Japanese architect Keiji Ashizawa has built his reputation on what he calls "honest design" – a philosophy that rejects flashy trends and "wow factors" in favor of authentic materials, thoughtful functionality, and designs that stand the test of time. The 52-year-old architect, who founded his eponymous studio in 2005, believes that true architectural success lies in creating spaces that serve as quiet companions to human life rather than attention-grabbing spectacles.
Ashizawa's approach to design is deeply rooted in harmony and coherence across all elements of a project. Whether working on architecture, interior design, or furniture pieces, he ensures that every component complements rather than competes with others. This philosophy extends to his pet peeves, which include poorly chosen furniture in spaces he designs and inappropriate signage in museums. "Oh my god, it always happens. I get very stressed about it," Ashizawa explained, particularly noting how random toilet signs in beautifully designed museums, especially in Asia, can ruin carefully crafted spaces.
The architect's commitment to authenticity means stripping away all artifice and being completely genuine in every aspect of a project – from functionality and materials to site context, user experience, and societal impact. When clients request "wow spaces," Ashizawa firmly declines, viewing such demands as gimmicks that lack longevity. "If I design something, I want it to last at least their or my lifetime," he said during a visit to Singapore in September 2024 for the FIND Global Summit.
This dedication to durability extends to his material choices, where Ashizawa favors solid wood over what he considers misleading "sustainable" materials like plastic composites. He argues that these alternatives don't last and therefore aren't truly honest or sustainable. His stance has led him to refuse work with cheap furniture companies, which he believes promote a wasteful culture where people dispose of inexpensive items when moving homes.
Ashizawa's philosophy was shaped partly by his reaction to Japan's "scrap and build" culture, where buildings are demolished to make way for trendier structures. Notable recent examples include the demolition of the Nakagin Capsule Tower by Kisho Kurokawa and Kagawa Prefectural Gymnasium by Kenzo Tange. During his studies at Yokohama National University, teachers encouraged students to design bold, unorthodox projects that were often impractical and unbuildable, leading Ashizawa to question such exercises and focus instead on understanding how Japanese architecture can be more honest and enduring.
The architect's portfolio demonstrates his philosophy in action, with projects that consistently evoke peace, quiet, and balance. Among his best-known works are Trunk Hotel Yoyogi Park, several Blue Bottle Coffee cafes in Nagoya and Tokyo, and numerous private homes that showcase his holistic approach. His design strategy involves limiting the palette to between five and seven elements, supported by his studio's extensive material collection that functions more like a workshop to help harmonize designs.
Ashizawa's relationship with clients often requires what he diplomatically calls "polite fighting" to maintain his holistic approach. He uses the analogy of a sushi restaurant to explain his position: just as diners wouldn't tell a chef how to slice fish or arrange it on rice, clients should trust his expertise after nearly 30 years in design. "I am very happy to have an opinion of what the client wants, but my job is to pick the right pieces for them. If we don't see eye to eye, I have no qualms about walking away," he stated.
One client that fully understands Ashizawa's vision is the Blue Bottle coffee chain, for which he has designed eight cafes. The Yokohama location particularly exemplifies his philosophy, where he connected the space with its neighborhood despite uninspiring surroundings. Using Japanese oak for most furniture and fittings, and featuring circular shapes from counter to light fixtures, the cafe includes tables and chairs crafted in collaboration with Japan's largest wooden furniture manufacturer, Karimoku Furniture. To enhance the connection with a small adjacent park, Ashizawa designed circular stacking benches that staff bring in and out daily, allowing customers to sit among the greenery.
Perhaps the purest embodiment of Ashizawa's honest design philosophy is Ishinomaki Laboratory, a public workshop and furniture brand he founded in the city of Ishinomaki. The initiative emerged from the 2011 earthquake and tsunami in Japan, when one of his restaurant clients lost everything in the disaster. Noticing that local carpenters were too busy with large-scale reconstruction to help individuals rebuild their homes and small businesses, Ashizawa created a space where people could make simple, locally crafted furniture they needed.
The laboratory began with volunteer-led projects, including working with an Ishinomaki high school to build over 40 benches for an outdoor cinema. Today, it operates with skilled professionals and machinery to produce a wide range of products from benches and chairs to toys, shelves, and tables. "We started as a volunteer-led project to support a disaster area. When we saw how people were excited about visiting the workshop to make their own products, we decided to keep it running to support the local craft economy," Ashizawa explained.
Building on this success, Ashizawa developed the Made in Local initiative, collaborating with workshops worldwide – including in Singapore, the UK, Mexico, and China – to produce designs using local craft traditions and locally sourced materials. For example, the award-winning Tripodal Stool, designed by Hong Kong-based Studio Adjective, is built in Munich, Germany by Schatzl studio using red beech wood harvested from the Bavarian Forest.
Ishinomaki Laboratory creates a perfect complement to Ashizawa's studio business, allowing him to furnish the spaces he designs with furniture from the workshop's growing inventory. This approach eliminates the need to hunt for pieces or design new ones while supporting local craftspeople and nurturing artisanal traditions. Since the COVID-19 pandemic, approximately 30 percent of his business comes from outside Japan, including mainland China and Taiwan, reflecting growing international appreciation for his authentic design approach. "In a way, it's a full circle for us," Ashizawa reflected. "By doing this, we support local craftspeople and nurture artisanal traditions. I don't think we can be more honest than this."
