A villa facing a secluded private road, a 3-minute walk from Isshiki Beach.This area used to be a fishing village until the Edo period (1603-1868), but since the Meiji period (1868-1912), villas for the Imperial Villa, the Imperial Family, and other important people began to be built in the area.The neighboring lands bordering the villa to the north and south are in the shape of a hill, and the villa is overlooked from the north side.

Since a swimming pool was planned for this villa, we considered ensuring privacy.To avoid overbearing the adjacent houses, the villa was divided into five separate buildings: a dining building, a living building, an accommodation building, a service building with a parking lot and bathrooms, and a storage building, all surrounding a courtyard with a swimming pool and open to the sea to the south.The villa on the east side has a direct view to the sea, so in order to secure their privacy, the accommodation wing is a two-story building with a single-flow roof that drops down to the courtyard side to facilitate the growth of camphor trees, which were planted to celebrate the victory in the Russo-Japanese War and provide comfortable shade to the poolside.

The gap between each wing is a flow line from the poolside courtyard to the perimeter, and also serves as a pathway for sea and land breezes and light.

The building has the appearance of a small village that blends in with the scenery of Isshiki.

Juzen Chemical is a company established in Toyama City in 1950 that engages in contract manufacturing of bulk pharmaceuticals.For future business development, the functions of each building were reorganized, and a new building was planned to consolidate scattered office functions, meeting rooms, and a cafeteria.

The zoning of the entire office space was created so that the new building would provide a place for "switching" between "concentration" and "interaction".The new office building is also designed to appeal to visitors with its views of the Tateyama mountain range and Toyama's rich natural environment.

The building is L-shaped, covering the open space of the adjacent park.In contrast to the factory building, this building has a glass façade that overlooks all of the surrounding factories and attempts to spatially connect the building with the factories where the employees work.The building is also visually connected to the Jinzu River to the west and the Tateyama mountain range to the east, creating a sense of continuity with the entire Toyama area.

A balcony was created in front of the glass façade to allow visitors to step outside and refresh themselves during breaks from work.The result is a shaded facade that contrasts with the smooth facade of the factory complex.The balcony, like a shelter, blocks sunlight to the interior in summer, but in winter, it can acquire solar radiation to reduce the heating load.

The ceiling of the work area is louvered with Japanese softwood, hiding the equipment in the ceiling, while the texture of the wood gives the space a natural and warm feeling.At night, the louvers are illuminated by lighting fixtures installed in the deck railing.The ceiling of the pilotis is also covered with these wooden louvers, giving it the appearance of the bottom of a Kitamae ship that carried the raw materials for Toyama's medicines.

A house for two families was planned on a lot divided by inheritance in a residential area of Minami-Azabu, where many embassies and luxury condominiums are located.

The windows, which connect the interior and exterior, were an important theme.In this house, we tried to create a window that allows the inside of the house to enjoy a sense of openness, but does not allow the outside to see much into the house.

The sense of openness felt in relation to the windows is largely determined by the distance from the window.When you are indoors, if the window has a certain width and height, you feel open.On the other hand, from the outside, if the width and height of the window are kept to a certain degree, the interior will not be seen too much, unless you are very close to the building.In addition, the windows are arranged as homogeneously as possible so as not to reveal the interior composition.

Each interior room gains as many openings as necessary, lined up against the exterior walls, to bring light and air inside.Windows of this size, even when the blinds are not closed, do not allow the outside to see much into the interior, but from the inside, the outside is clearly visible, providing a sense of openness while ensuring privacy.

By autonomously closing and opening the windows, we aimed to create a residence that allows for an affluent urban dwelling.

This is a food and beverage tenant building planned for a long, narrow parcel facing the street on three sides, located behind Yasukuni Street in Kanda Ogawamachi.

When designing a food and beverage tenant building, it is necessary to consider how the tenants should be assembled and how they should relate to the streetscape.The building should appeal to visitors who come to this building to find an attractive restaurant.

In this building, we proposed a three-dimensional vertical garden terrace by creating a void that pierces the exterior of the building facing the front street.The terraces in front of the building vary in size and shape depending on the floor, and are stacked in layers.The upper and lower floors are open and continuous, creating a sense of grounding even on the upper floors.Here, visitors can experience dining in a dynamic urban space where people and traffic come and go.

Since the area facing the side street is open, it is fully glazed so that not only can the interior of each restaurant be seen from the outside, but also the open space can be enjoyed from the inside.Black lattice-like sashes were used to easily match the atmosphere of the food and beverage interior.

The building is a medium-to-high-rise building in the city center that requires commercial efficiency, with all floors occupied by food and beverage tenants, and the terraces on each floor open to the city, creating an architecture with a new public character.

This is a three-story residential complex consisting of nine studio units of around 20 square meters and three units of around 30 square meters.

By inserting two tree-shaped voids into the L-shaped overall volume, which was created by securing a window-front vacant lot from the site, the approach, lines of flow to each unit, and balconies are compactly secured.These voids are oriented toward the gaps in the dense residential area, and are designed to provide a breezeway.The top lights above the voids not only allow light to pour in, but also promote ventilation by creating a chimney effect.Each dwelling unit is formed around these two voids with I-, L-, C-, and T-shaped planes to realize a variety of planning options. The exterior of the building is characterized by larch plywood formwork exterior walls and hot-dip galvanized metal frame window frames.

This project consisted of a 15-story, 4811m2, 118-unit housing complex on a 560m2 site.We supervised the design of the exterior, common areas, and private areas.

The upper floors above the 12th floor are lofts, and depending on the floor plan, the lofts can be L-shaped or two lofts, or a variety of other configurations.

Since the Corona Disaster, opportunities for teleworking have increased, so a coworking space has been set up in the loft section of the entrance hall.

In this project, the façade is divided into two elements by the combination of colors and materials.The balcony is covered with solid aluminum panels in a dark gray to hide the outdoor air conditioning unit inside, and the panels, the wall behind them, and the water heater are all painted in a dark gray to unify the elements of this housing complex that are not to be emphasized and to make their presence less noticeable.

On the other hand, the slabs on each floor are brought to the front to create a horizontal line, and aluminum louvers are randomly placed to connect the vertical lines, creating a new facade surface by covering the entire building with a delicate basket.

The horizontal slab is concrete, but it was necessary to match the materiality of the champagne gray aluminum louvers.Since aluminum has a different color depending on the angle from which it is viewed, the concrete portion was sponged with a lighter champagne gray paint over the darker champagne gray, successfully matching the texture of the aluminum material.