Interview with KEIJI ASHIZAWA / Keiji Ashizawa Design —part 2

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*A space is just an accumulation of such details*
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— Keiji Ashizawa / Keiji Ashizawa Design

photography : Jonas Bjerre-Poulse(KINUTA TERRACE), Daici Ano(SUSHI MIZUKAMI)

words : Reiji Yamakura/IDREIT translation: Richard Streeby

JP

continue from part 1

“Interview with KEIJI ASHIZAWA / Keiji Ashizawa Design —part 1”

Keiji Ashizawa Design and Norm Architects designed ‘KINUTA TERRACE’ in Tokyo. photography : Jonas Bjerre-Poulse

We asked Mr. Ashizawa, who works with clients overseas a lot, about his "Japanese" designs and what he values in his designs.

— You worked with Norm Architects in Denmark on multiple dwelling house ‘KINUTA TERRACE’. You work with a lot of overseas clients, but are you conscious of “Japaneseness?”

When I work with people from overseas, they often say my design are very Japanese and I don't feel bad about it, but when I think about why they say that, I think it's because my experience with interiors has been very Japanese.

I go to Kyoto every year, but I still feel a freshness and can be moved by it, and I always make new discoveries. I don't feel this in Tokyo where I usually live, but old ryokans in Kyoto make me feel the goodness that comes from their type of rationality and their way of handling extremely simple materials. I think the architectural inspiration I have gotten there is naturally reflected in my designs.

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For the KINUTA TERRACE, carefully selected materials such as oak wood and steel were used to create a sense of calm and comfort. The architect Ashizawa chose furniture designed by Norm Architect for the residence.

— In your actual design work, do you ever intentionally express Japaneseness?

I don't think so myself. However, when I list the things I like, they include things that are very simple but have a unique essence and things that fulfill their functions well.

For example, when I look at Isamu Noguchi's lighting fixtures, I'm still blown away by them, and I think, “It would be hard to surpass these.” And I would like to express that kind of thing myself someday.

— I see. Do you feel any difference between your sensibility and that of non-Japanese designers?

In terms of differences in ways of thinking, I feel that there are differences in the way we handle materials, the way we design products and the scenes in which we use them.

In terms of design, I think there is a clear difference in the way we create blank space. Members of Norm Architects say they admire this Japanese way of thinking. However, when we show each other our work, while there are differences between us, we also feel that we have many things in common, so I think we are able to collaborate well.

For the entrance of SUSHI MIZUKAMI, only the vertical elements were used to create sophisticated facade.

— One last question. I find the “delicacy” you create captivating. Please tell me how you think about details.

A space is just an accumulation of such details.
A large story is important, but its large structure is not enough, and it must be put in order using details. If by chance the budget does not allow you to complete all the details, you should control the overall rhythm and tone to the extent possible within your budget and your degree of resolution.
But to put it in a way that avoids misunderstanding, it's not good to randomly fuss over details. I'm not talking about which is more important between a large structure and small details. I think in design it is important to have each properly linked.

After this interview, when I took a high-level look at Mr. Ashizawa's projects, I felt that there was a reason for each design, regardless of the site conditions, the scale and the type of industry, and that his unique designs emerge from the accumulation of details determined through deliberation and trial and error.