Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ nke Tomohiro Kaji

Ihe emepụtara bụ Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ nke Tomohiro Kaji bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Weebụsaịtị na Weebụ.

ỌlaọchaWeebụ· 2026

Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ

nke Tomohiro Kaji

Onye Ahịa: Kadowakamatsu Inc

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Weebụ

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #181494

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ

Ederede Akwụkwọ: Weebụsaịtị Ụlọ Ọrụ Kadowakamatsu na-emegharị nkwurịta okwu ala na ụlọ site n'ịtọ ala dịka akụrụngwa omenala. Site n'ijikọta ọnọdụ mpaghara, mkpụrụedemede ahaziri onwe, na usoro grid a chịkọtara nke ọma, imewe na-agbanwe weebụsaịtị ụlọ ọrọ ka ọ bụrụ ikpo okwu akụkọ. Ọ na-akọwa uru obodo karịrị ụdị ọnụahịa site na ahụmịhe onye ọrụ nke oghere na nchịkọta, na-enye ohere ịgagharị n'ọtụtụ ụzọ na njikọ nwere ọkwa n'ederede, onyonyo, na ọrụ, na-emegharị otu esi ahụ uru obodo.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Kadowakamatsu Ọrụ Isi: Weebụsaịtị Ụlọ Ọrụ bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: The design challenges conventional real estate communication by replacing property-based value with cultural narratives.

It fuses philosophy, typography, and regional context into a unified narrative system. A custom typeface, editorial composition combining Japanese and Latin scripts, and a restrained grid structure support multidirectional interaction.

Unlike conventional corporate websites, the platform operates as a cultural and editorial system rather than a product-oriented interface. This approach redefines the role of corporate websites from informational platforms to cultural frameworks.

It positions the website as an act of authorship rather than representation.
Nha & Mkpuchi: Responsive web platform optimized for desktop and mobile devices. Custom JavaScript-based typographic motion was implemented for the introduction sequence.

A modular grid system based on proportional ratios structures the layout. A custom Latin WOFF font was developed for web use. Vertical and horizontal navigation systems are integrated. The platform operates on cloud-based infrastructure optimized for high-resolution imagery and stable performance.
Mkpado: Real Estate Branding, Cultural Infrastructure, Corporate Website, Custom Typeface, Editorial Typography, Urban Philosophy, Narrative Design, Interaction Design, Shonan, Digital Architecture
Teknụzụ Mmepụta: The project was developed through a narrative-based branding methodology integrating historical research of Fujisawa City, archival study of Kadowakamatsu, and interviews with local stakeholders.

These insights informed the narrative structure. A custom typeface was designed from conceptual sketches to digital font production. The website was built using responsive front-end technologies, modular grid systems, and motion design enabling multidirectional interaction.
Ịma Aka Imepụta: The primary challenge was translating an abstract corporate philosophy into a coherent digital experience.

Internally, it required defining the cultural role of a real estate company. Externally, it involved balancing editorial expression with usability and technical constraints.

Developing a custom typeface aligned across Japanese and Latin scripts while maintaining conceptual consistency was particularly complex.
Nchọpụta: Type of Research: Qualitative design research.
Research Objectives: To redefine real estate communication through cultural positioning.
Methodology: Contextual analysis of the Shonan region and the real estate industry.
Data Collection and Tools: Field observation, stakeholder interviews, archival research, typographic prototyping.
Participants: Company stakeholders and regional collaborators.
Results: Established a clear narrative framework and ideological positioning.
Insights and Impacts: Demonstrated a critical alternative to price-based urban valuation.
Effect: Strengthened brand coherence and contributed to cultural discourse in real estate communication.
Mkpali: The project originated from a critical observation that contemporary real estate practices define urban value primarily through pricing, often neglecting cultural identity.

This condition has contributed to the gradual homogenization of regional cities. Shonan, once a culturally distinctive area, is increasingly shaped by suburban expansion and economic standardization.

In response, Kadowakamatsu explores an alternative perspective by positioning real estate as a cultural construct.

This project questions whether cities should be valued by price or by culture.
It asserts that cultural context, not pricing, should define the identity of a city.
Oge Ọrụ: The project started in November 2023 in Kamakura, Japan, and was completed in September 2025. Research, concept development, typeface design, and digital production were conducted in the Kamakura and Shonan regions.
Usoro Ọrụ: Users navigate both vertically and horizontally, creating a spatial browsing experience rather than a linear sequence.

The structure begins with a conceptual introduction, followed by projects, philosophy, and organizational information. Typography establishes hierarchy, while spacing introduces rhythm and pause.

The interaction encourages interpretation rather than consumption. The experience prioritizes perception over efficiency.
Ndị Otu: Creative Director: Tomohiro Kaji
Copy Writer: Tomohiro Kaji, Yusuke Matsuda
Web Designer: Tomohiro Kaji
Engineer: Tomoya Akai
Asụsụ Foto: Illustrator: Chalkboy, Chunco HARAWATA, Photographer: Taisuke Yokoyama