Interview with Mika Kanayama

My interest in interior design started very early but I became a musician in my early adulthood - after I felt I’d done all I wanted to with that, I decided to take a different path and to follow my lifelong interest in interior design.

It was my choice to become a designer – at one point I realised that I should take the opportunity to focus on this thing I was interested in, so it was definitely a deliberate decision.

I mainly specialise in F&B commercial spaces such as restaurants, bars and cinemas. I’d like the opportunity to work on more hotels and experiential spaces in the future, as well as partnering with creatives and businesses in my local community in northeast London.

I think it’s important to be interested in all things in the world, inspiration for design can truly come from anywhere.

Good designers can create pleasing spaces but great designers create spaces that are truly innovative and full of surprises, spaces that can transform the experience of being there.

It’s not only about something being aesthetically pleasing but also about an understanding of how the space will be used and can be used – and how these needs are incorporated seamlessly into the design

Interior spaces are invariably where we spend most of our time, I think it’s important that these spaces have been thought about, not only from the viewpoint of their utility but also in their effect on us and our experiences of being in them – this is a universal thing, so any space benefits from some level of design.

My entire home for my own family, it has been long awaited…

It would be great to be a bridge between Japan and Europe through design work. I’ve done projects in both places using elements of both – but I can’t help feeling there’s a perfect expression of this that hasn’t yet materialised.

My design approach is always end-experience focused, I try to create spaces with the people who will be using them in mind – ideally with the hope that they will feel uplifted and inspired in some way by being there.

There are many, but two that I always come back to are Italian Architect/Designer Carlo Scarpa and American architect Ray Kappe.

The Memphis Milano apartment by Puntofilipino comes to mind –mixture of materials and elements beautifully and meticulously executed.

Castiglione, which is an artisan coffee shop in London and one of the latest projects I worked on. It’s a very small space but has a really clear vision, using a combination of neoclassical and retro-futuristic styles – materials and lighting work really well together mixing styles with different finishes. It’s a great place to have a coffee too.

It’s important to keep thinking and creating, even when you feel stuck - to push yourself to be more open minded and to be honest with yourself about things that aren’t working.

I’d love to convert and restore old folk houses, Kominka in Japan. In modern times they’re typically considered to have little value or be an inconvenience and a nuisance to maintain – but I’ve long dreamed of bringing them back to life to be used again.

Design is an art, a science and a language combined, it is a complex and integrated process, but an instinctual one too. For me it is the opportunity to express and feel the connections between these things.

My husband has been always supportive, although he isn’t a designer he is an artist in many ways, he is the person I can discuss freely about design – sometimes he’s brutally critical and occasionally he’s right too, but he always believes in me completely.

I’m not sure, but I try to treat each project like it’s the most important, and I think this gives me more opportunity to do my best work.

It took a while for me to become an interior designer and I started fairly late. To study for my degree required money and time, and I began during my pregnancies and when my children were very small. It was quite difficult to juggle these every day.

They should present their work however they feel is right for them – like any art, I don’t think there is a correct or incorrect answer.

I am working on a multi faith prayer hall in central London. Though I’m not religious myself and it isn’t connected to Japan as a project, it has quite a Japanese influenced harmony and serenity and feels like a natural thing for me to be doing.

I don’t really have a goal beyond carrying-on working on interesting places, that hopefully people like.

I would like to think people would expect to be listened-to, really design is about making spaces for other people after all.

I’m not sure design can have a huge impact, but it is a universal language and it is about the spaces that people use every day, ideally theses spaces would make them feel positive in some way .

I’m currently working on a cinema expansion project and film school, I love designing public spaces, but to do this for students too is a privilege.

I worked on The Garden Cinema, which is an independent arthouse cinema in London. The project was challenging in many ways, but seeing it completed and the reputation and popularity of the cinema that followed was extremely gratifying. I feel proud that the space is enjoyed by so many film lovers.

It’d like to see less AI generated design.

I really have no idea – but that’s an exciting thing.

It varies quite a bit from project to project, but as I’m usually involved from conception to completion of build, it might typically take between three and twelve months.

I try to understand the project’s needs first, and do a lot of thinking and research – often this reveals one key idea, which could be a stylistic concept, a piece of art or image that seems to encapsulate how the project will feel – this becomes a sort of keystone to the concept as it develops.

I don’t think I have one, hmm… ‘design like no-one is watching’?

I think it actually works both way, without trying to sound like too much of a contrarian, I’m often put-off by things once I begin to see them a lot in other designs, partly I think because I feel it’s the designer’s responsibility to move the discussion forward rather than merely following what is going on more generally.

Most generally, it makes the process efficient and allows clear communication, but I actually work in 3D from quite early on in the process, as it allows me to better imagine how the space will work.

Vectorworks, sketchup, Vray and adobe software

They are the essential elements along with form and space, but each interacts with and informs the other.

I’m happy for them to ask what they like – I’d want to hear what interested them.

I get very excited and inspired.

I’m not sure, but co-design is a great to way to create something unique and collaborative, I haven’t yet had much opportunity for this, but I do try to get clients and other stakeholders involved in the creative process as much as they would like.

It has been many people really, those I’ve worked alongside but also clients who have dreams and ideas about what they want, it’s always great to see their thoughts and mine come together into a working design.

In Praise of Shadows by Junichiro Tanizaki – it’s an essay on Japanese aesthetics that brilliantly articulates something far beyond the clichés that are often presented.

Largely just by doing projects and building up experience, there’s always a first time for any situation or challenge, and I hope I continue to learn throughout my career.

I think it would have to be Carlo Scarpa.

I am grateful that my works are recognised, but I’m certainly not famous!

I have no favourite colours – every colour has a place where a certain effect is needed in a certain situation. I love hot sunny places. Any food that is made with care is my favourite. Spring and autumn in Japan are unbeatable. I don’t have any particular interest in brand.

I’m sorry, I’ll have to get back to you about that!

Sounds a bit boring but when I’m feeling that the day is productive, it gives me a lot of satisfaction – creating works always bring me joy, that drives my motivation really.

I was always interested in Interior Design. I used to look at floor plans of all sorts of places and imagine what those rooms would be like and how the space would feel. I never thought I would become a professional designer but probably it was meant to be.

I think computers and AI will unavoidably be playing a big role, but there are things that I like to think only a human can only articulate – so I hope there will still be a place for us in the process.

Not sure that I have fans, but I am just an email away if anyone wants to discuss design!

I set up my design studio, Muzo back in 2018. It’s based in London and specialising in Hospitality - restaurants, bars, cinemas and hotels.

To fulfil quality of my life and others

I love designing public space where people gather, spend time and share their moments.

The first project since I set up Muzo was a cinema called The Garden Cinema in London. It's an independent art cinema and I am always fond of this my first project.

I like mixture of use in materials

Concept design stage is always glowing moments, as you have many imaginations in many different ways whether that's possible or not. You are free to come up with anything.

That the design express honesty and meanings

It depends but all complexity of human feeling

Joy and pleasure

Be truthful when designing

To create interior spaces that enrich day-to-day life, encouraging people to feel inspired and invigorated.

Design is more and more appreciated by more people and many different areas at this time. I hope it carries on to have universal language that have no boundary to countries, age, gender etc.

Colour in nature is always inspiring and more surprising than artificially put together. Inspiration is everywhere day to day life, in films, galleries, food, walking in nature...

I think my design has organic sense in any form. I like injecting that sense so that you feel connection in the space.

I was born in Japan but now living in London, UK. I could say I have now two backgrounds that make is quite unique in design approach. Pros is definitely having broad minded approach, no cons really.

Always try to understand their needs and try to create something we both feel achieved, not only client satisfaction.

Design does not happen in a second like miracle. Communication with a designer is always important and to select a design who can listen.

I often make 3D models when I have ideas.

Re-upholstered 60's sofa in pink, kitchen got also refreshed spontaneously during pandemic. Rug from 80's. 60's round side table, the loft that is created to receive the design but not completed!

Depending on a day, but I currently work from home so mixture of work and home stuff, sometimes out for a meeting, site visits, or in front of computer

No one can judge good or bad on your design, be bold and express however you want it. Be playful.

For positive, to get to express what you have in your mind, healthy way of living
Nothing negative about being a designer

Be truthful and playful

Translating your imagination

Skethup is my day to day tool

Set a time limit can help sometimes and comes out better ideas rather than spending too long time thinking

Could be very quickly or could take days!

Can you design something beautiful?

Every job experience is important and learnt many things in different ways

Restaurant and cafe owners

I love designing restaurants, bars, cafe and cinemas where people gather, spend time and share their moments. It's a pleasure to create a space where people remember as a moment.

As I am based in UK but have background as Japanese, I'd like to connect those two countries together and share great design elements.

I mostly develop design by myself

Just started a concept design for a flagship restaurant in London. It's still early stage but most exciting phase as you get full of ideas.

By email, instagram, through website

I think it covered all well.