Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ láti ọwọ́ Tomohiro Kaji

Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ láti ọwọ́ Tomohiro Kaji jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2026 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ojú-ìwé Ayelujára.

FàdákàAyelujára· 2026

Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́

látọ̀wọ́ Tomohiro Kaji

Oníbàárà: Kadowakamatsu Inc

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ayelujára

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Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́

Ìwé Ọ̀rọ̀: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ Kadowakamatsu tún ìjẹ́rọ̀ nípa ọjà ilé àti ilẹ̀ ṣe lọ́nà tuntun nípa gbígbé àwọn ohun-ìní kalẹ̀ gẹ́gẹ́ bí ìpìlẹ̀ àṣà-ìṣẹ̀dálẹ̀. Nípa dídarapọ̀ àyíká agbègbè, àṣà kíkọ̀wé àdàkọ̀, àti ètò gíríìdì tí a ṣàkóso, àpẹẹrẹ náà yí wẹ́ẹ̀bù sáìtì ilé-iṣẹ́ padà di ẹ̀rọ ìtàn-sísọ. Ó ṣàlàyé iye ìlú kọjá àwọn àwòṣe ìdíyelé nípasẹ̀ ìrírí olùmúlò tí ó dá lórí àyè àti àtúnṣe-ọ̀rọ̀, tí ó ń jẹ́ kí ìtọ́sọ́nà onígun-púpọ̀ àti ìdàsíọ̀rọ̀ oníhùn-púpọ̀ pẹ̀lú ọ̀rọ̀, àwòrán, àti àwọn iṣẹ́-àkànṣe ṣeéṣe, tí ó sì tún ọ̀nà tí a fi ń wo iye ìlú ṣe.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Kadowakamatsu Iṣẹ́ Àkọ́kọ́: Wẹ́ẹ̀bù Sáìtì Ilé-iṣẹ́ jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: 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.
Àwọn Àkọlé: Real Estate Branding, Cultural Infrastructure, Corporate Website, Custom Typeface, Editorial Typography, Urban Philosophy, Narrative Design, Interaction Design, Shonan, Digital Architecture
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: 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.
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ọmọ Ẹgbẹ́: Creative Director: Tomohiro Kaji
Copy Writer: Tomohiro Kaji, Yusuke Matsuda
Web Designer: Tomohiro Kaji
Engineer: Tomoya Akai
Ìfọwọ́sí Àwòrán: Illustrator: Chalkboy, Chunco HARAWATA, Photographer: Taisuke Yokoyama