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About Hiroki Takahashi

Architect Hiroki Takahashi is passionate about the fusion of art and design, respecting the emotions and thoughts nurtured in history and culture. His work incorporates avant-garde expression while providing experiences that transcend the senses and move the soul. His approach is a sophisticated fusion of art and design that transforms a moment forever, created with his own unique perspective and creativity.

Interview with Hiroki Takahashi

Hiroki Takahashi ("HT") interviewed on Sunday, 29 June.

Could you please tell us about your experience as a designer, artist, architect or creator?

HT : I have been engaged in architecture and spatial design for over 20 years. After completing formal architectural studies, I established an independent studio to pursue a design language grounded in atmosphere and clarity. My work focuses on residences and cultural spaces that respond to light, material, and the quiet presence of time. The projects I undertake are often shaped through close dialogue with clients who value space as a form of inner experience. Over the years, I have received recognition including the Good Design Award in Japan and the A’ Design Award in Italy.

How did you become a designer?

HT : My interest in space began early—perhaps even before I had the words to describe it. As a child, I found myself quietly fascinated by how light curved along a white wall or how silence could shape a room. These impressions stayed with me and slowly became questions: What is beauty? What makes a space unforgettable? Studying architecture felt natural. It gave form to my questions. Becoming a designer was not a decision made at once, but a quiet unfolding of direction that continues to this day.

What are your priorities, technique and style when designing?

HT : I approach each project by listening—first to the site, then to light, and finally to the emotions that arise in that silence. I prioritize three things: the dialogue between light and shadow, the spatial rhythm that invites reflection, and the form that turns a fleeting moment into something eternal. I value material honesty, proportion, and restraint, but I also care deeply about the beauty of form itself. My methods combine hand sketches, physical models, and digital tools such as Rhino and Enscape. The aim is not to impress, but to compose a space where presence and memory feel naturally at home.

Which emotions do you feel when designing?

HT : Designing brings a quiet concentration. There is calm, but also a certain tension—like tuning an instrument before a performance. The early sketches are moments of discovery, while the later stages feel like listening for a note that only emerges when everything is in balance. I wouldn’t call it joy or excitement; it’s more like alignment. When the form, the light, and the emotion all fall into place, a kind of clarity arrives. That clarity is deeply fulfilling.

What particular aspects of your background shaped you as a designer?

HT : In my younger years, I spent time working in a wedding venue, creating and managing spaces where joy and emotion filled the air. That experience taught me how architecture can hold memories, how space can amplify feeling, and how every small detail matters when people celebrate the milestones of their lives. It was not just about decoration—it was about creating an atmosphere where happiness could resonate. That early experience still shapes how I think about space today.

What is your growth path? What are your future plans? What is your dream design project?

HT : My direction as a designer has always been toward greater clarity and restraint. I value spaces that offer quiet dignity and remain unforgettable through their presence. Rather than expanding rapidly, I focus on refining each project with care—deepening its meaning through time and dialogue. In the future, I hope to design a small cultural facility or a retreat that invites stillness and reflection. It’s not the scale that matters to me, but the integrity of the experience.

What are your advices to designers who are at the beginning of their career?

HT : Begin by observing light, and how it touches surfaces throughout the day. Pay attention to how space listens—to time, to presence, to silence. Design is not about haste; it unfolds slowly, like seasons. Let your own rhythm emerge through repeated observation and quiet curiosity. Some of the most enduring insights come not from theory, but from standing still and watching. When your eyes and heart move together, a sense of form begins to grow.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

HT : Architecture deepens when we remember it is not only to be seen, but to be lived in, felt, and remembered. Each line we draw becomes part of someone’s future memory. I value clarity—of space, atmosphere, and purpose. In my practice, I often reflect on a simple question: “What continues to speak after time has passed?” A space that quietly endures in someone’s heart—that is the kind of design I try to cultivate.

What is your day to day look like?

HT : Each morning begins with quiet rituals—greeting my cat, preparing a simple breakfast, and taking a short walk. These moments bring balance and presence. I usually spend the early hours sketching or writing, allowing thoughts to settle. Afternoons are for meetings, physical models, or material studies. I leave room in the day to observe shifting light or to sit with a book without purpose. Within these ordinary rhythms, design gradually finds its own form—gently, attentively, and without rush.

How do you keep up with latest design trends? To what extent do design trends matter?

HT : I observe design trends from a distance, not as guidelines, but as reflections of the times. My interest lies more in enduring qualities—proportion, material honesty, and sensory depth. While I am aware of what is current, I find greater value in exploring quiet continuity. Inspiration often comes from nature, vernacular buildings, or works that remain meaningful beyond their era. Trends may shift quickly, but the essence of beauty often resides in what moves slowly and stays.

How do you know if a product or project is well designed? How do you define good design?

HT : A well-designed space carries a sense of quiet completion. Each element feels naturally placed, with no sense of effort or excess. I pay close attention to how materials respond to light, how forms hold silence, and how memory settles into space. Good design offers presence without demand—it welcomes rather than declares. It becomes part of one’s inner landscape without needing to announce itself.

How do you decide if your design is ready?

HT : There is a moment when the space begins to resist further intervention. It feels settled—not in a final, absolute way, but in a way that suggests a quiet equilibrium. I listen closely to the balance of light, proportion, and presence. When each part feels like it cannot be removed or added without diminishing the whole, I consider the design ready. It is less a decision, more a recognition—like noticing when music comes to rest.

What is your biggest design work?

HT : Among the many works I’ve created, one small house stands out—not for its size or complexity, but for its emotional clarity. It was a quiet residence nestled in the trees. The client walked in, paused, and simply said, “I feel like I’ve returned to something I forgot.” That moment remains with me. It reminded me that the strength of architecture lies not in form alone, but in its ability to awaken something within. I continue to search for that kind of resonance in every new project.

Who is your favourite designer?

HT : I have deep respect for Peter Zumthor’s sensitivity and Tadao Ando’s clarity. If I had the chance to speak with one designer from the past, it would be Louis Kahn. I would ask him not about form, but about silence—how he listened to space before shaping it.

Would you tell us a bit about your lifestyle and culture?

HT : My daily life is quiet and grounded. I live with my family and a cat, enjoying early walks, a cup of tea by the window, and the simple joy of sketching or reading throughout the day. I find that beauty often dwells in the rhythm of ordinary moments. I am drawn to stillness, depth, and the gentle flow of time as it passes.

Would you tell us more about your work culture and business philosophy?

HT : I work closely with a small group of collaborators who share a quiet commitment to thoughtful creation. Each project begins with careful observation and open dialogue. What guides our work is a shared sensitivity—to materials, to place, and to one another. I believe the atmosphere of a studio shapes the work it produces. We aim for a culture of calm focus and mutual respect.

What are your philanthropic contributions to society as a designer, artist and architect?

HT : I occasionally give lectures to architecture students, speaking about career development and design practice. I believe that architecture, by quietly staying in place over time, can become part of a community’s memory and contribute to its long-term well-being. When architecture reaches a state of beauty, its presence can transform a moment into something timeless—quietly resonating in the lives of those who encounter it.

What positive experiences you had when you attend the A’ Design Award?

HT : The A’ Design Award offered a moment to pause and reflect—not only on a single work, but on the broader path I have taken as a designer. I found value in the international scope of the platform, its emphasis on thoughtful presentation, and the care with which design is treated across disciplines and cultures. It was an opportunity to recognize the quiet continuity that underlies my work, and to connect with others who share a similar sensibility.

Hiroki Takahashi Profile

Charis Interior Space

Charis Interior Space design by Hiroki Takahashi

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