everyday life. The other is inspired by Paris, expressing a refined sense of culture, artistry and sophistication. Together, these rooms allow guests to experience different atmospheres while reflecting the diverse places that have shaped the client’s life.The fourth floor represents Japan and serves as the final destination of this journey through cities and memories. Sliding doors were finished with Armani wallpaper, creating a dialogue between traditional Japanese architectural elements and an international design sensibility. The door pulls were crafted from one-of-a-kind Kiyomizu ware pieces, bringing the artistry and warmth of Japanese craftsmanship into everyday life. My intention was not to recreate tradition, but to explore a fusion between Japanese culture and a global perspective. As a result, the top floor is the most open and light-filled space in the house, while also embodying the tranquillity and sense of ma that are central to Japanese architecture.In Nomad House Residential, moving from one floor to another is not simply a physical transition. It is a journey from New York to London, through Copenhagen and Paris, and finally to Japan. While each floor possesses its own distinct identity, they remain connected as part of a single story.I believe that a successful interior should be experienced as a unified narrative, from the threshold to the most intimate room. Nomad House Residential is a home that travels through cities, time and memory. More importantly, it is a project that weaves together the client’s experiences, memories and life journey across the world, expressing them as a sequence of spaces.

I believe that building services and spatial design cannot be considered separately. They are fundamentally interconnected.One of the most demanding challenges in Nomad House Residential was coordinating the existing reinforced concrete structure with the mechanical, electrical and plumbing systems. As this was a forty-year-old building, the structural beams were substantial, leaving very limited space above the ceiling. In addition, the existing sleeves were smaller than what would normally be required to accommodate contemporary building services, making the routing of ducts, pipes and cables particularly challenging.To integrate air conditioning, ventilation, plumbing and electrical systems, I repeatedly studied not only the floor plans but also the sectional drawings, carefully analysing the relationship between the structural framework, service routes and spatial composition. However, renovation projects rarely unfold exactly as drawings suggest. Existing buildings reveal their realities gradually during construction.For that reason, although extensive planning was carried out during the design phase, the final routing decisions were often made on site through close collaboration with the craftsmen and contractors. We continuously discussed alternatives, evaluated constraints and searched for the most appropriate solutions together. It was a demanding process, but it reinforced my belief that successful renovation emerges from the dialogue between design intent and construction expertise.I have always believed that building services must be flawless. Comfort, functionality and performance should never be compromised. At the same time, building services should never draw attention to themselves.To me, building services should be the perfect supporting actor. They should never compete with the architecture for attention, yet without them the performance would be impossible. Their role is to support the experience of space so seamlessly that their presence is almost invisible.This project deepened my understanding that building services are not merely technical systems; they are an invisible component of atmosphere. People do not experience a space in order to admire its ducts, pipes or wiring. Yet the comfort, tranquillity and ease they feel within a space are all shaped by those unseen systems.When building services perform perfectly without announcing their presence, architecture is allowed to speak clearly. In that moment, the atmosphere of a space can be fully experienced, and that, to me, is the true relationship between building services and design.

I have always believed that interior design is similar to directing a film. Just as a film director carefully orchestrates light, shadow, music and emotion from one scene to the next, I design spaces with a strong awareness of how people feel and how their emotions evolve as they move through them.In Nomad House Residential, I wanted to create a gradual transition from light to shadow, from day to night, and from openness to intimacy as one moves from the top floor down to the basement.The fourth floor, inspired by Japan, is the brightest and most open space in the house. Large openings bring in abundant natural light, allowing the occupants to experience the changing qualities of daylight throughout the day. The fusuma doors are finished with Armani wallpaper, while the door pulls are crafted from one-of-a-kind Kiyomizu ware pieces. My intention was to reinterpret traditional Japanese elements in a contemporary way, creating a space defined by tranquillity, subtlety and a sense of ma.The third floor serves as the guest level, where the atmosphere becomes slightly calmer and more intimate. One guest room was inspired by Copenhagen, emphasising natural materials, comfort and the quiet richness of everyday life. The other was inspired by Paris, expressing a refined atmosphere shaped by culture, artistry and elegance.The second floor is centred around a London-inspired master bedroom. Here, I wanted to create a space with a sense of sensuality that conveys both dignity and intelligence. Rather than relying on brightness or visual excess, the room achieves its character through soft lighting, rich material textures and deep, layered tones, creating an atmosphere of quiet maturity.The basement man cave was inspired by New York at night. Descending into the basement is itself an experience of travelling back in time. I imagined the silhouettes of hurried pedestrians, the distant sound of car horns and the lingering energy of the city after dark. It is intended to feel like discovering an old tavern or a hidden jazz bar. The space welcomes both solitude and social gatherings, allowing the client to enjoy music, reflect quietly, or spend time with friends. It carries a sense of urban vitality, intimacy, sensuality and a slightly dangerous charm.When selecting materials and lighting, what mattered most to me was the emotional temperature of each space. I do not see lighting merely as a tool for illumination. Light guides emotions, while shadows stimulate imagination. Likewise, materials are not simply finishes; they have the power to evoke memories, sensations and emotional responses through touch and presence.For this reason, the quality of light, shadow and materiality changes gradually from floor to floor throughout Nomad House Residential. Rather than simply designing rooms, I wanted to choreograph an experience similar to a film.As the occupants move through the house, they travel through memories of New York, London, Copenhagen and Paris before eventually returning to the fourth floor. When the fusuma doors open, the real landscape of Tokyo appears before them.The client has lived in many cities around the world, yet Tokyo is where life takes place today. Through this house, I wanted to create an experience that allows memories of past journeys to coexist with the awareness of the present moment — the recognition that “I am in Tokyo now.”Yet this does not represent the end of the journey. None of us knows where life may lead in the future. Beyond the view of Tokyo, there may be another destination waiting somewhere ahead.Nomad House Residential is therefore a home that travels through cities, time and memory. At the same time, it is a space that invites its inhabitants to imagine the journeys that are still to come.

Through Nomad House Residential, I came to reaffirm a belief that has become increasingly important to me: the essence of a home is not where we live, but who we live with and what memories we create together.Today, many people move between cities and countries throughout their lives. The way we work, travel and live continues to evolve, and as a result, the role of the home is also changing. Yet no matter how mobile our lives become, people still need a place where they can share experiences, build relationships and create lasting memories.I believe that the home of the future should be more than a place of residence. It should be a vessel that holds the memories of life. A home becomes meaningful not because of its address or location, but because it gradually absorbs the values, experiences and relationships of the people who inhabit it.This was one of the central ideas I explored through Nomad House Residential. Home is not a fixed place; it is something shaped by memories, emotions and human connections. The project reflects a way of living in which experiences gathered across different cities and cultures become part of a shared personal narrative.For this reason, I do believe that the nomadic condition of contemporary life will continue to reshape how architects and interior designers think about the home. However, I do not believe it changes the fundamental meaning of what a home is.Ultimately, the most important question is not where we live, but who we share our lives with, and what memories we create together. I believe that will always remain the true essence of home.

Today, many people live between multiple cities and countries. It is no longer unusual for family members to live far apart from one another. While modern life has given us greater freedom to move, it has also made it more difficult to share everyday moments with the people who matter most to us.For this reason, I believe that a home must serve a purpose beyond simply providing shelter.It should be a vessel for memories and a device that sustains human connections.Throughout Nomad House Residential, fragments of the client's experiences and memories from different places around the world are woven into the spaces. Even when a person is alone, the house quietly holds the presence of shared moments, relationships and memories accumulated over time.I believe that architecture and interior design have the power to soften the absence of people. Of course, a space can never replace a person. However, it can evoke memories, recall emotions and create a sense of connection to those who may be far away.Even when living like a nomad, moving from city to city, a home can still remain an emotional anchor. It can provide a sense of belonging because it contains the memories, experiences and moments that have shaped our lives.To me, Nomad House Residential is not only a home that travels through cities. It is also a home that connects people through memory. Ultimately, that was the most important idea I hoped to express through this project.

The basement man cave was inspired by New York. However, I never intended every visitor to see the same city or interpret the space in the same way.Some may be reminded of an old private club in London, while others may think of a bar in Paris. Some might imagine a tavern frequented by pirates, while others may be transported to a hidden speakeasy from the Prohibition era.I think that is perfectly fine.What mattered to me was not the recreation of a specific city or historical period, but the ability of the space to stimulate personal memories and imagination.First and foremost, the basement is a place for oneself. It is a space where one can step away from the responsibilities and routines of daily life, listen to music, read a book, or simply enjoy a quiet drink. In many ways, it is the most personal and liberating space within the house.At the same time, it is also a place where close friends can gather. When they do, conversations naturally emerge:“I see London in this space.”“It reminds me of a place I once visited.”Those different interpretations become the starting point for conversation. They create connections between people and enrich the experience of being together.To me, this man cave is both a place of personal retreat and a place that deepens shared moments with friends.That is why I do not see it as belonging to a single city or a particular era. Instead, it is a place that connects each visitor to the cities, times and memories that exist within their own imagination.

If I could offer one piece of advice to emerging designers, it would be this: do not be afraid of constraints.Renovation projects inevitably confront us with limitations—existing structures, building services, regulations and countless unexpected conditions. However, I do not see these as obstacles. Rather, I see them as clues that help reveal the unique character and hidden potential of a building.I am, by nature, a very optimistic person. Throughout the design process of Nomad House Residential, there were many challenges that did not have immediate solutions, from the depth of the structural beams to the coordination of building services within extremely limited spaces. Yet whenever I encountered a difficulty, I always believed that a solution must exist somewhere. The task was to keep searching until I found it.Architecture and interior design are not simply about accepting the conditions that are placed before us. They are about imagining possibilities that are not yet visible and finding ways to bring them into reality.That is why I encourage young designers never to stop imagining and never to stop dreaming.Sometimes the answer can be found in a drawing. Sometimes it reveals itself on site. But to discover it, one must first believe that it is there.Nomad House Residential was born from that mindset. It became possible because I continued to look for opportunities within limitations and because I believed in the value that already existed within the building.In the end, I believe great design does not emerge from complete freedom. More often, it emerges from the courage to imagine possibilities where others see only constraints.