Text description provided by the architects. Nestled on the seventh floor of a 1970s building in Takaido, Tokyo, an ordinary 3LDK apartment underwent a renovation designed by Roovice while guided by the creative vision of the owners, David Buchler and Koichi Tanabe. Upon our first contact, David and Koichi had already started their renovation journey while living in the apartment, driven by a clear vision of their dream home. With three balconies and abundant natural light, they envisioned an open, airy environment that maximized the apartment’s potential. Their love for the color blue set the tone for the design, with striking blue PVC tiles flooring leading the way from the entrance into the kitchen and dining area.
One of the pivotal decisions in the renovation process was relocating the kitchen to its original position. Opting for a stainless steel IKEA kitchen unit with a clean, minimalist design, David envisioned a sleek, hospital-like aesthetic that complemented the overall theme. The desire for openness led to the removal of walls and ceiling boards, creating a seamless flow between the living spaces.
Innovative lighting solutions played a key role in enhancing the apartment’s ambiance, with exposed downlights lending a contemporary flair to the entrance, bathroom, and laundry area. A duct rail system was installed in the living area to allow for flexible positioning of lights, adapting to the residents’ changing needs.
Despite the initial desire for a concrete floor, sound regulations necessitated a creative solution. Cationic mortar was employed to create a concrete-like finish in the living area, seamlessly blending with the blue PVC tiles in the kitchen while ensuring compliance with building standards. A subtle brass strip delineated the transition between the blue PVC tiles and the mortar floor, adding a touch of elegance to the raw aesthetic.
The introduction of a storage pod, accessible from both the kitchen and bedroom sides, offered a versatile solution for space delineation while maintaining an open feel. On the bedroom side the pod stays open and can be covered by a curtain installed on a rail that also delineates the sleeping area for added privacy.
To maximize space efficiency, the toilet and bathroom were merged to create a separate laundry area. In the bathroom, functionality met style with the installation of a shower and bath unit, seamlessly integrating modern conveniences into the raw space. The walls are painted in an eye-catching Eraser Pink, which perfectly contrasts the damaged wall around the entrance. As a smooth final touch, a sliding galvanized steel door has been installed.
The lowered area of the Japanese style entrance was enlarged to create a more inviting and practical entryway, exposing the concrete floor that was underneath. By enhancing the existing features while embracing modern aesthetics, we have helped David and Koichi to create the base for a harmonious living space that reflects their unique personalities and lifestyles.
Yuko Nagayama & Associates designed the façade of Tokyu Kabukicho Tower – Over 4000 glass panels were printed on the surface to represent the fountain that was once there. This super high-rise building in Tokyo’s Kabukicho district, near Shinjuku Station, spans five basement floors and 48 stories aboveground and has a total floor area of approximately 87,400m2. The largest entertainment complex in Japan, the building contains a cinema, a theater, a live venue, and a host of other functions. We worked on the building’s exterior design and part of the interior design.
Kabukicho is one of the world’s most bustling nightlife districts. In an effort to lift the spirits of the city’s inhabitants in the wake of World War II, a plan was conceived in the private sector to build an entertainment district where people could enjoy themselves and unwind. Subsequently, the area was chosen as the venue for a cultural exposition. After the exposition, the site was converted into an entertainment district, and Kabukicho was born—a rare example of a private-sector initiative in Japan’s postwar reconstruction planning.
After considering what type of skyscraper would be appropriate given Kabukicho’s historical background, we decided the design should not express authority or power, as is common with traditional skyscrapers. As the plaza in front of the building once contained a fountain, we opted to incorporate this element into the design as a symbolic tribute to the vitality and energy that emanates from the people in Kabukicho. Fountains are formless; without momentum from below, the fountain disappears. This ephemeral, wavering form has become a new symbol of the Kabukicho district.
The building’s upper façade is made of glass, with ceramic-dot patterns printed on the surface representing the spray of the fountain. Below these, meticulously detailed ceramic-printed wave patterns adorn the glass surface, while arches drawn along the window perimeters using gradient shading express the motion of spouting water. Whether viewed from up close or afar, the design creates an impression that corresponds to the scale. The lower part of the façade is made of cast aluminum; its lace-like pattern also incorporates traditional Japanese waveform motifs to create a translucent exterior.
Our work on the building’s interior design includes the first-floor passageway, the entrance, the first-floor lounge of the Bellustar Tokyo Hotel, and the foyer and bar of the Theater Milano-Za, which occupies the sixth through ninth floors. The passageway ceiling is designed to resemble undulating waves, and the lounge windows give the impression of water flowing through chain-link fencing. The walls of the theater foyer are made of tubular pieces of aluminum; here also, the design evokes the image of a fountain, creating an environment that provides theatergoers with an escape from the mundane. The interior design also encompasses artwork produced in collaboration with various artists; decorative objects in the lounge, paintings and photos on the walls, and original works on the foyer floor bring the space to life.
We hope that this new symbol of Kabukicho—its ethereal form at times seeming to dissolve phantom-like into the clouds—will ensure the enduring spirit of the district lives on into the future.
Pelli Clarke & Partners has just completed the Mori JP Tower, now standing as Japan’s tallest building. Situated in the recently revitalized Azabudai Hills district, the tower emerges at the center of this development. Establishing a new focal point for Tokyo’s skyline, the building soars 330 meters at the heart of this dynamic new mixed-use district in the city center.
+ 19
Created in collaboration with leading Japanese developer Mori Building, Pelli Clarke & Partners designed the urban layout and architectural vision for the 8.1-hectare Azabudai Hills. The design includes a comprehensive master plan and the construction of three high-rise towers. Planned as a contemporary urban district, Azabudai Hills integrates residential, commercial, and hospitality spaces within its trio of high-rise structures, along with green areas, art venues, culinary establishments, educational facilities, retail outlets, and cultural hubs. In fact, the development is expected to attract nearly 30 million visitors annually, symbolizing a forward-looking perspective on Tokyo’s urban revitalization.
The top 11 floors of the Mori JP Tower have been designated as Aman Residences, Tokyo, under the hospitality company Aman. Adjacent to the tower, two additional mixed-use buildings complement the surrounding landscape. The tower’s “Residence A” rises 53 floors, housing 32- residential units in addition to Aman’s flagship 122-key luxury hotel, which is scheduled to open this month. Meanwhile, “Residence B,” which features 64 floors, offers 970 residential units.
Related Article
Zaha Hadid Architects Renovates Monaco’s Le Schuylkill Tower
At the base of each tower is a “modern urban village” modeled after the local geology and acting as a focal point with native plants and water features. Japan’s Sou Fujimoto Architects designed the shop area, while the UK-based Heatherwick Studio created the lower-level architecture and public areas.
Azabudai Hills aims to blend urban living with natural aspects while maintaining a commitment to environmental conservation and community well-being. Ground-level features include a variety of parks, retail stores, market halls, pedestrian pathways, and public spaces that promote accessibility and connectedness across the neighborhood. In fact, a third of the property comprises green spaces, such as a large lawn used for social events that boast over 320 different plant species, including an urban orchard.
Azabudai Hills seeks to be a model of sustainability; as part of its commitment to the global RE100 project, all of its energy comes from renewable, zero-emission sources. Through the exclusive Energy Web System of Mori Building, tenants may track where their energy comes from, guaranteeing transparency. By utilizing technologies like sewage heat recovery, the development reduces CO2 emissions by about 70 tonnes per year throughout the district.
The entire property features rainwater harvesting equipment, and the collected rainwater is used for irrigation. In fact, water-saving fixtures help achieve a forty percent reduction in water consumption over the LEED norm, and wastewater from residential apartments is also treated and recycled in workplace floor toilets. To assure structural safety throughout Japan’s earthquake season, Azabudai Hills has included seismic-responsive design features across all three buildings. In the neighborhood development category, the development received preliminary Platinum LEED certification. Additionally, the Mori JP Tower is on track to become the first skyscraper in the world to receive accreditation for WELL, LEED ND, and LEED BD+C (CS).
In other similar news, The Guangxi China Resources Tower has recently received the distinguished “Tall Building Award” from the Council on Tall Buildings and Urban Habitat. In New York, BIG’s One High Line development nears completion, featuring two twisting towers that share the Hudson River skyline. Finally, construction on the Jeddah Tower in Saudi Arabia has recently restarted after a five-year hiatus. The tower is set to become the world’s tallest skyscraper, beating the UAE’s Burj Khalifa.
Continuing his work exploring the office spaces of architecture studios from around the world, Archmospheres photographer Marc Goodwin has reached Japan, where he captured the workspace of architecture studios such as Kengo Kuma & Associates, Tato Architects, Akihisa Hirata, and Nori Architects. Collaborating with Marc Goodwin, architect, and writer Samuel Michaëlsson traveled to Japan in the autumn of 2019 to interview the participants, resulting in a series of videos that further developed the exploration.
The photographs reveal snippets of everyday life in these studios. While not all of the buildings were designed by their occupying architecture studios, each office has added a personal touch to their space, aligning them with their internal culture and traditions. One such example is Tato Architects, for whom the kitchen has become an important gathering space, as they take turns preparing lunch for each other and eating together is a significant part of their office story.
+ 36
Read on to discover architecture offices in Japan through the lens of Marc Goodwin.
Related Article
Explore Architecture Studios from Around the World Through the Lens of Marc Goodwin
YANMAR TOKYO—A corporate brand sets sail toward the world – The reconstruction plan for the Yanmar Tokyo office on the east side of Tokyo Station, one of Japan’s most iconic train terminals. Yaesu, the business district to the east of the station, was a center for logistics by canal in the Edo era. Today, it has become a popular district with some of the best development potential in the country, with several major redevelopment projects taking root. The building bridges Tokyo Station and the Yaesu area and acts as a branding hub for Yanmar, a company that develops technology for “food production” and “energy conversion” worldwide. Its exterior and interior environment are designed to make it a suitable face for the company in this station-front location.
A ship-like building “sets sail” toward the world –The street-facing façade toward Tokyo Station is clad in pipe louvers. On the ground level and below, the façade’s form mimics the bow of a ship and, above, a sail. We aimed for a strong form that prioritizes purity, symbolism, and autonomy, with an awareness of the axis between the site and the adjacent intersection. The design was made possible by the corner condition of the site and spoke to both the situation of the building and the client company. Inspired by Yaseu’s history as the location of the former canal beneath the Edo Castle, as well as Yanmar’s work in the maritime field, this iconic ship-like design makes a statement toward the world.
Public space as a branding hub –On the south exterior wall is a large-scale pipe louver greening system covering approximately 800 m2. The greenery can be perceived from anywhere in the common areas of the office floor, such as the elevator hall, restrooms, and refreshment corners. The green wall can also be seen from the neighboring building to the south and provides a natural environment within the city.
In the three-story atrium on the lower level, louvered greenery is grown using hydroponics. Circadian LED lighting serves both as a plant-growing device and as a spatial effect for the entire atrium and changes color temperature from moment to moment throughout the day. This is a biophilic public space, rare in the vicinity of Tokyo Station, where anyone can come and go freely and where those on the go might want to stop and linger. The green atrium space, together with the large-scale greening of the exterior walls, is an expression of Yanmar’s work with the earth. Natural materials in the finishes, such as wood flooring and louvers on the ceiling, also represent this element.
The building also features spaces born from Yanmar’s recognition of the great importance of rice farming in Japan. On the first floor is a gallery, and on the second floor is a restaurant that highlights rice and agriculture. The atrium creates a continuous bustling atmosphere from the basement to the second floor, and the space itself serves as a piece of content that communicates the Yanmar brand. The entrance and elevator hall on the B1 floor offer a view of this atrium space, where the various activities and light effects can be felt by employees as they enter and leave the office over time. This public space is a major feature in the approach of this building and sets the standard for office buildings in front of Tokyo Station.
A living showroom for an environmentally conscious company – Energy-saving and high-efficiency Yanmar products are used in the equipment of this building, making it a living showroom for customers. A variety of Yanmar products are incorporated—including a cogeneration system using gas engine generators and a radiant heating and cooling system using high-efficiency gas heat pump air conditioners—to achieve high BCP and environmental performance. In addition, the building incorporates the latest technologies for disaster prevention, environment, and living comfort, such as a mid-story seismic isolation structure for the office floors, a public plaza on the B1 floor to provide a temporary evacuation site for people who cannot return home, wall solar panels, wind power generation, and a natural ventilation system that uses radiation in combination with a perforated panel ceiling.
Text description provided by the architects. This is a project to renovate a room in an apartment building with balconies on the north and south sides. In this renovation project, which could not exceed a predetermined size, we attempted to create a space with a false sense of space that would make people perceive an expanse greater than the actual space.
Plane composition. To fill the space with light from the balcony and allow the line of sight to pass through the balcony, a large hall was created connecting the north and south balconies. The bedrooms, bathrooms, and other various rooms are arranged so that they are nestled in the hall, clearly establishing a master-slave relationship between the functions of each room. The large hall is a tunnel-like space, lined with cherry-red walls sampled from the exterior walls.
Cherry-gray wall surface. Each of the cherry-red walls lies about its own role. They are not only walls, but also fixtures, wall decorations, and furniture. In short, a single component has multiple roles, but since they are all composed of the same details, finishes, and modules, it is sometimes difficult to tell which is a wall and which is a fixture. Once you recognize that this wall is also a fixture, you will imagine that the space extends beyond the mere wall that is not a fixture. Or, if we recognize it as a piece of furniture, we feel that even a mere wall is somehow intimate. Of course, when perceived as a wall, the large hall is completed as a tunnel, and the fact that it is a fixture or a piece of furniture disappears from consciousness.
In addition, the module of one wall surface is set at W600mm, H1850mm, which is one size smaller than a typical door, and this gradually disturbs the sense of scale. The use of long linoleum instead of flooring or tiles for the floor was also chosen to eliminate clues to explore the scale.
Fictitious ceiling surface. The area above the wall surface of the entire hall, which is over 1850mm high, is painted in gray, and the height of 1850mm from the floor is set as the “imaginary ceiling surface”. By visually lowering the ceiling, the aspect ratio of the perceived space is crushed horizontally to 16:9, further emphasizing the lateral expansion of the space.
Furniture that moves. Furniture that moves freely changes its location from time to time and does not allow us to determine a specific position. Sometimes they serve as backgrounds, and sometimes as protagonists in a cut-out space, transforming a familiar space into an unfamiliar one. Scattered little lies transform a familiar room into an alien existence. This room, with its slight eeriness and discomfort in the midst of everyday life, is perceived as more expansive than reality.
In the realm of glamour and style, contemporary hairstylists stand as indispensable architects of beauty. Hollywood entrusts these maestros to conjure enchanting styles, giving polished perfection balanced with that effortless “I woke up like this” grace, time and time again. From high-fashion magazine spreads, ad campaigns, red carpets, movies and beyond, their artistry transcends traditional boundaries, elevating locks to the status of captivating masterpieces that epitomize hairstyling excellence. These are the skilled artisans that make up this year’s Faby Awards Hairstylist of the Year nominees:
Its not every day the Drake name drops a top celebrity hairstylist in his latest hit single – or any rapper for that matter! That’s only one reason why we know that Arrogant Tae is the real deal when it comes to hair styling. Known for his seamless wig installs, it’s no wonder that Tae boasts Nicki Minaj, LaLa Anthony, Dream Doll and more as some of his regulars.
Photo: IG/Reproduction
With previous Faby Awards wins already under his belt, this mane slayer is back, back, back again for another round!
Photo: IG/Reproduction
Our next nominee is a two time Emmy award and three time Guild award winning hairstylist to the stars. More commonly known under his Instagram handle @hair4kicks, Ray Christopher has been in the game for more than 14 years and has coiffed the likes of daytime talk show host Adrienne from “The Real”, Lori Harvey and Tiffany Haddish as well as Letoya Luckett, Mindy Kaling and the list goes on!
Photo: IG/Reproduction
Household names such as Prince, Celine Dion and Mariah Carey are just a handful of the legends that have sat in his chair.
Photo: IG/Reproduction
Having served as Beyoncé’s hairstylist for an extensive period, Neal Farinah has breathed life into numerous hairstyles for the iconic Queen Bey, spanning tours, albums, and various eras, culminating in this year’s Renaissance rebirth. Farinah’s expertise extends beyond Beyoncé, as he has showcased his skills on notable figures such as Nicki Minaj, Solange Knowles, Tina Knowles, Uzo Aduba, and Mary J. Blige. His impact reverberates through the industry, leaving an indelible mark on each canvas he touches.
Photo: IG/Reproduction
Whether delving into hair care or executing flawless sew-in installs, Neal Farinah emerges as a versatile stylist who excels across the spectrum of hairstyling.
Photo: IG/Reproduction
Atlanta’s very own Kellon Deryck is the creative force behind the Flawless Illusion brand. He’s also the one masterfully working his magic on the ever-stylish Megan Thee Stallion as an integral member of her glam team for red carpets, performances and more.
Photo: IG/Reproduction
Beyond Megan Thee Stallion, Deryck boasts an impressive clientele, including the likes of City Girls and the legendary Missy Elliott. Regardless of the chosen style, Kellon Deryck consistently delivers a blend of artistry and magic, ensuring each client is prepared to command attention with his undeniable touch.
Photo: IG/Reproduction
When you’ve been “Tossed by Tym”, you know Tym Wallace was present and greatness was made. From “go big or go home” natural styles to waves full of body, Tym Wallace always makes sure his clients are “the” moment wherever they go.
Photo: IG/Reproduction
His patrons include leading ladies such as MJ Rodriguez, Taraji P. Henson, Mary J. Blige, and Brandy to name a few.
Photo: IG/Reproduction
In 2021, Tokyo Stylez was crowned the Faby Awards Hairstylist of the year for all the looks she helped bring to life on our favorite celebrities. After gaining massive popularity through Cardi B as her main hairstylist, Tokyo has gone on to work the manes of Victoria Monet, Flo Milli, Coi Leray, Kylie Jenner, GloRilla and so many more.
Photo: IG/Reproduction
Tokyo an OG in the industry, and she’s known to make any hair concept, no matter how long, colorful, complex or out of this world, happen!
Photo: IG/Reproduction
Sean Christopher Fears is making a name for himself in the Hollywood hair game. With a tender 6 years in the industry, this New York native has already amassed high profile attention for his undeniable gift in hairstyling. Some of the names he’s worked with include Cardi B, Kendall Jenner, Lil Kim, Alicia Keys, Tokyo Stylez, Rihanna, Gigi Hadid, Bella Hadid, Ashley Graham and more!
Photo: IG/Reproduction
Sean has even contributed to Fashion Bomb Daily exclusive editorials. His gift knows no bounds!
Photo: IG/Reproduction
Janel Smith is a top-tier hair styling guru for New York and Atlanta’s elite! She splits her time between the two areas catering to high profile personalities and celebrities in entertainment and television such as the cast from the Real Housewives franchise and Bravo’s Married to Medicine.
She’s more than 30 plus years versed in hairstyling and full of fresh ideas like interuppted ponytails and rhinestone additions!
Photo: IG/Reproduction
The adept hairstylist Theo Barrett stands as a go-to professional for keeping your favorite reality stars and socialites impeccably styled. His expanding roster of clients boasts prominent names such as Cynthia Bailey, Nene Leakes, Angela Simmons, and the Editor-in-Chief of Fashion Bomb Daily, Claire Sulmers. Barrett’s installations are veritable glam spectacles that introduce unexpected allure, consistently infusing hairstyles with a perfect blend of bounce, body, and sleekness.
Photo: IG/Reproduction
From indulgent, luscious body waves to impeccably straight looks, Barrett’s stylistic versatility ensures that every moment is a captivating expression of glamour you didn’t even know you were missing.
Photo: IG/Reproduction
Hailing from Charlotte, NC, master hairstylist Derickus Crawford has become a prominent figure in the world of hairstyling. Best known as the go-to stylist for the acclaimed singer and actress Fantasia, Crawford’s artistry shines through in every captivating look he creates. Beyond his role as Fantasia’s trusted stylist, Crawford is a salon owner, where his creative expertise and passion for hair take center stage.
Photo: IG/Reproduction @sonejr
With an innate ability to transform and elevate, Derickus Crawford continues to leave an indelible mark on the beauty industry, one stunning hairstyle at a time.
Photo: IG/Reproduction @sonejr
While this A-list hairstylist goes by Yusef, some call him “Yuslay”! With the world of couture as his playground during his earliest years as a celebrity hairstylist, Yusef has worked the shows of Chanel, Jean Paul Gaultier, Christian Dior, Gucci and more with super models like Naomi Campbell, Tyra Banks, Bella and Gigi Hadid, Jourdon Dunn, Joan Smalls, Duckie Thot, Slick Woods, and Anok.
Photo: IG/Reproduction
That’s when Rihanna reached out in need of some high fashion hair magic for her debut appearance at Paris fashion week, and the rest is history!
Photo: IG/Reproduction
James Catalano might just be London’s best kept secret! Based out of the UK, the hairstylist boasts a distinguished clientele featuring celebrities like Naomi Campbell, Jodie Turner-Smith and Janelle Monae. His editorial contributions have graced the pages of renowned publications like Vogue Italia, Elle UK, Puss Puss, Vanity Fair, The New York Times, and GQ.
Architect Toyo Ito has donated his archive of architectural works to the Canadian Centre for Architecture (CCA), an international research institution and museum focused on increasing the accessibility of architectural knowledge. Toyo Ito is now contributing to the CCA Collection, which contains over 200 archival holdings, following his intention to encourage new research into his work and to put it in dialogue with other artifacts held by the institution. On December 6, 2023, the early works of the architect have arrived at the CCA.
The donation includes works produced by Ito’s Tokyo-based office between 1971 and 1995, showcasing the works of his early career. In 1971, Ito founded his studio, Urban Robot, later renamed Toyo Ito & Associates. His conceptual contributions often remarked for their lightness and openness, were expressed through private housing projects that showcased aspects of urban life in Japan. The donation includes Ito’s first design created in 1971, the Aluminium House (URBOT-001), the Useless Capsule House (URBOT-002), and the House at Koganei (1979).
The CCA is an architectural museum and research center I have the utmost trust in. Upon this donation, I received requests from many Japanese architects and researchers, asking if it is possible to keep those archives in Japan. However, I have the confidence that CCA offers unparalleled accessibility for future researchers from around the world to study my works. — Toyo Ito
Related Article
“I Am Always Inside the Architecture that I Design”: In Conversation with Toyo Ito
As a preparatory phase, in 2018, the CCA initiated its “Meanwhile in Japan” conversations, aiming to document and learn from the works of architects. Hiroshi Hara, Itsuko Hasegawa, and Toyo Ito opened their archives to a group of young architects and scholars, who engaged in long conversations around the different readings of their archives. These conversations resulted in the CCA Singles book series. Video interviews and discussions with Ito ensued, mirroring the Find and Tell program.
Much of our work originates in the collection, both in our curatorial practice—selecting and applying a contemporary lens to collection material in order to discuss issues of present and future relevance—and in our activity as a research center—seeking ways to multiply the connections and relationships within this body of material, making it as widely accessible as possible, and facilitating dynamic interpretations of the history of our environment. — Giovanna Borasi, Director and Chief Curator of the CCA
Numerous other archives donated to the CCA are on their way, promising to facilitate the emergence of new ideas, relationships, investigations, and interpretations. Noteworthy among these are the archival materials of Bernard Tschumi, Gandelsonas & Agrest, and Studio Works. In a recent interview for ArchDaily, Toyo Ito delves deeper into some of his most famous designs, including the Sendai Mediatheque, Serpentine Gallery of 2002, and National Taichung Theater. Here, he discusses the common thread that unites these designs, the consistent commitment to erasing the border between inside and outside, and the relaxed spatial divisions between the various programs within.
