December 3, 2007

Katsunori Suzuki

What kind of shop is the one that takes in right-on modernity, but keeps its universality?
Such a shop has been embodied in a plan designed based on knowledge and experience by thinking about human being’s instinct and a space that brings physiological comfort.
The ultimate level of shape as equipment for achieving goals…
Overall attempts to realize such a shape, no matter if it’s a shop, house or school, are designing, I think.
Human beings do not have any ability to anticipate their future, but I think it is possible to predict it from experience to some extent.
The persons who can do it are those who mastered designing; one of disciplines?
Since human beings can exactly predict and plan completion three months, a year and five years from now…
I believe that perfect designs lead to perfect results.



Mr. Suzuki, president of "Fantastic Design Works INC", expresses his ideas about “design” below.
The 4th special feature covers not only the design of commercial facilities, but also features Mr. Suzuki, who is actively working in various fields, to try to grasp his ideas about design.
Career
Born in 1967
1990 Graduated Kyoto-Seika University, Oil Painting Department.
1990　Worked for MD Inc.
2001　Leave MD Inc, under amicable circumstances
2001　Established Fantastic Design Works



"So, Mr. Suzuki, you are showing people a great success nowadays as an “interior designer,” but how did you go on your interior career path?”?"
When I became conscious about the word “interior designer” specifically was when I was a junior in college. I was interested in restaurants and entertainment from my school days as I researched popular restaurants, went to discos and so on. Particularly, when I traveled to New York by myself, I was overwhelmed by the gorgeousness of restaurant business and its entertainingness.

One day, I came to know that there was the company which designed Maharajya, the number one in the disco business in Japan at that time, in Tokyo, and then I moved to Tokyo and I became its pupil. I think I was able to acquire the skills for “designing” rather than “design” through many kinds of projects even though I faced the bubble economy burst a year after I joined the company. Then, I became independent after 11 years of training.

When I became independent in 2001, I was able to open the first popular shop that had impact by utilizing my experiences as well as designer's restaurant boom at that time.
Of course, it was not easy to succeed, but now I feel that thanks to the past, I can be who I am now.
When I think back, I feel that having a goal and thinking that “I want to do this” were extremely important. I felt so because of my school days’ play.


　


"Mr. Suzuki, you are designing many kinds of commercial facilities, especially restaurants, but what do you think about changes and flows of its business?"
Well, for example, if we look at restaurants, clients now and in 10 years ago are different.
Ten years ago, if it’s a good restaurant, it was likely that the second and third ones open. Along with that, the design offices gain more profits. However, that’s rare nowadays isn’t it? Restaurant business was used to be said “a profitable business,” but now it is said to be a difficult business.
In addition, when building complexes with popular restaurants increase, the bad ones are dumped and the good ones remain. If I only look at the number of restaurants, I assume that the number of restaurants will decrease little by little.
Besides, if I look overseas, I think more and more companies have come to place an order to Japanese firms.
I think Japanese people are very good at controlling money. I guess designers can control money strategically. They design, while considering money movements and how to spend money after estimating prices meticulously, without sticking to superficial aspects such as the shape of a thing, popularity and cool designs.
Then, the design fee is paid to them. I think that kind of thoughts themselves will be globalized from now on.


　


"When I look at shops Mr. Suzuki designed, I feel that there are so many kinds of essence in them. Where are your ideas come from?"
Well, I guess it’s because I’m always thinking about stories or something.
Seriously, I’m interested in so many kinds of things. I could say I am avaricious. I always keep an eye on clothes that someone wears, CD jackets and cars, not only space designs.
Of course, there are designers I respect. I like those who regard and does store designing as one of academics or culture without being showy. I think their works are profound and great. Their works are produced based on perfectly calculated human movements.

Fantastic Design Works
ADDRESS : 3-10-6, Uehara, Shibuya-Ku, Tokyo, Japan
URL : http://www.f-fantastic.com/

entry dj : 10:19 AM

June 4, 2007

Ichiro Shiomi

Designers must take a step back to view things objectively, and consider how to make their stores fit in with the street and transform them into comfortable components of the streetscape.
Producing profits for owners and customers is important, but it is also important to have an unbiased viewpoint and add a pinch of balance to a design to develop something beneficial for all.



Mr. Ichiro Shiomi, president of spinoff, expresses his ideas about “design” below.
The third special feature covers not only the design of commercial facilities, but also features Mr. Ichiro Shiomi, who is actively working in various fields, to try to grasp his ideas about design.
Career
1962 Born in Hyogo pref.
1984 Graduated Osaka University of Arts, Design department.
Entered company known as "interior design office nob".
1992 Established Is Architects and Associates
1999 Established spinoff



"Now, it has been some twenty years since you started your own business. Mr. Ichiro Shiomi, how did you become “Designer Ichiro Shiomi”?"
I entered an art college after graduating from high school. At that time, I didn’t have any serious ideas about becoming a designer.
I entered college in the ’80s; in those days, the job of a copywriter drew public attention, and people came to feel interested in the ad industry. In these circumstances, I chose an art college, with the aim of entering the ad industry.
In the year I graduated from the college, being introduced by the shop manager of my part-time workplace, I visited a real interior design office, “interior design office nob,” for the first time, and I was impressed by the real designs and their sense. I asked the office to allow me to become an apprentice.
In college, I couldn’t get realistic information on actual practices, so it was difficult to clearly imagine a designer’s work. To be honest, I didn’t have a clear goal when I was studying interior design. But, after visiting the office, I was able to take aim at designer’s work seriously.

After graduating from college, I joined “interior design office nob,” and became the chief of the Tokyo office. At that time, I had no plan to start my own business. That time was the heyday of the bubble, and after the bubble collapsed, we talked about closing the Tokyo office. This motivated me to start my own business.
I worked as the chief of the Tokyo office from the first year of my employment, where I experienced a responsible position. At that time, I never thought about moving to another office. Instead, I always mulled over how to improve my own office. In this light, there are no great differences between before and after the start of my own business. The site and staff of the office were simply transferred without any change.

Around the time when I started my own business, interior designers were becoming involved in architecture. My superiors at the office and I had interests in architecture, and thought a link between architecture and interior design to be natural, so I obtained qualifications and registered my office as an architectural office.
However, my core business is interior design, so I was often entrusted with interior design tasks, and I realized that there are slight differences between the way projects progress in interior design and construction. I had no experience of dealing with a full-scale construction project, so I had some difficulties in dealing with that kind of project.
The current trend is such that a design office and a construction office will cooperate and work together as a team.
During the early days, after I started my own business, there were several difficulties, but I could gain some hints for the next job by dealing with each task diligently. Recently, I get tasks through recommendations. I deeply appreciate my superiors at the design office I worked for before. Their methods of work influenced me to a great degree. There have been few chances to meet with them since I started my own business, but I will always respect them greatly.


　


"It has been some twenty years since you started working in the interior design field in 1984. What has changed over these twenty years?"
First is the recognition of designers.
Before, designers were like writers, and they recognized designs as works that expressed their own sense of values, and it seems that they did not think about business people or consumers. At present, it seems important to consider how to embody the business model or business image a business firm has.
Before, most restaurants were private stores, and it was difficult for them to raise funds for interior design, but since companies entered the restaurant industry, commercial design has become quite common, and more people recognize interior design. I think this influence has been large.

"How do you feel about Japanese and foreign designs?"
I strongly feel that my DNA is Japanese.
Every design has an aim. The Japanese taste is not always consistent with that aim. So, I don’t go out of my way to attempt to reflect the Japanese taste in my work just because that’s where my roots are, but when I add Japanese taste to my work, I feel “the Japanese” appears naturally.
In addition, not only in design, I think the Japanese way of using space and atmosphere is excellent. I think such excellence exists in paintings and calligraphy as well as architecture. I think this is produced by the unique Japanese culture and values that emphasize others, differing from foreign cultures that emphasize self.

"What is important for designers?"
Owners tend to put their attentions to the improvement of their own stores, so designers must take a step back to view things objectively, and consider how to make their stores fit in with the street and transform them to comfortable components of the streetscape.
Unless a designer reads atmosphere and creates a good design for everyone, including the owner, consumers, and other surrounding people, even if the store is outstanding in the architectural sense, the excellence of the architecture will not be conveyed to people, and then the excellence of the store will not be conveyed to people.
Any owner who plans to open a store has strong ideals and a sense of value. But in actuality these are sometimes not visible to consumers. That being said, if we are overly concerned with the sensibilities of consumers, we can’t produce profits.
Therefore, we must not only take into account the arguments and opinions of owners, but we must also have an unbiased viewpoint and add a pinch balance to develop something beneficial for all.

"Lastly, could you talk about your future goals?"
Over the past ten or twenty years, the design field has changed dramatically, and designers have changed their viewpoint from that of a writer to a commercial one. Through such changes, everything, including architecture and graphic design, is crossing industry borders and making every field borderless. I cannot cope with all of these things. I hope that experts in each field will cooperate in a single project. I actively cooperate with sculptors and graphic designers, and discuss interior design for brand development, working with various people in response to needs. I would like to strengthen this team further, and always offer ideal designs.




spinoff
ADDRESS : Kyoden Building 6F, 2-8-2 Ebisu-Minami, Shibuya-ku, Tokyo
URL : http://spinoff.cc/

entry dj : 5:15 PM

January 22, 2007

Ichiro Nishiwaki

We are not looking to hear out client`s say, "You`ve designed our space BEAUTIFULLY!"
We`re happier to hear our clients say, "You`ve designed our space PROFITABLY!"
The most important aspect of commercial design for us, is that our clients make a profit from our designs.
-Mr.Ichiro Nishiwaki



The 2nd edition of 'Feature Designer` presents an interview with Mr.Ichiro Nishiwaki, the president of Ichiro Nishiwaki Design Office, Meguro-ku, Tokyo,

With a unique and creative approach to the industry of commercial interiors, Ichiro Nishiwaki Design Office boasts a wide range of clients from boutique and retail, to restaurants and salons and many more.

We find out what it means to Mr. Nishiwaki to be so involved with the world of interiors.

Career
1984.03 Graduated from Kuwasawa Design School, Interior Design Major
1984.04 Worked for Naoki Iijima Design Office
1991.09 Established Ichiro Nishiwaki Design Office
1994.04 Part-time instructor at Kuwasawa Design School
1997.06 Established N-Planning
2006.05 Changed name to Ichiro Nishiwaki Design Office,inc.
2006.05 Changed name to N-Planning, Inc.




"Working as an independent designer for 15 years, what has made designer Ichiro Nishiwaki and how?"
Since my childhood, design became so natural and familiar to me.
My relatives worked with design near where I used to play, which was where I got my first real taste of the design industry.

The more familiar design became to me, the more i appreciated it. My interest levels grew quickly and I soon appealed to all forms of creativity within design.
At such a young age, my dream was already set on becoming a designer.


“How did your journey of design bring you to interiors?”
After graduating from high school. I got a part-time job that gave me the opportunity to visit many coffee shops, karaoke bars and pubs, which at the time were not places i would attend regularly.
As I went from place to place, I would experience a variety of interior designs and ambiance's which left a great impression on me.

Window displays were also another key factor in helping guide me towards the right path of design. I was highly inspired by fashion complexes in the Shibuya area that catered for designer brands like Comme des Garçons and Issey Miyake. It felt right to focus my efforts and excitement through interior design.

It was already my ambition to be an independent designer, but before I could reach my goal, I had to work for a design office where I could gain the opportunity to learn and understand everything I needed.

To become a captive designer or even a secondary designer in a top design company was never my intentions. I was soulfully set on working for Ichiro Nishiwaki Design and I would do everything I could to achieve this.
With this in mind, I set out and soon found a position within Mr. Naoki Iijima's newly established Design Office.

To date, I owe what I am to that decision to work for his Office. If I had joined a famous design office with a long established reputation, it would have become second nature to work towards becoming the secondary designer there.


　


“Do you feel there is much difference between design in Japan and design in other countries?”
I have worked in foreign countries and their projects are fundamentally different from ours in Japan. Cultures vary from country to country.
During international projects, its very important to discuss our ideas in collaboration, than to present an idea. A project is more likely to be successful with clients' influences and ideas.
Negotiations and contracts can often take some time too, so team management is also highly important.

Of course, I want to continue to send more and more messages out about Japan and Ichiro Nishiwaki designs. Those messages are different depending on the receivers, but I really hope some unknown aspects of Japan and our unique, new ideas will attract and inspire an increasing number of people in the world. For example, if others see our delicate and sophisticated use of lighting in our tradition, they may be influenced in other countries to change and adjust to suit in the same way their cultural designs have influenced ours.


“...and finally, what makes the Ichiro Nishiwaki Design Office run so successfully and what are the company goals for the future?”
I am designer as well as a manager. I work my business management and media exposure strategically with a high regard for success and commitment.

I will often appear on media programs to promote our designs, but sometimes I may avoid the attention if I feel it will not benefit the company to its greatest ability.

I organise and associate well with major brands and often obtain jobs through our large network of contacts.

We aim to be a company that delivers not only EXCELLENT design and service, but also one that creates EXCELLENT business for our clients offering practical solutions including finance and assistance. In addition to the success of our designs, we also hope our designs will contribute towards sales.

For the future, we at Ichiro Nishiwaki Design Office will continue to provide a professional and enthusiastic service and will strive to excel ourselves each and every time.




Ichiro Nishiwaki Design Office
ADDRESS : Itochu ENEX Building 3F, 1-24-12 Meguro, Meguro-ku, Tokyo
URL : http://www.nishi-d.co.jp/

entry dj : 9:53 PM

December 22, 2006

Katsuya Iwamoto

Design is not styling.
There is no meaning in merely arranging a surface.
If it is simply to create a beautiful space, someone other than I could do it.
Incorporating the five senses and the mind to actualize
an idea that is not yet visible to the eye...
my job is to make people happy through designs.

“EMBODY DESIGN ASSOCIATION’s representative designer, Katsuya Iwamoto describes design in the following manner. The first special edition of “Feature Designer” features Mr. Iwamoto, active not only in commercial facility design, but also in a variety of other fields and explores his thoughts on design.”

Profile
1988.3　Graduated Osaka University of Arts, Design department, Interior design major
1988.4　Entered company known as Tanseisha Co., Ltd.
1992.4　Established EMBODY DESIGN ASSOCIATION
Awards
・ JCD commercial design prize ’97
・ INAX SHOP design award’97
・ JCD commercial design prize ’00
・ Display industry prize ’01
・ JCD commercial design prize ’03
Other prizes: JCD, DDA, SDA etc…

“It has been 14 years since you went out on your own, how did you develop the style that represents the designer Katsuya Iwamoto today?”
When I was about 17 or 18 years old, the economy was booming and the clubs and stores I used to visit were good, but there were rarely any that I thought were really impressive. Back then it struck me that I would do things differently. With that in mind I studied the basics of design at university, was inspired by a variety of designers and designs, and really started to get in to how fascinating design can be.
When I first entered company known as Tanseisha Co., Ltd., I was originally promised a position in the commercial space department however was placed in museum design, and although for many years I felt disappointed, the experience I gained there has given me the solid foundation I have today.
This is how it was. "All sorts of people, from many walks of life, age, gender and nationality visit museums. Museums are there for visitors to grasp an understanding of the exhibits and to enjoy and be intrigued by the slightly complex topics of history, civilization and science. For this reason I believe that the essential conceptual and technical knowledge are linked together in all fields of design." It was there that I felt deep within myself my mission in life to look at things differently and from the perspective of others and create only what is needed by society.
I started to look at things from a variety of perspectives. For instance, in the example of commercial space, this meant considering from the respective viewpoints of the clientele, staff working in the store, and management, what conditions have been placed upon them and whether these actually work as conditions. It also meant thinking about what you would make your objectives, whether you focused on management style, positioning, satisfying the needs of the time, or establishing unchanging values and knowing how to achieve these objectives.
To me, design has always been more than simply giving something form. I see it as giving concrete form to the objectives of the design.






“How do you think about the project in foreign countries, and the difference of design between foreign countries and Japan? ”
Of course I am also interested in work overseas. The idea of giving concrete form to the objectives of the design in consideration of what can be built in the local area and local values is the same overseas. It is first necessary to understand the objectives of the project.
When people from all over the world look at me, the designer, it could be said that race is one personality trait, and that I am defined by my inherent primitive nature and sense of balance. If that were me and I were to work overseas, I would not want to design something that is superficial and iconic of Japan, but something that through me is sublime and incorporated aesthetics that breathed the cultural of Japan in things that cannot be seen such as decorum, language and lifestyles.





“What is EMBODY DESIGN ? ”
EMBODY, meaning to give concrete form to an idea, is a term representing the foundational concept of my designs and the name we have chosen for our office. I believe that this idea will create an opportunity for happiness and what we design to bind people to people, people to happenings and bond together individuals and society and individuals to their inner-self. For this reason there is no meaning in merely creating a beautiful surface.
Through construction and design that combines a variety of existing aspects with ideal future designs, I believe we can bring people together, generate communication and create a space that people can admire and in which time is appreciated. This is what I have always aimed for and what I will continue to aspire to.





EMBODY DESIGN ASSOCIATION
ADDRESS :
TOKYO/AzabuChuoBldg, 10F, 2-9-8, Azabujyuban, Minato-ku, Tokyo, Japan
OSAKA/Label Bldg, 2F, 1-1-11, Nishitenma, Kita-ku, Osaka, Japan
URL : http://www.embodydesign.com/

entry dj : 1:47 PM