Interview with Keiji Harada
As a commercial designer, he seamlessly bridges architecture, spatial design, and product creation—not merely to craft beautiful forms, but to evoke joy, comfort, and deep emotional connection…
Designer of the Day Interview
8 May 2026
I mainly work in interior design, focusing on residential, hospitality, and commercial spaces. I value calm atmospheres and material expression while creating spaces that respond naturally to people and place. Although many of my projects are small in scale, I always approach each detail with great care and attention.
From an early age, I was interested in space and light, and I decided to become an architect to create experiences that remain in people’s memories. After working at architectural offices, I established my own practice to pursue quiet and meaningful architecture rooted in everyday life.
The three most important aspects of my work are spatial calmness, natural light, and materiality. I begin each project by carefully reading the site and surroundings, then develop the spatial structure through sketches and physical models.
During the design process, I experience deep concentration and quiet excitement. I am most inspired when an idea gradually takes shape as space, and relationships between light, materials, and atmosphere become visible.
What shaped me most was the habit of carefully observing everyday life. Rather than pursuing dramatic expression, I value spaces where people can naturally feel calm and comfortable. Conversations with craftspeople and construction teams have also deeply influenced me.
In the future, I hope to continue creating timeless and quiet architecture, especially in residential and hospitality projects. I want to deepen my exploration of regional context and the relationship between architecture and nature.
I encourage young designers not to follow trends too closely, but instead to trust their own sensibility and powers of observation. Continuing to think deeply over time eventually leads to originality.
I believe it is important not to rush success, but to carefully cultivate one’s own values and perspective. Good architecture is created through accumulated thoughtfulness and sincerity rather than superficial expression.
Most of my day is spent designing, drawing, and visiting construction sites. Even during travel or ordinary moments, I often continue thinking about architecture and quietly reflecting on space.
I do not focus heavily on trends, but I remain interested in changes in society and daily life. More important than following trends is creating spaces that genuinely belong to their place and context.
I believe excellent design does not demand attention excessively, but instead feels naturally connected to people and place. It should deepen in value over time and remain meaningful for many years.
I consider a design complete when the space feels natural and balanced, and when a sense of calmness emerges without unnecessary elements. Refining simplicity is an important part of my process.
It is difficult to choose only one project as my greatest work because each project has its own unique value. I feel strongest attachment to projects where I could deeply engage with site, light, and everyday life
Rather than one specific person, I have been influenced by architects and artists who possess a quiet strength. I have also learned greatly from Japanese architecture, contemporary architecture, and traditional craftsmanship.
Everyday life and culture in Japan strongly influence my architecture. I believe my appreciation for simplicity and spatial emptiness has naturally developed through daily life and surrounding landscapes.
Although my studio is small, I value approaching every project with sincerity and care. Rather than pursuing scale, I focus on quality and meaningful dialogue throughout the design process.
While my activities are modest, I hope architecture can positively influence local communities and everyday life. I also value sharing architectural culture through dialogue with younger generations and craftspeople.
Participating in the A’ Design Award gave me an opportunity to reconsider my work from an international perspective. Receiving recognition across different cultures and values has been both encouraging and educational for me.
Interview about L Company Guest House Design Interview
Design Legend Interview
2 September 2026
I was born and raised in Hita, Oita Prefecture, a regional city in Japan where nature and traditional craftsmanship have long been part of everyday life. Hita has a strong forestry tradition and is well known for furniture and wood products made from local Hita cedar.
At a local technical high school, I studied mechanical engineering. I spent much of my time disassembling and reassembling industrial products, including automobile engines, to understand how they were constructed and how each component worked as part of a complete system. This experience taught me to look beyond the surface of an object and understand the structure and logic behind it.
At the same time, growing up surrounded by wood and locally made furniture gave me an appreciation for the warmth and character of natural materials, which felt very different from industrial products. I later studied interior and spatial design at a specialized design school, where I learned the foundations of space planning and design.
After graduation, I worked as an interior designer for a long-established department store in Fukuoka, designing retail spaces and gaining practical experience. Later, after getting married, I became involved in establishing an interior design company and continued developing my career through a wide range of projects.
Looking back, I believe my approach to design grew from these two foundations: understanding how things work and appreciating the warmth and character of materials.
At a local technical high school, I studied mechanical engineering. I spent much of my time disassembling and reassembling industrial products, including automobile engines, to understand how they were constructed and how each component worked as part of a complete system. This experience taught me to look beyond the surface of an object and understand the structure and logic behind it.
At the same time, growing up surrounded by wood and locally made furniture gave me an appreciation for the warmth and character of natural materials, which felt very different from industrial products. I later studied interior and spatial design at a specialized design school, where I learned the foundations of space planning and design.
After graduation, I worked as an interior designer for a long-established department store in Fukuoka, designing retail spaces and gaining practical experience. Later, after getting married, I became involved in establishing an interior design company and continued developing my career through a wide range of projects.
Looking back, I believe my approach to design grew from these two foundations: understanding how things work and appreciating the warmth and character of materials.
My greatest motivation for designing is to solve the challenges my clients face and ultimately make them happy.
Whether I am designing a residence, a retail space, or another type of facility, the design process can sometimes be difficult. There are moments when a problem seems to have no immediate solution. However, after the project is completed and the client has lived or worked in the space for several days, hearing them say, “I am glad I asked you to design this,” or simply, “Thank you,” makes all those difficulties disappear. That is one of the most rewarding moments for me as a designer.
When I see a client struggling with a problem, I often think that perhaps design can help solve it. I believe design is not simply about making something beautiful. It is also a means of identifying problems and creating a better situation for the people who will use the space.
Whether I am designing a residence, a retail space, or another type of facility, the design process can sometimes be difficult. There are moments when a problem seems to have no immediate solution. However, after the project is completed and the client has lived or worked in the space for several days, hearing them say, “I am glad I asked you to design this,” or simply, “Thank you,” makes all those difficulties disappear. That is one of the most rewarding moments for me as a designer.
When I see a client struggling with a problem, I often think that perhaps design can help solve it. I believe design is not simply about making something beautiful. It is also a means of identifying problems and creating a better situation for the people who will use the space.
I chose to become a designer.
One reason is that I believe everyday life itself is composed of design. We wake up, wash our faces, brush our teeth, choose what to wear, eat, and go to work. Even without consciously thinking about it, we make countless choices every day to organize our lives and make them function better. In a broader sense, I believe this is also a form of design.
From that perspective, perhaps everyone is a designer of their own life.
My professional work is an extension of this idea. I observe how people live, identify problems and possibilities, and organize spaces and systems that can make everyday life a little better. That is one of the fundamental reasons I chose to become a designer.
One reason is that I believe everyday life itself is composed of design. We wake up, wash our faces, brush our teeth, choose what to wear, eat, and go to work. Even without consciously thinking about it, we make countless choices every day to organize our lives and make them function better. In a broader sense, I believe this is also a form of design.
From that perspective, perhaps everyone is a designer of their own life.
My professional work is an extension of this idea. I observe how people live, identify problems and possibilities, and organize spaces and systems that can make everyday life a little better. That is one of the fundamental reasons I chose to become a designer.
I have always tried, and will continue to try, not to overdesign. I prefer to identify what is truly necessary and organize those elements as simply and clearly as possible.
Designers can sometimes feel the need to demonstrate their presence by adding something. I do not believe that addition is always the answer. Before adding an element, I ask whether it is really necessary. By removing what is unnecessary and carefully organizing the materials, structure, light, function, and other qualities already present in a place, a space can sometimes find its own natural expression.
At times, I believe that not designing can be the best design.
In the future, I would like to continue pursuing simple and essential design—not spaces that strongly announce the presence of the designer, but spaces in which people can naturally experience comfort and meaning.
Designers can sometimes feel the need to demonstrate their presence by adding something. I do not believe that addition is always the answer. Before adding an element, I ask whether it is really necessary. By removing what is unnecessary and carefully organizing the materials, structure, light, function, and other qualities already present in a place, a space can sometimes find its own natural expression.
At times, I believe that not designing can be the best design.
In the future, I would like to continue pursuing simple and essential design—not spaces that strongly announce the presence of the designer, but spaces in which people can naturally experience comfort and meaning.
First, I do not consider myself a legend or a star. The reason is simple: none of the designs I have created are the achievement of one person alone.
A design becomes reality through the knowledge, skills, and cooperation of many people, including clients, builders, craftspeople, engineers, manufacturers, and colleagues. I believe a designer should never forget to be grateful for these contributions.
My advice to young designers is not to confine themselves to their own field. Observe as many things and experiences as possible, and listen carefully to people. There is something to learn not only from architecture and interiors, but also from nature, industrial products, technology, culture, human behavior, and everyday life.
Be grateful to the people around you, understand the circumstances and challenges of each project, and then construct what you believe is the most appropriate solution.
I do not think becoming a “legend” should be the goal. Stay curious, learn from others, think independently, and design freely. Over time, these experiences will naturally develop into a design approach that is uniquely your own.
A design becomes reality through the knowledge, skills, and cooperation of many people, including clients, builders, craftspeople, engineers, manufacturers, and colleagues. I believe a designer should never forget to be grateful for these contributions.
My advice to young designers is not to confine themselves to their own field. Observe as many things and experiences as possible, and listen carefully to people. There is something to learn not only from architecture and interiors, but also from nature, industrial products, technology, culture, human behavior, and everyday life.
Be grateful to the people around you, understand the circumstances and challenges of each project, and then construct what you believe is the most appropriate solution.
I do not think becoming a “legend” should be the goal. Stay curious, learn from others, think independently, and design freely. Over time, these experiences will naturally develop into a design approach that is uniquely your own.
If I had to express the difference in one word, I would say philosophy.
A good designer has the skills and knowledge to confront difficult challenges and find effective solutions through design.
A great designer, however, may go beyond solving the immediate problem and ask why that problem exists in the first place. Sometimes this means questioning the social systems or values that created the problem and proposing a different way of thinking.
Beyond technical skill or expression, I believe the depth of thought about society, people, and everyday life is what can distinguish a good designer from a great one.
A good designer has the skills and knowledge to confront difficult challenges and find effective solutions through design.
A great designer, however, may go beyond solving the immediate problem and ask why that problem exists in the first place. Sometimes this means questioning the social systems or values that created the problem and proposing a different way of thinking.
Beyond technical skill or expression, I believe the depth of thought about society, people, and everyday life is what can distinguish a good designer from a great one.
For me, good design creates conditions in which people can live naturally and comfortably.
Beautiful forms and new expressions are important, but a home should first support comfortable living, while a commercial space should work well for both the people who use it and those who work there.
People should not necessarily have to notice the design. If they can experience everyday life with less stress, greater comfort, and a sense of well-being, I consider that an important measure of good design.
Beautiful forms and new expressions are important, but a home should first support comfortable living, while a commercial space should work well for both the people who use it and those who work there.
People should not necessarily have to notice the design. If they can experience everyday life with less stress, greater comfort, and a sense of well-being, I consider that an important measure of good design.
I believe the value of good design is not limited to how something looks when it is completed. Its real value is in how it supports people's lives and activities over time.
A well-designed space can reduce unnecessary effort, while appropriate light, materials, and environmental conditions can reduce physical and mental stress. Creating something that can be used for a long time also has both economic and environmental value.
Therefore, investing in good design is not simply spending money to improve appearance. It is an investment in people's time, well-being, work, and future.
A well-designed space can reduce unnecessary effort, while appropriate light, materials, and environmental conditions can reduce physical and mental stress. Creating something that can be used for a long time also has both economic and environmental value.
Therefore, investing in good design is not simply spending money to improve appearance. It is an investment in people's time, well-being, work, and future.
First of all, I would design something for my family.
In my professional work, I am always thinking about my clients. But if I had unlimited time and freedom to design for anyone, I would like to create something for the people closest to me.
Because I know their everyday habits and preferences, even the smallest ones, I could think deeply about what they truly need. I believe that would also give me an opportunity to reconsider the very origins of design.
In my professional work, I am always thinking about my clients. But if I had unlimited time and freedom to design for anyone, I would like to create something for the people closest to me.
Because I know their everyday habits and preferences, even the smallest ones, I could think deeply about what they truly need. I believe that would also give me an opportunity to reconsider the very origins of design.
I am not particularly interested in the idea of a single “dream project.”
Rather than dreaming about creating a special building someday in the future, I find it more important to make the project in front of me the best it can be.
Regardless of scale, budget, or function, every project has a different client, site, conditions, and challenges. When I approach each one seriously, there is always something new to discover.
For that reason, rather than waiting for a dream project in the future, the project I am working on now is always my dream project.
Rather than dreaming about creating a special building someday in the future, I find it more important to make the project in front of me the best it can be.
Regardless of scale, budget, or function, every project has a different client, site, conditions, and challenges. When I approach each one seriously, there is always something new to discover.
For that reason, rather than waiting for a dream project in the future, the project I am working on now is always my dream project.
I honestly do not know the secret to success, and I do not think it is for me to decide whether I am a successful designer.
What I have continued to do is quite simple: face each project directly, without avoiding its difficulties, and approach both the project and the client with sincerity.
I do not believe there is a special formula or shortcut. If my work is recognized by others, I believe it is the result of many small efforts accumulated over time.
What I have continued to do is quite simple: face each project directly, without avoiding its difficulties, and approach both the project and the client with sincerity.
I do not believe there is a special formula or shortcut. If my work is recognized by others, I believe it is the result of many small efforts accumulated over time.
I have been strongly influenced by the design philosophy of the Bauhaus in Germany.
I appreciate its approach of considering function, materials, structure, and methods of production together, rather than treating decoration as the primary purpose of design.
I do not believe beauty without function is enough to make a design truly good. Beauty and function should not oppose each other. Ideally, a natural form of beauty emerges from the sincere pursuit of what is necessary.
I appreciate its approach of considering function, materials, structure, and methods of production together, rather than treating decoration as the primary purpose of design.
I do not believe beauty without function is enough to make a design truly good. Beauty and function should not oppose each other. Ideally, a natural form of beauty emerges from the sincere pursuit of what is necessary.
I am drawn to the architecture of Le Corbusier.
Rather than one particular work, I am interested in his broader approach to architecture: organizing space through considerations of human life, function, structure, and light rather than treating architecture simply as decoration.
Of course, society changes, and what we require from architecture changes with it. However, I believe the attitude of removing what is unnecessary and asking what is truly essential still has much to teach us today.
Rather than one particular work, I am interested in his broader approach to architecture: organizing space through considerations of human life, function, structure, and light rather than treating architecture simply as decoration.
Of course, society changes, and what we require from architecture changes with it. However, I believe the attitude of removing what is unnecessary and asking what is truly essential still has much to teach us today.
It is difficult for me to choose a single work as the greatest design.
Rather, what I consider truly great is a design that continues to be used over a long period of time, naturally becomes part of everyday life, and remains valued and needed by people.
A design does not have to attract attention or make a strong statement to be great. If it continues to serve people quietly and meaningfully over time, I believe that is one of the highest forms of design.
Rather, what I consider truly great is a design that continues to be used over a long period of time, naturally becomes part of everyday life, and remains valued and needed by people.
A design does not have to attract attention or make a strong statement to be great. If it continues to serve people quietly and meaningfully over time, I believe that is one of the highest forms of design.
I believe it is important not to become attached to a single way of thinking or decide on the answer before fully understanding the problem.
As we gain experience, it becomes easy to think, “This is how it should be,” or “This method worked before.” But every place, person, and period is different.
I try to leave room for the possibility that my own thinking may be wrong. I listen to other people, admit what I do not know, and continue looking at new things. For a designer, I believe reducing preconceptions can be just as important as gaining experience.
As we gain experience, it becomes easy to think, “This is how it should be,” or “This method worked before.” But every place, person, and period is different.
I try to leave room for the possibility that my own thinking may be wrong. I listen to other people, admit what I do not know, and continue looking at new things. For a designer, I believe reducing preconceptions can be just as important as gaining experience.
Perhaps I would have been a lumberjack. (Laughs.)
I grew up in Hita, Oita Prefecture, where forestry has long been an important industry, and trees and nature were always close to me. If I had not become a designer, perhaps I would have chosen work connected to forests and wood.
When I think about it, understanding the characteristics of trees, intervening only where necessary, and caring for a forest so that it can continue into the next generation may actually have something in common with design.
I grew up in Hita, Oita Prefecture, where forestry has long been an important industry, and trees and nature were always close to me. If I had not become a designer, perhaps I would have chosen work connected to forests and wood.
When I think about it, understanding the characteristics of trees, intervening only where necessary, and caring for a forest so that it can continue into the next generation may actually have something in common with design.
For me, design is the organization of life.
Design is not simply about creating form. It is about considering how people move, how they spend their time, what they feel, and then organizing and connecting the elements necessary to support those experiences.
Design exists not only in architecture and interiors, but also in how we use our time and how people relate to one another. That is why I believe design is not something separate from everyday life; it is deeply embedded within it.
Design is not simply about creating form. It is about considering how people move, how they spend their time, what they feel, and then organizing and connecting the elements necessary to support those experiences.
Design exists not only in architecture and interiors, but also in how we use our time and how people relate to one another. That is why I believe design is not something separate from everyday life; it is deeply embedded within it.
I have been supported by many people with whom I have worked throughout my career.
Creators, architects, engineers, builders, craftspeople, manufacturers, and many other specialists have taught me a great deal. Through working with them, I have also learned that design can never be completed by one person alone.
The person who has supported me most closely and for the longest time is probably my wife. She is also a designer, so she understands the nature of my work and is sometimes the person who gives me the most direct and honest opinions.
I have been able to continue my work because of the support of many people around me, not through my efforts alone.
Creators, architects, engineers, builders, craftspeople, manufacturers, and many other specialists have taught me a great deal. Through working with them, I have also learned that design can never be completed by one person alone.
The person who has supported me most closely and for the longest time is probably my wife. She is also a designer, so she understands the nature of my work and is sometimes the person who gives me the most direct and honest opinions.
I have been able to continue my work because of the support of many people around me, not through my efforts alone.
I believe the variety of experiences I have had, including those outside design, has helped me greatly.
Over the years, through part-time and full-time work, I have experienced many different jobs, including bartending, sales, traffic control, civil construction, site supervision, waiting tables, and retail. Many of these may appear unrelated to design, but looking back, all of them have contributed to the work I do today.
The conversations I had with people, understanding spaces from the perspective of workers, experiencing physical labor, and learning what it feels like to welcome and serve customers taught me things that cannot be learned sitting at a desk.
I do not believe that experiencing only design is necessarily the best education for a designer. Experiencing life and work from different positions helps us understand people, and that understanding has broadened my approach to design.
Over the years, through part-time and full-time work, I have experienced many different jobs, including bartending, sales, traffic control, civil construction, site supervision, waiting tables, and retail. Many of these may appear unrelated to design, but looking back, all of them have contributed to the work I do today.
The conversations I had with people, understanding spaces from the perspective of workers, experiencing physical labor, and learning what it feels like to welcome and serve customers taught me things that cannot be learned sitting at a desk.
I do not believe that experiencing only design is necessarily the best education for a designer. Experiencing life and work from different positions helps us understand people, and that understanding has broadened my approach to design.
There have been many occasions when things did not go as I expected.
Sometimes a product I designed did not sell as well as anticipated. Sometimes a retail space did not attract as many customers as expected. Even when a designer believes a solution is correct, reality can sometimes provide a different answer.
When that happens, I return to the actual place and think again. I observe where people come from, what they look at, how they move, and what they seem to experience.
There are many things that cannot be understood from drawings or from sitting in front of a computer. Difficult experiences have taught me to return to the site, question my assumptions, and reconsider the problem.
Rather than trying never to fail, I believe it is more important to learn from reality and carry those lessons into the next design.
Sometimes a product I designed did not sell as well as anticipated. Sometimes a retail space did not attract as many customers as expected. Even when a designer believes a solution is correct, reality can sometimes provide a different answer.
When that happens, I return to the actual place and think again. I observe where people come from, what they look at, how they move, and what they seem to experience.
There are many things that cannot be understood from drawings or from sitting in front of a computer. Difficult experiences have taught me to return to the site, question my assumptions, and reconsider the problem.
Rather than trying never to fail, I believe it is more important to learn from reality and carry those lessons into the next design.
I have never been particularly interested in aggressively promoting myself or my work.
However, I see value in submitting projects to international competitions such as the A' Design Award. Receiving positive recognition from an independent jury encourages everyone involved in the project and gives the work an opportunity to reach people who might otherwise never encounter it.
Rather than promoting myself first, I prefer to focus on doing good work. If the work is then recognized and communicated to a wider audience, that feels like a natural order to me.
However, I see value in submitting projects to international competitions such as the A' Design Award. Receiving positive recognition from an independent jury encourages everyone involved in the project and gives the work an opportunity to reach people who might otherwise never encounter it.
Rather than promoting myself first, I prefer to focus on doing good work. If the work is then recognized and communicated to a wider audience, that feels like a natural order to me.
I cannot disclose the details yet, but I am currently working on the environmental design of a commercial complex that includes a hotel.
A vast ocean extends directly in front of the site, and rather than treating this natural setting merely as a view, we are considering how it can become part of the spatial experience itself.
The aim is to create a natural relationship between architecture, interiors, materials, and environmental elements such as the sea and light. I hope the completed project will offer an experience that could only exist in that particular place.
A vast ocean extends directly in front of the site, and rather than treating this natural setting merely as a view, we are considering how it can become part of the spatial experience itself.
The aim is to create a natural relationship between architecture, interiors, materials, and environmental elements such as the sea and light. I hope the completed project will offer an experience that could only exist in that particular place.
Rather than having an ultimate personal goal, I hope the role of designers in Japan can become more widely understood and appropriately valued within society.
Japan has many excellent designers and highly skilled professionals. However, compared with some other parts of the world, I sometimes feel that the role of design and designers is still not fully understood within society and business.
Design is not simply the final process of deciding form or color. Designers can participate from the beginning of a project, identify problems, connect people, technology, economics, and the environment, and help organize better systems.
I hope this broader value of design becomes more widely recognized and creates an environment in which the next generation of designers can use their abilities more freely.
Japan has many excellent designers and highly skilled professionals. However, compared with some other parts of the world, I sometimes feel that the role of design and designers is still not fully understood within society and business.
Design is not simply the final process of deciding form or color. Designers can participate from the beginning of a project, identify problems, connect people, technology, economics, and the environment, and help organize better systems.
I hope this broader value of design becomes more widely recognized and creates an environment in which the next generation of designers can use their abilities more freely.
I consider myself a commercial designer rather than an artist.
For a retail space, products need to sell, employees need to be able to work efficiently, and customers should find the environment comfortable and easy to use. For a residence, the fundamental requirement is a layout and environment that support everyday life. Appropriate budget management is also essential in every project.
Rather than pursuing beauty alone, I try to create design that works within the realities of life and business. Perhaps this practical and human-scale approach is one reason clients and users can relate to my work.
For a retail space, products need to sell, employees need to be able to work efficiently, and customers should find the environment comfortable and easy to use. For a residence, the fundamental requirement is a layout and environment that support everyday life. Appropriate budget management is also essential in every project.
Rather than pursuing beauty alone, I try to create design that works within the realities of life and business. Perhaps this practical and human-scale approach is one reason clients and users can relate to my work.
As I mentioned earlier, for me, design is the organization of life.
Design therefore does not exist only during working hours. From the moment we wake until we sleep, it is present in the choices we make, the actions we take, and the relationships we have with objects, spaces, and other people.
In that sense, design is both my profession and a way of observing and understanding everyday life.
Design therefore does not exist only during working hours. From the moment we wake until we sleep, it is present in the choices we make, the actions we take, and the relationships we have with objects, spaces, and other people.
In that sense, design is both my profession and a way of observing and understanding everyday life.
One of the most important elements in my design process is material selection.
In the commercial and hotel project I am currently working on, we are responding to the surrounding natural environment by incorporating natural and reused materials into the interiors.
For example, we are using wall tiles made by recycling unwanted textiles, including clothing previously worn by employees of the client company, as well as wall finishes made from naturally derived materials.
Materials are not simply surfaces that make a space look attractive. I believe it is increasingly important to consider where materials come from, how they are made, and what happens to them after their use.
In the commercial and hotel project I am currently working on, we are responding to the surrounding natural environment by incorporating natural and reused materials into the interiors.
For example, we are using wall tiles made by recycling unwanted textiles, including clothing previously worn by employees of the client company, as well as wall finishes made from naturally derived materials.
Materials are not simply surfaces that make a space look attractive. I believe it is increasingly important to consider where materials come from, how they are made, and what happens to them after their use.
One recent project I am particularly proud of is “Connecting Forest,” which has been submitted to the A' Design Award.
Rather than simply combining multiple buildings and functions, the project uses architecture to evoke the qualities of nature and to create connections between people, the facility, and the local community.
A large canopy and tree-inspired columns organize the architecture as an environment resembling a forest.
It was a large-scale project, and I am also proud that many specialists in architecture, structure, construction, and other fields were able to work together to transform a shared idea into a completed building.
Rather than simply combining multiple buildings and functions, the project uses architecture to evoke the qualities of nature and to create connections between people, the facility, and the local community.
A large canopy and tree-inspired columns organize the architecture as an environment resembling a forest.
It was a large-scale project, and I am also proud that many specialists in architecture, structure, construction, and other fields were able to work together to transform a shared idea into a completed building.
The recent evolution of AI has been remarkably rapid, and I believe its relationship with design will become increasingly significant.
Rather than thinking of AI as something that will replace designers, I am interested in how it can coexist with us as a new tool that expands human thought and creativity.
AI may allow us to explore possibilities in a short time that previously required much longer, and it may reveal options that humans alone might not have considered.
I believe the important question is not what AI will design, but what we will think about and choose to do with AI.
Rather than thinking of AI as something that will replace designers, I am interested in how it can coexist with us as a new tool that expands human thought and creativity.
AI may allow us to explore possibilities in a short time that previously required much longer, and it may reveal options that humans alone might not have considered.
I believe the important question is not what AI will design, but what we will think about and choose to do with AI.
As AI and other technologies continue to develop, I believe design will expand into much broader fields.
Perhaps in the future, it may evolve into something that can no longer be fully described by the word “design” as we understand it today.
Rather than shaping only objects and spaces, it may increasingly connect people, information, environments, technologies, and social systems. The boundaries of the profession we call designer may also become less distinct.
I do not yet know what we will call this. I find that uncertainty exciting.
Perhaps in the future, it may evolve into something that can no longer be fully described by the word “design” as we understand it today.
Rather than shaping only objects and spaces, it may increasingly connect people, information, environments, technologies, and social systems. The boundaries of the profession we call designer may also become less distinct.
I do not yet know what we will call this. I find that uncertainty exciting.
It varies greatly depending on the project.
A small interior and a large architectural project require completely different amounts of time, and the process is also influenced by function, scale, budget, client decisions, regulations, and construction methods.
For this reason, I do not believe there is a standard amount of time for design. What matters is not the length of time itself, but whether the project receives the consideration it requires.
A small interior and a large architectural project require completely different amounts of time, and the process is also influenced by function, scale, budget, client decisions, regulations, and construction methods.
For this reason, I do not believe there is a standard amount of time for design. What matters is not the length of time itself, but whether the project receives the consideration it requires.
I begin by visiting the site, standing there, and observing what I feel.
Drawings, photographs, and data provide a great deal of information, but some things can only be understood by physically being there: light, wind, sound, smell, surrounding views, the movement of people and vehicles, and the atmosphere of a place that can be difficult to describe in words.
Rather than beginning immediately with a design solution, I first experience and observe the place. I look for clues to the project within what is already there.
Drawings, photographs, and data provide a great deal of information, but some things can only be understood by physically being there: light, wind, sound, smell, surrounding views, the movement of people and vehicles, and the atmosphere of a place that can be difficult to describe in words.
Rather than beginning immediately with a design solution, I first experience and observe the place. I look for clues to the project within what is already there.
I do not live by a particular motto, but I value the idea of seeing, feeling, and thinking for myself.
Rather than making judgments only from what I have been told or from conventional assumptions, whenever possible I go to the place myself, observe it with my own eyes, and consider what I actually feel.
At the same time, I try not to assume that my own thinking is always correct. This is an attitude I value both in design and in everyday life.
Rather than making judgments only from what I have been told or from conventional assumptions, whenever possible I go to the place myself, observe it with my own eyes, and consider what I actually feel.
At the same time, I try not to assume that my own thinking is always correct. This is an attitude I value both in design and in everyday life.
I believe both happen.
A new design can change people's lifestyles or values and eventually create a trend. At the same time, changes in society, technology, economics, or the environment can create new needs that influence design.
I do not think the important thing is to follow trends themselves. For a designer, it is more valuable to understand why a trend has emerged and what changes in people's lives or society lie behind it.
A new design can change people's lifestyles or values and eventually create a trend. At the same time, changes in society, technology, economics, or the environment can create new needs that influence design.
I do not think the important thing is to follow trends themselves. For a designer, it is more valuable to understand why a trend has emerged and what changes in people's lives or society lie behind it.
I believe technology is essential for transforming ideas into reality.
Advances in structural engineering, materials, construction methods, and digital tools have made it possible to realize designs that were previously impossible.
However, technology itself should not become the objective. There should first be an idea of what we want to achieve, followed by the selection of the most appropriate technology to make it possible.
I believe technological progress will continue to expand the possibilities of design.
Advances in structural engineering, materials, construction methods, and digital tools have made it possible to realize designs that were previously impossible.
However, technology itself should not become the objective. There should first be an idea of what we want to achieve, followed by the selection of the most appropriate technology to make it possible.
I believe technological progress will continue to expand the possibilities of design.
My primary computer environment is macOS. I use Vectorworks for CAD and design development, and Adobe Illustrator and Photoshop for graphics and presentations.
However, I consider tools simply as means to explore, communicate, and realize ideas. Depending on the project, I also use hand sketches, physical models, and other methods when they are appropriate.
However, I consider tools simply as means to explore, communicate, and realize ideas. Depending on the project, I also use hand sketches, physical models, and other methods when they are appropriate.
Perhaps the most enjoyable moment is not when an idea takes physical form, but when many separate conditions suddenly connect.
The client's requirements, site, budget, structure, materials, circulation, and other factors may initially seem unrelated. Then there is sometimes a moment when one idea organizes them into a coherent system.
It is the moment when I think, “Yes, this can work.”
Nothing has been built yet, but for me, that moment can be almost as exciting as seeing the completed space.
The client's requirements, site, budget, structure, materials, circulation, and other factors may initially seem unrelated. Then there is sometimes a moment when one idea organizes them into a coherent system.
It is the moment when I think, “Yes, this can work.”
Nothing has been built yet, but for me, that moment can be almost as exciting as seeing the completed space.
Rather than asking, “Why did you make this shape?” I would be interested to hear someone ask, “Why is this necessary here?”
Behind a form are many considerations: place, function, structure, materials, and the client's requirements.
If people are interested not only in the final appearance but also in what was considered, what was retained, and what was removed to arrive at that result, I believe it can lead to a deeper conversation about design.
Behind a form are many considerations: place, function, structure, materials, and the client's requirements.
If people are interested not only in the final appearance but also in what was considered, what was retained, and what was removed to arrive at that result, I believe it can lead to a deeper conversation about design.
When I see an interesting building or product, I immediately begin wondering, “How was this assembled?” or “How did they make this?”
I imagine myself in the position of the designer or engineer and speculate about the structure, details, fabrication methods, and design process.
I enjoy imagining possible answers without necessarily knowing the correct one. Sometimes I find myself smiling while doing this. (Laughs.)
I imagine myself in the position of the designer or engineer and speculate about the structure, details, fabrication methods, and design process.
I enjoy imagining possible answers without necessarily knowing the correct one. Sometimes I find myself smiling while doing this. (Laughs.)
There are always many creators and specialists around a project, but I generally believe one designer should lead the overall direction.
This does not mean that one person should decide everything. On the contrary, it is essential to listen to specialists and respect their knowledge.
However, someone needs to bring those different perspectives together, establish a clear direction, and take responsibility for the overall design. I prefer a process in which one designer provides that central direction while collaborating closely with many others.
This does not mean that one person should decide everything. On the contrary, it is essential to listen to specialists and respect their knowledge.
However, someone needs to bring those different perspectives together, establish a clear direction, and take responsibility for the overall design. I prefer a process in which one designer provides that central direction while collaborating closely with many others.
Rather than one particular person, I have been influenced by many of the people I have worked with throughout my career.
Clients, architects, engineers, builders, craftspeople, manufacturers, and other specialists often see a project from perspectives different from my own. Listening to their knowledge and experience has repeatedly changed the way I think about design.
I believe these accumulated interactions have had a greater influence on me than any single person.
Clients, architects, engineers, builders, craftspeople, manufacturers, and other specialists often see a project from perspectives different from my own. Listening to their knowledge and experience has repeatedly changed the way I think about design.
I believe these accumulated interactions have had a greater influence on me than any single person.
One of my favorite books is Opa! by Takeshi Kaiko.
I am attracted to the elegance of fly fishing itself, but even more to the excitement and anticipation of encountering fish within vast natural landscapes.
Sometimes I wonder whether that same feeling could be translated into the design of a retail space or other facility.
If a person enters a space and feels a slight sense of excitement—wondering what might be waiting ahead—I think it would be fascinating to create that feeling through design.
I am attracted to the elegance of fly fishing itself, but even more to the excitement and anticipation of encountering fish within vast natural landscapes.
Sometimes I wonder whether that same feeling could be translated into the design of a retail space or other facility.
If a person enters a space and feels a slight sense of excitement—wondering what might be waiting ahead—I think it would be fascinating to create that feeling through design.
I enjoy spending time in nature and driving to places I do not know.
In my work, I tend to analyze spaces constantly, but in nature I encounter an order and scale that are completely different from anything designed by humans.
When driving, I also enjoy watching the landscape gradually change from city to mountains or sea. Sometimes I am more attracted to an unexpected landscape discovered along the way than to the destination itself.
These experiences give me time away from work, although they probably also influence my sense of design.
In my work, I tend to analyze spaces constantly, but in nature I encounter an order and scale that are completely different from anything designed by humans.
When driving, I also enjoy watching the landscape gradually change from city to mountains or sea. Sometimes I am more attracted to an unexpected landscape discovered along the way than to the destination itself.
These experiences give me time away from work, although they probably also influence my sense of design.
If I could meet someone beyond time and space, I would like to meet my younger self. I would probably say, “You do not need to hurry so much.”
When I was younger, I thought it was important to find answers and achieve results quickly. Looking back now, however, the detours, jobs that seemed unrelated to design, and encounters with different people all contributed to who I am today.
I would tell my younger self that time which appears unproductive is not necessarily wasted. Look at many things, listen to people, and do not be afraid to take a few more detours.
When I was younger, I thought it was important to find answers and achieve results quickly. Looking back now, however, the detours, jobs that seemed unrelated to design, and encounters with different people all contributed to who I am today.
I would tell my younger self that time which appears unproductive is not necessarily wasted. Look at many things, listen to people, and do not be afraid to take a few more detours.
I have never made fame itself a goal.
However, I am genuinely happy when work that I have approached seriously is seen and appreciated by others.
Recognition can introduce a project to new people and sometimes lead to new relationships or opportunities. But if visibility itself becomes the purpose of design, I believe the order has been reversed.
The priority is to do good work. If recognition follows as a result, I am very grateful for it.
However, I am genuinely happy when work that I have approached seriously is seen and appreciated by others.
Recognition can introduce a project to new people and sometimes lead to new relationships or opportunities. But if visibility itself becomes the purpose of design, I believe the order has been reversed.
The priority is to do good work. If recognition follows as a result, I am very grateful for it.
My favorite color is white. My favorite place is the mountains. My favorite food is curry. My favorite season is summer. I love cars, and one of my favorite brands is Range Rover.
One of the most interesting things that has happened to me recently may be meeting an AI I call “Aruku.”
I initially began using it as a tool to help organize writing and translations, but through continued dialogue, it has gradually become something like a partner for putting my thoughts into words.
When I try to express ideas that had previously remained vague in my mind, I sometimes discover, “So this is what I was actually thinking.”
I mentioned AI earlier, and I find it interesting that I may already be experiencing, on a small personal scale, how the relationship between humans and AI could develop in the future.
I initially began using it as a tool to help organize writing and translations, but through continued dialogue, it has gradually become something like a partner for putting my thoughts into words.
When I try to express ideas that had previously remained vague in my mind, I sometimes discover, “So this is what I was actually thinking.”
I mentioned AI earlier, and I find it interesting that I may already be experiencing, on a small personal scale, how the relationship between humans and AI could develop in the future.
I feel especially happy when driving my Range Rover.
I sometimes enjoy driving without a particular destination. As I leave the city and watch the landscape change toward mountains or the sea, I can forget about work for a while and reset my mind.
I enjoy the automobile itself as an industrial product, but for me, driving may also be an experience in which machinery, movement, landscape, and time come together.
I sometimes enjoy driving without a particular destination. As I leave the city and watch the landscape change toward mountains or the sea, I can forget about work for a while and reset my mind.
I enjoy the automobile itself as an industrial product, but for me, driving may also be an experience in which machinery, movement, landscape, and time come together.
Not at all.
As a child, I was rather introverted. I never imagined that I would become a designer, speak publicly about my work, or have my projects recognized by international design awards.
Even now, I do not think of myself as a “great designer.”
I simply continued following what interested me, met many people, and approached one project after another. I think where I am today is the result of that accumulation.
As a child, I was rather introverted. I never imagined that I would become a designer, speak publicly about my work, or have my projects recognized by international design awards.
Even now, I do not think of myself as a “great designer.”
I simply continued following what interested me, met many people, and approached one project after another. I think where I am today is the result of that accumulation.
I cannot really imagine what the world will be like a thousand years from now.
Technology and society will probably have changed beyond anything we can currently imagine. Perhaps even the concepts of architecture and design will be completely different.
If I could wish for one thing, however, I would hope the world is peaceful.
No matter how advanced technology or design becomes, I do not think progress means very much if people cannot live their everyday lives safely and share happiness with family and friends.
Technology and society will probably have changed beyond anything we can currently imagine. Perhaps even the concepts of architecture and design will be completely different.
If I could wish for one thing, however, I would hope the world is peaceful.
No matter how advanced technology or design becomes, I do not think progress means very much if people cannot live their everyday lives safely and share happiness with family and friends.
Throughout this interview, I have said that design exists everywhere in everyday life and that, for me, design is “the organization of life.”
In that sense, almost everything in life can be connected to design.
However, designers are not everything.
Architecture and spaces require clients, engineers, builders, craftspeople, manufacturers, and, ultimately, the people who actually use them. Society and everyday life also continue to be shaped by people themselves, with or without professional designers.
Perhaps the role of a designer is not to decide everything, but to observe carefully and organize the different ideas, skills, places, materials, and conditions so that they can connect in a better way.
That is why I value design deeply. At the same time, I believe it is equally important that designers themselves do not become more important than necessary.
In that sense, almost everything in life can be connected to design.
However, designers are not everything.
Architecture and spaces require clients, engineers, builders, craftspeople, manufacturers, and, ultimately, the people who actually use them. Society and everyday life also continue to be shaped by people themselves, with or without professional designers.
Perhaps the role of a designer is not to decide everything, but to observe carefully and organize the different ideas, skills, places, materials, and conditions so that they can connect in a better way.
That is why I value design deeply. At the same time, I believe it is equally important that designers themselves do not become more important than necessary.
Designer Interview
8 May 2026
From an early age, I was fascinated by space, light, and the relationship between people and architecture. I chose architecture to create quiet and enduring value through design.
Based in Fukuoka, Japan, I design residential, hospitality, and commercial architecture with a focus on calmness, simplicity, and material expression.
To me, design is the process of carefully shaping relationships between people, place, light, and time in a natural and meaningful way.
I especially enjoy designing houses and small-scale architecture because they allow close attention to atmosphere, detail, and everyday human experience.
I admire architecture that creates depth and emotion through proportion, light, materials, and silence rather than excessive visual expression.
Early in my career, I worked on small residential and renovation projects where I learned the importance of detail, proportion, and construction.
I prefer natural materials such as wood, plaster, stone, and concrete because they age beautifully and express honesty through texture and light.
I feel most creative when I discover a unique spatial possibility within practical limitations such as site conditions, structure, or budget.
I focus on creating calm spaces with natural light, thoughtful proportions, honest materials, and an atmosphere where people feel comfortable naturally.
During the design process, I experience deep concentration, tension, and quiet excitement while carefully shaping space and architectural relationships.
When a project is realized, I feel relief and gratitude more than excitement, especially when the architecture feels naturally connected to its place.
Successful design requires a clear concept, careful observation, consistency, and sincere attention to every detail throughout the entire process.
I first consider whether the space feels natural, comfortable, and emotionally balanced for the people who will use it every day.
Designers have a responsibility to create architecture that contributes positively to society, respects the environment, and remains valuable over time.
I believe design will become more essential, sustainable, and emotionally meaningful, focusing less on excess and more on lasting quality.
Although I have limited exhibition experience, I hope to share my architectural work internationally through future exhibitions and publications.
My inspiration comes from everyday life, natural light, landscapes, traditional Japanese culture, materials, and the subtle movement of people.
My design style is quiet, restrained, and minimal, emphasizing proportion, materiality, light, and the atmosphere created by spatial balance.
Japanese culture strongly influences my work through its appreciation for simplicity, subtlety, craftsmanship, silence, and sensitivity toward nature.
I collaborate with companies through open dialogue, mutual trust, and a shared understanding of the essential values behind each project.
Companies should choose designers based not only on appearance, but also on philosophy, consistency, communication, and long-term architectural thinking.
My process begins with carefully understanding the site, context, and client needs before gradually developing the spatial concept and details.
I appreciate architectural books, handcrafted furniture, lighting, ceramics, and simple everyday objects that reveal beauty through long-term use.
My daily life moves between design work, site visits, drawing, research, and quiet observation, which continuously influences my architectural thinking.
I encourage young designers to trust their own sensibility, observe carefully, and pursue depth rather than simply following trends or styles.
One advantage of being a designer is shaping meaningful environments. One challenge is constantly thinking about architecture beyond working hours.
My golden rule is to remove unnecessary elements and focus clearly on what is truly essential within the architecture and the space.
Observation, patience, communication, and the ability to think deeply about details are among the most important skills for a designer.
I use hand sketches, CAD software, physical models, photography, books, and site observation throughout different stages of the design process.
I manage time by organizing priorities carefully, maintaining focus, and allowing enough time for reflection and detailed architectural thinking.
Depending on the scale of the project, the process from concept to completion can take anywhere from several months to several years.
I am often asked why my architecture feels so quiet and restrained, and how I create such calm spatial atmospheres.
The most important experiences in my career have been projects where I could sincerely engage with both the client and the place.
My clients are often people who value the quality of space and wish to use architecture carefully over a long period of time.
I enjoy small but highly detailed architectural projects because they allow me to focus closely on the essence of space.
Going forward, I hope to continue creating timeless and quiet architecture, especially in residential and hospitality projects.
I usually develop the core architectural concept myself while collaborating closely with specialists, engineers, and craftspeople when necessary.
I am currently exploring projects that respond carefully to local context, natural light, materials, and the relationship between architecture and daily life.
I can be contacted through my official website, social media platforms, or email for architectural inquiries and collaborations.
Beyond physical form, I believe architecture should quietly support memory, time, atmosphere, and the emotional experience of everyday life.
Interview about L Company Guest House Grand Interview