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    Soba restaurant Kawamichiya takes over century-old townhouse in Kyoto

    Japanese studios Td-Atelier and Endo Shorijo Design have transformed a townhouse in Kyoto into a noodle restaurant that combines traditional residential details with modern geometric interventions.

    Kawamichiya Kosho-An is an outpost of soba restaurant Kawamichiya, which can trace its history of creating dishes using buckwheat noodles back more than 300 years.
    Diners enter Kawamichiya Kosho-An via a small gardenIt occupies a 110-year-old property in the downtown Nakagyo Ward that retained several features typical of traditional Japanese houses, including a lattice-screened facade and an alcove known as a tokonoma.
    Architect Masaharu Tada and designer Shorijo Endo collaborated on the townhouse’s conversion into a 143-square-metre restaurant, restoring some of the original elements while adapting others to suit its new purpose.
    Changes in floor height delineate different dining areas”Originally it looked like a townhouse with an elaborate design, but various modifications were made for living and those designs were hidden or destroyed,” said Tada.

    “Therefore, we tried to restore the elements of the townhouse such as hidden or lost design windows and alcoves and add new geometry to them to revive them as a new store.”
    Guests can sit on floor cushions in the traditional Japanese parlourA lattice screen at the front of the building was restored to help preserve its residential aesthetic, while renovations were carried out on walls, pillars and eaves within the open-air entrance passage.
    The entryway leads to a small genkan-niwa garden, where paving stones are laid to create a path using a traditional technique known as shiki-ishi.

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    Customers enter Kawamichiya Kosho-An through a small retail area containing freestanding partitions that allow the original wooden ceiling structure to remain visible.
    Built-in bench seating is positioned along one wall and a window seat offers a view of the street outside. Customers here can eat with their shoes on, while beyond this space they are required to remove footwear as is customary when entering a Japanese house.
    Many of the building’s traditional lattice screens were retainedThe use of different materials and changes in floor height help to delineate areas within the restaurant and create a range of experiences. Guests can choose to sit on chairs in a porch-like space known as a doma or on floor cushions in the traditional Japanese parlour.
    The kitchen is positioned at the centre of the building and is set slightly lower than the surrounding floors, allowing staff working behind the counter to have a clear view of each diner.
    “We control the line of sight to the audience, the garden and the street by the height of each floor,” Tada said. “As a result, it is an original townhouse element […] and a new design that fuses old and new.”
    One of the upstairs rooms features a curved funazoko-tenjo ceilingSome of the existing features that help to preserve the building’s character include the tokonoma alcove in a room on the first floor, which also has a curved wooden ceiling known as a funazoko-tenjo.
    In Kawamichiya Kosho-An’s main dining area, a tokonoma was replaced with a low decorative shelf while the original screened window in this space was retained. Traditional wooden doors and paper shoji screens were also adapted and used to partition the space.
    The restaurant is set in a converted townhouse in KyotoTada studied at Osaka University before founding his studio in 2006. He has collaborated on several projects with Endo, who completed a master’s in plastic engineering at the Kyoto Institute of Technology before establishing his studio in 2009.
    The pair’s previous work includes the renovation of a typical machiya townhouse in Kyoto, which they modernised to better suit the living requirements of its occupants.

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    Keiji Ashizawa adds “residential calm” to Aloop clinic in Ginza

    Japanese architect Keiji Ashizawa has created the interior for a skincare clinic in Tokyo, using textiles and custom-made furniture to make it feel more residential than medical.

    The Aloop Clinic & Lab, which provides “skin cure and care”, is located in the city’s upscale Ginza area and run by Japanese beauty company POLA. Ashizawa wanted to give it an interior that would feel peaceful, while also representing the brand.
    The Aloop clinic has a calm minimalist interior”As a clinic that uses medical technology to deal with beauty, we thought that the space should have sincerity, calmness, and beauty in order to create a comfortable time for customers to feel at ease,” Ashizawa told Dezeen.
    “In addition, considering that this is a completely new business for the POLA beauty brand, we felt that it was necessary to create a space that would enhance the brand.”
    Wood was used throughout the spaceTo do so, Ashizawa looked at the design of the 210-square-metre clinic like he would if he were designing a residential space, giving it a calm, minimalist interior.

    “Although it is a clinic, I considered the space to be similar to a hotel or a living space,” he said. “Therefore, I used materials that I use in designing living spaces and hotels.”
    “The walls are plaster and the floor is a wool rug from Hotta Carpet,” he added. “The sofa and furniture at the characteristic entrance are made of Kvadrat wool textile to create a pleasant texture.”
    Treatment rooms were designed to have a residential feelThe architect used a clean, simple colour palette throughout the space, with white-painted walls contrasting against wooden panelling and wooden doors.
    “Wood was used for doors, furniture and details because we wanted to create a residential calm rather than a clinic,” Ashizawa said. “We felt that a bright and healthy atmosphere was necessary.”
    “The extensive use of wood was to create a residential atmosphere, and we wanted the space to be as far away from a typical clinic as possible,” he added.
    Keiji Ashizawa created custom-made sofas with furniture brand KarimokuHis studio worked together with wooden furniture brand Karimoku to design the custom-made sofas for the space, which welcome customers as they enter the clinic.
    “Of particular importance to this project were the custom sofas,” Ashizawa said.
    “We asked Karimoku, with whom we communicate on a daily basis for furniture development and wood projects, to work with us on the development of the furniture.”

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    He compared his collaboration with the brand to that of mid-century modern Finnish architect Alvar Aalto and furniture brand Artek.
    “For me, Karimoku has become an indispensable partner in thinking about space, just as Aalto is for Artek,” he explained.
    Neutral colours contrast against pale woodBy creating the sofas with rounded edges, Ashizawa aimed for them to “gently envelop” customers after their treatments.
    “The mere fact that something looks hard or painful makes the body tense, so we thought it would be desirable to eliminate such things,” he said.
    “However, in order to maintain a comfortable sense of tension in the room, delicate details of metal and wood were used to achieve a balance.”
    Small sculptures decorate the spaceSmall sculptures were dotted throughout the Aloop clinic, including in the treatment rooms.
    Ashizawa has previously designed an interior with a similar colour palette for the Hiroo Residence in Tokyo, and also used plenty of wood for his and Norm Architects minimalist Trunk Hotel design.
    The photography is by Tomooki Kengaku.

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    Keiji Ashizawa Design and Norm Architects create “honest” Trunk Hotel in Tokyo

    An exposed raw concrete facade fronts the Trunk Hotel Yoyogi Park, which Japanese studio Keiji Ashizawa Design and Danish firm Norm Architects conceived as a minimalist retreat in the heart of the city.

    Marking the third location in a trio of Trunk hotels in Tokyo, the design of the boutique hotel was rooted in the concept of “urban recharge”, according to Trunk chief creative officer Masayuki Kinoshita.
    Trunk Hotel Yoyogi Park features a raw concrete facadeThe hotel group said the idea was to balance the opposing elements of tradition and modernity as well as nature and the city and the melding of both Japanese and European craft.
    Keiji Ashizawa Design created a textured concrete aggregate facade for the seven-storey building, which is punctuated with steel-lined balconies and overlooks Yoyogi Park’s lush treetops.
    Guest rooms feature a muted colour and material paletteThe studio worked with Norm Architects to design the minimalist interior, accessed via a copper-clad entrance.

    A total of 20 guest rooms and five suites were dressed in a muted colour and material palette featuring hardwood flooring and plush Hotta Carpet-designed rugs informed by traditional Japanese architecture.
    Paper-cord chairs and tapered washi pendant lights contribute to the minimalist designDelicate rattan partition walls delineate spaces within the rooms, which open out onto the building’s balconies that were fitted with slanted ceilings in order to encourage sunlight into each room “as if mimicking the gentle transitions of a day”.
    “It’s been an interesting journey for us to find the right balance between a space that is relaxed and vibrant at the same time,” said Norm Architects co-founder Jonas Bjerre-Poulsen.
    The interiors were designed to be both “relaxed and vibrant”The rooms are also characterised by paper-cord chairs and tapered washi pendant lights as well as abstract artworks, amorphous vases and grainy floor-to-ceiling bathroom tiles.
    On the ground floor, oak seating designed by Norm Architects for Karimoku features in the hotel restaurant, which includes a striking copper-clad pizza oven and the same rattan accents that can be found in the guest rooms.
    Rattan accents can also be found in the hotel restaurant”It is a very unique and gratifying experience in the sense that the architecture, interior and furniture, as well as the attention to detail, have created a space with such a strong sense of unity,” said Keiji Ashizawa Design.
    An open-air pool club is located on the sixth floor of the hotel.

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    Sand-blasted concrete flooring was paired with thin bluey-green tiles that make up the infinity swimming pool, which overlooks the park below.
    A “glowing” firepit can also be set alight after dark, intended to create a soothing contrast with the bright Tokyo skyline.
    The Trunk Hotel features a rooftop infinity poolThe city’s first Trunk Hotel opened in Shibuya in 2017, while the second location is an offbeat one-room hotel in the metropolis’s Kagurazaka neighbourhood featuring its own miniature nightclub.
    The photography is by Jonas Bjerre-Poulsen.

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    Japanese garden design informs Tokyo real estate office by Flooat

    Lush plants and gravel beds feature in the Tokyo offices of real estate company Mitsui & Co, which local interior studio Flooat has designed to be “as stress-free as possible”.

    The workspace is located on the third floor of a 1980s office block in Chiyoda, a special district of Tokyo that is also home to the Imperial Palace.
    Flooat set out to bring new value to the outdated building, creating a working environment that could be “cherished and used for a long time”.
    Mitsui & Co’s office is set in a 1980s office block”In this project, we aimed to create a space that is considerate to both people and the environment by updating the charm of an old building and showing its new value in Tokyo, where there is a notably high rebuilding rate,” the studio told Dezeen.
    The practice was presented with a space that was dark and awkward, with a corridor running down the middle of a long, narrow floor.

    Flooat’s solution involved reducing the interior to a “skeleton” and eliminating the corridor to create a semi-open space for Mitsui & Co’s employees.
    Design studio Flooat used teak wood to line walls and floorsThe remaining walls were adjusted to a height and position that would not block any natural light.
    “The walls are constructed to match the architectural module, giving a sense of depth while dead-end flow lines have been eliminated so that the space can be viewed from various angles,” the studio said.
    “The result is a harmony of function and aesthetic with a clean, simple look.”
    The same timber was also used to clad the newly deepened window surroundsThe surrounds of the windows were deepened and lined with grainy matt-finish teak to bring warmth and character to the office while softening the direct sunlight.
    The same timber was also used to wrap around walls, floors, windows and doors.
    “To create harmony in the space, we selected trees with similar characteristics,” Flooat said. “Employees spend a lot of time in the office, so we aim to create a natural space that is as stress-free as possible.”
    Comfortable seating areas were created next to the windowsFlooat used partitions at various heights, alongside different floor levels and furniture heights to create dedicated areas for different modes of working.
    Sofas and low tables were installed close to windows, allowing visitors to sit and take in the outside world in a relaxed environment.
    Long communal tables provide space for focused work while another area serves as a lounge where Mitsui & Co’s staff can mingle with others in the building.
    “Instead of sitting in the same seat all the time, we have created an environment where people can move around, creating opportunities for communication and a natural flow of people in the office,” the studio said.

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    Different zones are demarcated via narrow tracts of gravel laid into troughs in the floor.
    “Borders are indicated in such a way as to give every area its own independence, evoking the pleasing features of a Japanese landscape garden with a tea house,” the studio said.
    “The pebble is a sign for switching spaces, a modern representation of the uniquely Japanese way of communicating signs.”
    Different floor levels and gravel beds help to delineate areasPlants with lush green foliage introduce a soft organic element to the space, providing a link to nature within the city.
    “We placed large plants on the symbolic tables where people tend to congregate,” the studio said.
    “We also considered the shadows created by the trees as an element of comfort. Organic, natural shapes also help to reduce tension and create a cosy atmosphere.”
    The natural grain of the wood serves a decorative functionA cavernous meeting room pod is set into one of the partition walls, enveloped in a grey textile surround that was chosen for its sound-absorbing qualities.
    “This gives the impression of a cave,” the studio said. “Once inside, the space gives a sense of security and allows people to concentrate on communication. It’s a place where you don’t have to worry about other people’s eyes and voices.”
    For the furniture, Flooat chose enduring design pieces that date back to before the building’s construction in 1983, in a bid to create a sense of timelessness.
    A meeting room pod is integrated into one of the partition walls”We wanted to revive the interior of an old building and choose furniture that would be appropriate for a place that will still be used in the future,” said Flooat.
    “We used furniture in the lounge space that was designed in the 1960s, for example, and is still being produced today.”
    Mitsui & Co’s office has been shortlisted in the small workplace interior category of this year’s Dezeen Awards.
    Also in the running is the office of digital artist Andrés Reisinger, with surreal details that nod to his otherworldly renderings, and the library of the Cricket Club of India, which is nestled amongst tree-like wooden columns.
    The photography is by Tomooki Kengaku.

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    Akio Isshiki Architects marries old and new with Japanese home and restaurant

    Japanese studio Akio Isshiki Architects has transformed an old wooden building into a warm-toned home and public restaurant named House in Hayashisaki Matsue Beach.

    Located on a coastal street in Akashi in southern Japan, the mixed-use space was built within a 50-year-old building for a local designer and features a curry restaurant as well as residential and working spaces.
    Designed to reflect traditional Japanese dwellings, the home and restaurant are contained within a wooden building that was previously dark and separated.
    House in Hayashisaki Matsue Beach was designed by Akio Isshiki ArchitectsDuring the renovation, Akio Isshiki Architects aimed to pair existing elements with modern features to reflect the mixed-use nature of the project.
    “The house was divided into small rooms, narrow and dark,” studio founder Akio Isshiki told Dezeen.

    “It was very old and damaged, but fortunately the carpenter had done a good job, there were no leaks, and the structure was solid.”
    It is located in AkashiAccessed from the roadside, a series of circular stones form a path that leads through the planted front garden and curves to extend along the front of the building, providing access to the ground-floor restaurant.
    Here, a stepped sheltered porch features external seating and is separated from the interior space by a wide sliding glass door set in a timber frame, which offers views into the garden and can be fully opened to connect the dining space to the outside.
    The structure contains a restaurant and a homeInside, the floor has been coated with dark tiles informed by the history of the area, which was formerly a large tile producer.
    “These tiles were handcrafted one by one by tile craftsmen in Awaji, with the image of lava stone pavements seen in cities in Central and South America superimposed on the texture and edge shape,” said the studio.
    It draws on traditional Japanese homesWooden furnishings, including bespoke D-shaped chairs designed by the studio and created by a local woodworker, are arranged throughout the dining space at the front of the building.
    “To ensure stability even on uneven floors, three legs are used as a base for the chairs, and the legs are made of a thick material so that they do not fit in the joints of the Kawara tiles,” said Isshiki.
    “I aimed for a primitive design with an unknown nationality, with as simple and crude a composition as possible.”

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    Separated from the main space by an earth-toned counter, the kitchen is tucked into one side of the dining room and features walls clad in wooden panels and white tiles, along with a lighting fixture formed from two circles that hangs in the street-facing window.
    A Japanese shoji screen at the end of the dining room is the first of a series of flexible partitions throughout the home that can be pulled out to provide separation between the spaces.
    The upper floor contains private residential space”Conscious of the tropics and nostalgia, we put nets that look like mosquito nets and sudare blinds on the shoji screens,” said the studio. “The graceful plans created by imperfect partitions such as shoji and fusuma are typical of ancient Japanese architecture.”
    “In this house, where cultures, nationalities, times, and various other things are combined, I thought it would be appropriate to have the spaces partially mixed so that they could feel the presence of each other, rather than being permanently partitioned in terms of usage,” it continued.
    Wood was used throughout the interiorBuilt on a raised timber platform, the rest of the ground floor holds private rooms for the client, which are divided by shoji screens, including a traditional Japanese room that opens onto a garden.
    A home office borders the dining space, where a central black ladder leads to the floor above, while a bedroom, bathroom and utility room branch from the other side of the corridor.
    The residential space has views of the seaUpstairs, the studio added an open arrangement of dining and living spaces with warm-toned surfaces including a red wall and dark wooden beams that interact with the home’s original rustic roof structure.
    “The wall on the second floor is a scraped wall mixed with red iron oxide and finished by a plasterer from Awaji,” said Isshiki. “This is an attempt to incorporate the colourful walls of each country into architecture in a Japanese context.”
    The home has an open-plan living arrangementOther Japanese homes recently featured on Dezeen include a Tokyo home spread across two stacked volumes and a concrete home supported by a single column on Japan’s Okinawa Island.
    The photography is by Yosuke Ohtake.

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    Klein Dytham Architecture gives Fender’s first flagship store a welcoming feel

    Klein Dytham Architecture has aimed to counter rock music snobbery with its design for guitar brand Fender’s Tokyo flagship store, which is meant to feel welcoming to people who might feel judged in other guitar stores.

    The Fender store sits across the bottom four floors of the glass-walled Ice Cubes building, a 12,000-square-metre space in the neighbourhood of Harajuku that was formerly home to an H&M store.
    It is the world’s first flagship store for the 77-year-old American brand, which is one of the most recognisable names in guitars and is particularly known for electric models like the Stratocaster.
    The Fender flagship store is located in Harajuku, TokyoFor the project, Fender asked Klein Dytham Architecture to create a space that would counter the perception of guitar stores as being intimidating, particularly for women and newer players.
    It hoped the store would offer a sophisticated and immersive retail experience that would encourage leisurely browsing and communicate the brand’s heritage.

    Klein Dytham Architecture answered the brief with a store design it sees as creating “a destination of discovery”, with gallery exhibits, an event space, a cafe and a “care bar” for repairs.
    The main browsing area on the first floor features display stands made of curved woodThe first floor houses the main browsing area, which features undulating wood benches and display units that are meant to echo the curves and materials of a Fender guitar. These contours are further mimicked in the lighting above.
    The area also has custom plectrum-shaped tables where staff can place guitars they have removed from the display to show customers. Clothing racks holding the F is for Fender streetwear collection sit among the guitars.
    The second floor, which was realised in a soft grey palette, is primarily an exhibition space called the Artists Gallery.
    The second floor is the main gallery spaceHere, large-scale photos and video shows famous musicians in action, each one alongside a transparent display case housing their Fender of choice.
    There are also displays dedicated to Japanese- and American-designed Fenders respectively, and a sound-proofed Amp Room where customers can test run guitars and amps.

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    On the darker and moodier third floor, another exhibition space — the Master Builders Gallery — focuses on the work of specific craftspeople, while two VIP rooms and a custom shop are furnished with comfortable couches and provide a setting for discussing bespoke builds.
    Also on this floor is a colourful display of 400 guitar finish samples that fills the length of one wall.
    The third floor includes the Fender custom shopThe final floor is the basement, which houses an event space, cafe and the Fender care bar, and where Klein Dytham Architecture endeavoured to create a cosier feel with a plectrum-shaped rug and benches.
    Tying the floors together is a spiral staircase with a hall-of-fame-style photo gallery on the interior, as well as a three-storey-high vertical LED display on the glass facade outside that will be used for Fender-related content.
    The basement includes an event space and a care bar”Conceived as a hub and clubhouse for all things Fender, this project takes the notion of a flagship store and experiential retail to beyond the next level,” Klein Dytham Architecture co-founder Mark Dytham told Dezeen.
    Dytham started the practice with fellow Royal College of Art graduate Astrid Klein in Tokyo in 1991. Some of their recent work includes the PokoPoko clubhouse for the Risonare Nasu hotel in rural Japan and a Cartier store with an intricate wooden facade in Osaka.
    Photography by Nacása & Partners.

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    Keiji Ashizawa designs “home-like” The Conran Shop in Hillside Terrace

    Designer Keiji Ashizawa has devised the interiors of The Conran Shop Daikanyama in Tokyo, which is located inside a building by architect Fumihiko Maki and spotlights products from Japan and Asia.

    The latest outpost from British retailer The Conran Shop is located in the modernist Hillside Terrace in Daikanyama, a quiet area close to the Tokyo city centre.
    The complex was designed by Pritzker Prize-winner Maki and constructed between 1967 and 1992.
    The Conran Shop Daikanyama was designed to resemble someone’s homeAshizawa aimed to take the existing architecture of the two-storey building into consideration when designing the interior of The Conran Shop.
    “Since the existing space had great potential, we knew that the work had to be put into elevating what was already there – thinking about the proportions of the space, the dry area and so on,” he told Dezeen.

    “Although it is inside a well-known architecture, there were elements where we thought we could bring change to the inside.”
    It features pieces by Japanese and Asian designersThese changes included turning one glass section into a solid wall.
    “Glass walls were used extensively as part of the architectural concept so that the store space could be viewed through the layers of glass,” Ashizawa said.
    “While building the store, we decided that there wouldn’t be a problem in making a section of the glass wall become a solid wall, considering its serenity as a space and its relationship with the street.”
    A mezzanine showcases a sofa and other living room furnitureThe designer created the 200-square-metre store to look like someone’s home, in a nod to the peaceful nature of the surrounding area. It features a large atrium on the ground floor, connecting it to an adjoining courtyard.
    “Daikanyama is a very calm neighbourhood in Tokyo, where we wished to design a store where people could feel relaxed and away from the stimulation of the city,” Ashizawa said.
    “We intended to create a space for people to stay for a long period of time and feel the space.”
    The store is located in the iconic Hillside Terrace complexThe interior design was also based on The Conran Shop’s three keywords – plain, simple and useful – CEO of The Conran Shop Japan Shinichiro Nakahara told Dezeen.
    The store’s product selection also places a special focus on Japanese and Asian design.
    “Specifically for The Conran Shop Daikanyama, the selections were focused on objects from Asia, including Japan,” Nakahara said.

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    “The process of [founder] Terence [Conran] travelling around the world, finding and buying items in each place by himself, has not changed,” he added. “Many of the objects selected by the Conran team in Japan have a sense of craftsmanship.”
    “We created the space by imagining a situation in which such objects would be displayed alongside each other. For example, the details of the objects are reflected in the interior design.”
    It features a staircase with a handrail made from black paper cordsThe interior uses materials that are common in Japan including concrete, steel, wood, plaster, Japanese stone and paper.
    “The use of Japanese paper in interior design is an element that is distinctively Japanese,” Ashizawa explained.
    “Shoji screens are an important element in creating a Japanese-style room but I realize that they can also be well used in both functional and aesthetic ways in a modern space.”
    Concrete walls and shoji screens were used for the interiorThe studio also used Japanese paper that had been dyed in a grey hue as wallpaper to give the space a “soft and contemporary feel.”
    “Since we weren’t building an actual house but rather a home-like Conran store, the materials were thoughtfully instrumented to achieve a balance,” Ashizawa said.
    The ground floor of the store holds furniture, homeware and apparel, and also has a mezzanine floor that is accessible by a staircase featuring a handrail made from black paper cords.
    A gallery-like space is located on the basement floorAshizawa designed the basement floor, which functions both as an additional shopping area and a gallery space, to have a calmer atmosphere.
    “Filled with natural light, the ground floor uses colours that bring grandeur and a sense of calmness,” he said.
    “The basement floor is toned to create a more private feeling. We respected the natural colours of the materials as much as possible, while also considering the harmony with the objects on display and in the gallery.”
    The store has a neutral colour palette and wooden detailsThe Conran Shop Daikanyama also has an adjoining bar where visitors can enjoy teas such as sencha and macha.
    Ashizawa has previously worked on a number of other projects in Tokyo, including the Bellustar Tokyo “hotel in the sky” and the Hiroo Residence.

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    André Fu designs colourful Casetify shop in Japan informed by shoji lanterns

    Hong Kong-based architect and interior designer André Fu has completed the first global flagship store for electronic accessory brand Casetify in Osaka, combining traditional Japanese shoji paper lanterns with bright colours.

    The store, which marks the first retail project by Fu in Japan, was informed by the urban landscape of the Shinsaibashi neighbourhood in Osaka where the store is located.
    The store is located in Shinsaibashi, the main shopping area in OsakaAccording to Fu, the interiors aim to bring “the allure of the dynamic Shinsaibashi neighbourhood into the store”.
    “The overall concept is rooted in a vision to celebrate the distinct context of the project with contrasting shapes and forms, capturing the neighbourhood’s cinematic streetscape in a world where bold geometries juxtapose against each other,” said Fu.
    Curved shoji screens form the product display wallThe storefront was designed as a floor-to-ceiling shoji lantern framed in bright orange. Customers are greeted by a round display table encircled by cylindrical shoji screens, with the same circular arrangement mirrored at the back of the store and its upper floor.

    At the centre of the Casetify store sit cabinets that have been decorated with old phone cases, donated by customers in the recycling box located next to them.
    A secret shoji window at the rear of the ground floor can be slid open to unveil customised online purchases.

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    “A lot of my work is rooted in the idea of a journey that takes the contextual quality of each project into an architectural medium,” Fu explained.
    “The world of shoji lanterns that goes around you, that folds and unfolds, creates that effect,” he added.
    “It transports you from the everyday reality of the neighbourhood to an imaginary, illusionistic expression that blends a relaxed sense of luxury with the popping Casetify colours that the brand is so well known for.”
    Cabinets are covered with materials made from recycled phone casesFu is known for his work on luxury hotels and restaurants, including the Upper House hotel in Hong Kong, the Berkeley London, and the Mitsui hotel in Kyoto.
    More recently, he created a two-person “conversation” chair in collaboration with Louis Vuitton’s Objects Nomades, and furnished a model apartment inside the Jean Nouvel tower in New York with his homeware collection.
    The photography is courtesy of Casetify.

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