In contemporary Japan, is it not possible to create architecture based on the same way of thinking? Can we not build architecture that uses wood, ensures proper cycles of use and renewal, and is mindful of the environment?
Creating architecture is clearly different from creating interior design.
Though I see many buildings every day, surprisingly few leave a lasting impression.
A design that blends naturally yet remains symbolic, harmonizing while maintaining a distinct presence.
Because of the time we are living in, I found myself drawn to use wood as a structural element in architecture.
It’s not about size. I want to create something compact yet with a large sense of scale.
Yokohama may need a design that carries the scent of a creative, mature energy.
The timber used is divided into the structural framework and the outer “skin,” allowing the interior to be protected over time by renewing the skin as needed.
A design that blends harmoniously with nature, yet stands as a symbolic presence. We aimed to create a form that embodies the coexistence of nature and architecture as equals.
We hope to add a new layer of character to Yokohama’s diverse cityscape by bringing a new perspective to Rinko Park.
New construction is like composing an original song. Rebirth, on the other hand, is an arrangement that is honoring the original melody while drastically transforming its tone and rhythm.
Warmth should be visually present, unconventional furniture selections should add character, and hidden moments of humor should be subtly woven into the space; perhaps unnoticed by most, but felt nonetheless.
Colors are never used in their rawest form: pure pink will never be just pink, and primary blue will never remain primary blue. The goal is to transport people into a world where colors are undefined.
Even when it feels like a hassle, we meticulously craft every single detail. Simply put, it’s all about being persistent—really, persistently obsessive in the best way.
Craftsmanship should be embedded in the details. When you can visualize the hands that created something, it naturally conveys a sense of depth and atmosphere.
Designing a space is like choosing an outfit. Once the key element, the “iconic sweater” of the ensemble is decided, everything else follows naturally.
When an old hot spring inn is remodeled into something sleek and contemporary, it can leave you with the sense that something precious has been lost. Some things are worth preserving. The real challenge is how to evolve them in a way that resonates with our times.
Rather than attempting a half-hearted take on a futuristic aesthetic, designs rooted in long-standing traditions tend to remain relevant in the future.
In the past, architecture was a form of craftsmanship which was a collective effort between engineers and sculptors.
The future envisioned by previous generations often feels disconnected from where we are now. Re-examining those gaps and engaging with them seriously may be the starting point for today’s design.
While photographing my furniture designs, placing them in surprising contexts, like the coast, offers a more dynamic and compelling atmosphere than traditional domestic settings.
≪Pointillisme≫
To keep the focus on the radiating spheres, I chose to arrange the furniture around them instead of interrupting the visual flow.
≪Pointillisme≫
At events such as the Salone del Mobile, I want to foster a sense of it being a ‘celebration,’ steering clear of an overly commercial mindset.
≪Pointillisme≫
Rather than passively accepting coordinated designs, I think it’s worthwhile to delve into the process of selecting captivating elements in a more liberated manner.
≪Pointillisme≫
I tackled this project from a somewhat unconventional angle, yet I often find myself contemplating how this has always been a part of my creative process.
≪Pointillisme≫
Initially, I had the idea of placing furniture atop clusters of pampas grass, reminiscent of the Senjōgahara marshland, located in Nikko. In the end, the final concept turned out entirely different, with none of those original elements remaining.
≪Pointillisme≫
If you were to ask me why I pursued this, my honest answer would be, ‘Because it’s engaging.’
≪Pointillisme≫
The design of sofas and chairs is fundamentally different. Designing a sofa is akin to making “clothing,” while designing a chair is more similar to creating a “sculpture.”
I consider how to design a form that remains aesthetically pleasing when of course sitting normally on, even when someone sits with their body facing the backrest of the chair.
As time goes on, the emergence of new designs becomes increasingly difficult. Still, I want to hold on to the belief that “there’s still something new to create.”
Since people come in various heights and body types, there is no single product design that fits everyone. Design must consider the majority.
For example, the Greek letter Σ (Sigma) cannot be included among the 26 letters of the alphabet, as it resembles the letter E too closely in design.
Hans J. Wegner designed over 500 chairs during his 92-year life, but only two or three can be truly called blueprints. The creation of a chair blueprint is thus an extremely rare achievement.
Creating new letters like A’, B’, and C’ within the established 26 letters of the alphabet is relatively easy. However, designing a chair’s blueprint is more challenging, akin to creating a new alphabet.
Furniture works with space. When furniture is designed properly, everything is connected and does not float in the space.
Simply dropping furniture into a space can sometimes be a boring approach. I want to create something that brings variety to the space, changing how it’s used and the atmosphere.
There is a lot of modern and simple stuff out there, but I want to incorporate something. I don’t want to simply express one genre.
We create with craftsmen who can respond to even the most difficult orders. Designers have the aspect of nurturing craftsmen.
When people see something beautiful or are moved by something, they unconsciously want to point their camera at it and capture themselves in it. This behavior evokes positive emotions.
≪Pointillisme≫
Elegant and cozy at the same time. The “play of contradictions” in which two different elements coexist is one of his specialties in design expression.
≪Pointillisme≫
(日本語) 20代〜30代の頃に初めて体感したミラノサローネは、華やかでお祭りだった。華を添える、人がワクワクする、遠くから見ても面白いものを作りたいという想いは昔からあった。
≪Pointillisme≫
Furniture exists only when there is a space and people in it. We wanted to show the interest of the space by using the entire space, not just the furniture.
≪Pointillisme≫
We experimented with how light interacts with models and materials to understand how it will appear in the actual space.
«CONVERSATIONS VIRTUOSES 2»
We made use of materials that are usually not applied in spatial designs. For example, the material we used to achieve the soft, wave-like curves of the wall was a cushioning fabric commonly used in conveyor belts.
«CONVERSATIONS VIRTUOSES 2»
In architectural and interior design projects, as one gains experience, there tends to be a predetermined form that develops, leading to a certain degree of design formalization. I want to ensure that I don’t lose sight of the joy in discovering new ideas in a blank state, detached from any set framework.
«CONVERSATIONS VIRTUOSES 2»
Creating something innovative within constraints like budget, time, and a defined space is extremely challenging. Designing architecture and spaces feels less like a creative explosion akin to Taro Okamoto and more like threading a needle through the single point where everyone agrees.
«CONVERSATIONS VIRTUOSES 2»
Unlike permanent architecture, designing a temporary space offers the advantage of bold experimentation due to its transient nature.
«CONVERSATIONS VIRTUOSES 2»
I believe the beauty of each side ultimately merges into one.
«CONVERSATIONS VIRTUOSES 2»
I wonder if we can discover a commonality between the “complex beauty” that is created through additions and the “minimal beauty” that emerges through minimization.
«CONVERSATIONS VIRTUOSES 2»
Hardness and softness, warmth and coldness, the public and the personal spaces. Contemporary art displayed within historical architecture, and the explosive creativity that arises within various constraints. By observing things in relation to one another, we can uncover both timeless values and innovative ones that challenge traditional boundaries.
«CONVERSATIONS VIRTUOSES 2»
Designing the environment and designing interior spaces are different in scale but are connected in subtle ways.
In architecture, there are people who visit intentionally and those who just pass by. Both should be considered and adjusted for.
There’s always a conflict between wanting things to stay the same and the need to create something new.
Things are often divided into conservative or innovative, but where is the dividing line, and is it always just these two options? This is something I find fascinating.
I want to create architecture that doesn’t rely on tenants, like a rebellion of the underdog.
Commercial facilities in every city tend to look alike, leading to a loss of individuality and nostalgic remarks of the past.
I want to prevent the homogenization of cities that is happening everywhere.
I often find myself wanting things to remain as they are, which gives me the courage to take bold actions.
Just as some excel at playing instruments but struggle with composing, mere knowledge and practice aren’t enough for creation—where creativity is precious.
At times, it’s better to embrace simplicity rather than to create something that doesn’t quite feel right intuitively.
“Please design the space from just one chair” — such a request would be incredibly fascinating. Like creating a movie from a single melody.
Drawing inspiration from products to envision space. Drawing inspiration from space to envision products. Creativity flows both ways.
When designing a space and one is unable to find suitable furniture despite searching everywhere, there comes a moment of “let’s make it ourselves,” leading to designing furniture myself.
For example, when considering a chair, the curve of the armrest angle can determine the entire design. Sometimes the design is completed by a single detail, while other times the design starts from the overall shape and goes into detail.
There are many stores that lack symbolic spaces, neglecting their significance. Like humans, spaces too possess hidden identities.
Designing the “interior” while utilizing furnitures to adorn the space is akin to preparing a “dish” you like in your favorite bowl and serving it with your preferred presentation.
When building a structure, there are always moments when I am afraid of criticism. It’s a job that requires overcoming fear with conviction and turning it into confidence, while combining it with a bit of a mad sense.
There have been times when I wanted to create something eye-catching, driven by my own desires.
I cannot design when the number of people per square meter is strictly determined as a coefficient. If I cannot enjoy designing it, I have no choice but to decline.
There are times when I admire my past bold architectural projects, which I normally do not do.
Originally, Japanese offices were often like “chicken coops,” with desks and people lined up. However, if you want good eggs, not just a quantity of eggs, a spacious environment is better. Therefore, the darker the original space, the more a brighter space stands out, making office design easier to contrast than luxury hotels or restaurants.
While 99% of people desire to work in good spaces, I wonder if the 1% who disregard space as a waste of management resources are neglecting the environment.
小さな空間ほど細かい注文が多いものだ。空間が広くなればなるほど人はディテールを想像することが難しくなる。よって、デザインの自由度が上がる。
どれだけ高級な素材を使っても、どこかにハンドメイド感を入れていく。緊張をほぐすために、僕がよくやる方法だ。
慣れ親しんだ場所と空間のデザインに大きな差がある時、人は入った瞬間に緊張するものだと思う。
The overall vision can shape the details, and other times the details emerge from the whole. In my case, it is more often the latter.
Inside me, there is both a logical thinker and a creative intuition, each appearing when needed.
Authenticity should be innate and effortless, seeping into every space without deliberate effort. Thus, any space inevitably reflects my unique touch.
Memories can be vivid. Memories tend to be idealized. When renovating old buildings, it’s crucial to anticipate and exceed these memories.
An open and spacious environment does not necessarily lead to comfort. Manipulating walls cleverly creates rhythm and depth in the space.
For example, just because someone loves the sea doesn’t mean that designing a house where the sea is visible from every place every day is a success. Sometimes, taking an approach where the sea is only visible from a certain standpoint.
No matter how wonderful furniture is gathered from around the world in a spacious area, simply arranging them would just create a showroom.
Spaces even change the way people laugh and the expressions they make in photographs.
Architecture relies on technology, but it all starts with thinking through one’s hands.
It seems that budgets are being cut, resulting in more spaces that feel like extensions of homes or offices, and fewer spaces that leave a vivid impression. I want to create an exhilarating feeling, like when you first dined at a restaurant you’d always admired when you were young.
In business, the goal is often to increase foot traffic, but sometimes, designing to deliberately restrain foot traffic can be effective.
If I can’t find materials I like, I would create them from scratch. That’s also the reason why I design products such as furnitures.
What’s the difference between Disneyland and Universal Studios Japan? Thinking about this can sometimes be a hint.
When creating a space, start from the entrance. It’s possible to set the tone of the entire space with just one doorknob.
Just one material can drastically change the expression. Even with just the combination of materials, it’s feasible to eloquently express the space.
When creating a space, think of it like writing a script and imagining people. However, do not set the ending. Because I want to leave room for people to create their stories freely.
I want to create a space that revolves around “people”. There are too many spaces that are “buildings for buildings”, “designs for designs”.
Creating moments where personal zones overlap, is something I do whether it’d be intuitively or deliberately.
by Wolfgang Zwiener TEPPAN
Distance can be perceived differently among people when they are standing versus when they are sitting.
by Wolfgang Zwiener TEPPAN
The distance between each table and each chair are extremely important. When there is too much distance between objects in a space, it can actually make people feel less invited and open-minded. Therefore, the balance is crucial.
by Wolfgang Zwiener TEPPAN
No matter how luxurious the setting, I don’t want it to feel too imposing or exclusive. In every project, I aim to create a welcoming and approachable atmosphere.
by Wolfgang Zwiener TEPPAN
Maintaining high air clarity contributes to comfort, making technical air management design essential. Therefore, seamlessly integrating large air management systems into the design is crucial.
by Wolfgang Zwiener TEPPAN
My favorite spot in the restaurant is where I can overlook people enjoying their meals. There is no specific view but it’s my favorite spot.
by Wolfgang Zwiener TEPPAN
Typically, high-end private rooms are designed with windows that offer nice views, but I avoided this convention, rethinking the balance of the entire space.
by Wolfgang Zwiener TEPPAN
While there are moments where I apply common logic to the design, there are also times where the final design is inspired by just a word.
by Wolfgang Zwiener TEPPAN
While wanting to incorporate Japanese elements, I avoided direct expressions like Japanese gardens or traditional dry landscapes. Instead, I based my approach on the underlying philosophy rather than appearances.
by Wolfgang Zwiener TEPPAN
Architects are not researchers. While having some information is necessary, inspiration should be prioritized over extensive research. Creative expression does not only come from historical knowledge.
In Japan, building renewals often boil down to a choice between demolition or preservation.
Architecture has its own progression, much like a musical composition. It evolves with the times.
Changing your hairstyle dramatically and having it look so good that people can’t remember your old look is the kind of seamless transformation I aimed for. You could also say that memories are refreshed or updated. I want to create that sensation.
I strive to make bold changes that blend seamlessly into the existing structure.
The term “modern” can sometimes hinder the appreciation of classical elements. Many people struggle with expressing classical design due to this overshadowing concept.
