KDa’s T-Site project is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki. Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing.    KDaによってデザインされた『DAIKANYAMA T-SITE』は、カルチュア・コンビニエンス・クラブによる本、音楽、映画を通じて個々のライフスタイルを提案する『代官山 蔦屋書店』を中心とした複数の建築によるカルチュア コンプレックス。東京の中でも低層の建物が立ち並びゆったりとして閑静なショッピングエリア代官山に位置し、プリツカー賞建築家の槇文彦氏によるヒルサイドテラスが佇む旧山手通りに誕生した。商業空間の新しい在り方や役割を示唆することを目標に進められたプロジェクトの実現には、建築、インテリア、家具、ディスプレイに渡る多様なデザインスキルが求められた。
       
     
  Slotted between large existing trees on the site, the three main buildings of the complex reveal KDa’s characteristic wit in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations.    既存の大きな樹木や街路樹の間に差し込まれるようにコンプレックスのメインとなる『代官山 蔦屋書店』の三棟は配置されている。   建物そのものをブランドロゴのT字に型どり、ファサードには小さなTがモチーフとして編み込まれたような表情を見せるなど、KDaならではのさりげないウィットが演出されている。
       
     
  Each building gradually steps back from the main road so the 3 are not immediately read together. Each building is built to it’s maximum foot print allowed, but the arrangement of two- and three-storey buildings creates relaxed walkways between them.    三棟の建物は旧山手通りから少しずつステップバックするように配置され、巨大な一つのボリュームとして読み取れないようになっている。   三棟はそれぞれ法的に許されるほぼ最大の建築面積で建てられているが、各棟の高さや配置の工夫により建物の間に開放的な街路スペースを生んでいる。
       
     
  Low-e glass not only helps condition the building but reflects the greenery and the glass reinforced concrete T-panels.    Low-e ペアガラスは建物内の環境を保つだけでなく、周囲の樹木や植栽、Tのモチーフが施された壁面も反射させる
       
     
  The pavilions contain retail space on the 2 lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse.    三棟はそれぞれ下部二層が店舗となっている。   艶感のある百貨店のような雰囲気になることを避けるため、古い大学の図書館や倉庫にいるような心地よさが感じられるよう、あえて古材フローリングを選ぶなど素材の質感に配慮している。
       
     
  The three buildings are linked by an 55m long organisational spine – called “magazine street” – which passes through interior and exterior, linking the three buildings together.    施設の背骨である全長55mのマガジンストリートが屋内外を跨ぎ3棟を結びつけている。
       
     
ccc_111128_042.jpg
       
     
  A flexible perimeter bench allows for lighting, books cases, tables, listening stations and seats to be ‘clipped’ on, controlling what is placed against the full height glass windows.    窓際の長いベンチは照明、本棚、テーブル、視聴機などがクリップ留めのように自由に配置でき、天井まである大きな窓に面して何が配置されるべきかをコントロールできるようになっている。
       
     
  Square ‘lanterns’ suspending from the ceiling make for a warm atmosphere for browsing, while helping create a comfortable scale.    天井に吊られた四角いランタンは、その光が読書のための暖かい雰囲気を作り出すとともに、空間に心地よいスケール感を生むことに一役買っている。
       
     
  Tailored particularly to over-50 “premium age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated product ranges. Other facilities include a café, an upscale convenience store, and the Anjin lounge, where visitors can browse a library of classic design magazines and books or peruse artworks for sale as they eat, drink, read, chat, or relax.    特にプレミアエイジと呼ばれる50~60代前後の大人のこだわりにも応えられるべく、厳選された商品キュレーションと感度の高いブティックスペースが展開する。   その他にも、『スターバックスコーヒー』やワンランク上の『ファミリーマート』そして飲食とあわせて読書や会話を楽しみ寛ぐことができると同時に希少なデザイン誌やアートピースにも出会うことができるラウンジ 『Anjin』 などがある。
       
     
  Two bridges clad in polished stainless steel battens connect the buildings, reflecting the surroundings and creating gateways for visitors passing through the site.    
       
     
  鏡面のルーバーで包まれたブリッジは棟と棟を繋ぐ。周囲の風景を反射させながら、行き交う人のゲートウェイとして機能する。
       
     
ccc_2012_07_114.jpg
       
     
 Magazine street is always clearly visible through the building acting as the circulation and navigation spine.   建物のどの場所にいても視界に入ってくるマガジンストリート。   人の流れとナビゲーションの骨格として重要な役割を果たしている。
       
     
  Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax.    『Anjin』。コンプレックスの中心部に位置するこのラウンジはバーだけでなく、パフォーマンス空間、アートコレクション、世界中の珍しい書籍(フランク・ロイド・ライトの直筆サイン入りまで!)が揃い、珈琲やちょっとした料理を味わいながら読書や会話を楽しんだり寛いだりできる。
       
     
  The Anjin Lounge features a performance stage with a contemporary Japanese screen by Masatake Kosaki which can slide back revealing a 12 screen LCD array.    『Anjin』には、開くとその背後に12面のマルチLCDディスプレイを配する 鴻崎正武氏 により描かれたモダンな屏風の設えられたステージ空間がある。
       
     
  The top lit Anjin bar is made up of layers of second hand books. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Vogue, Domus, Esquire, and Abitare.    天井から自然光が差し込む 『Anjin』 のバーカウンターは、何層にも積み重ねられた古書によって作られている。   このラウンジを訪れた人たちは、ヴォーグ、ドムス、エスクァイア、アビターレといった美しく装丁された世界の名門雑誌の素晴らしいコレクションに出会える。
       
     
  The T-Panels are made of glass reinforced concrete. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami.    T字のパネルはGRC(ガラス繊維強化コンクリート)によって出来ている。   この壮大なプロジェクトは、東日本大震災の影響があったにもかかわらず、11ヶ月の施工期間を含むプロジェクトの開始からわずか20ヶ月で完成した。
       
     
 Credits:  Architecture and interior design: Klein Dytham architecture Art Direction: Tomoko Ikegai Architectural Consultant: RIA Structural Engineer: Structured Environment Main Contractor: Kajima Construction Photography: Nacasa & Partners  Full text.  KDa’s new Daikanyama T-Site is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki. Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing. Tailored particularly to over-50 “premier age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated merchandise. This selection of goods is intended not to be exhaustive but stimulating – sections include art, architecture, cooking, cars, design, history, and literature. Each section is run by a concierge – like their intended customers they are all over 50, and both have expert knowledge of their subject area and can provide other services (in the stores travel section you can book a holiday!) The project also merges the worlds of new and old media. Movies, for example, can be bought, rented, or downloaded, and while iPads are on hand throughout the store as guides to the stock on offer, that stock also includes Tokyo’s largest selection of pens. Cunningly solving a number of planning issues, including retention of the beautiful trees standing on the site, the complex was set back from the street and split into three pavilions. This arrangement of two- and three-storey buildings creates relaxed walkways between buildings. Two bridges clad in polished stainless steel battens connect the pavilions, reflecting the surroundings and creating gateways for visitors passing through the site. In the design of the pavilion exteriors, KDa’s characteristic wit emerges in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations. The Ts are no mere graphic play, but provide fully three-dimensional organizing principles, guiding how the plan is laid out and defining the arrangement of the structural system. The pavilions contain retail space on the lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse. The three pavilions are linked by an organizational spine – called the “magazine street” – which passes through interior and exterior, linking the three buildings together. To reinforce its presence, the magazine street’s shelving, flooring and slatted ceiling are all timber, even where it runs outside under the bridge. Elsewhere, a stone floor creates continuity between interior and exterior while an open ceiling gives a warehouse feel (big lighting lanterns hang down to subtly mask the buildings’ innards) and signage designed by graphic maestro Kenya Hara was printed on perforated metal to create more openness and visibility. Within this organizational and material framework, each of the boutique spaces has its own character – the shelving in the literature section is tightly packed to evoke Tokyo’s atmospheric Jimbocho second hand book district, while in other spaces overhead shelves are used to make them feel more intimate. Other facilities include a café, an upscale convenience store, and the Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Domus, Esquire, and Abitare – an entire class of fashion students was spotted pouring over the archive’s back issues of Vogue. Despite its design innovations, this was not a big budget project – it was low cost and produced extremely quickly. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami. KDa were awarded the project through an invited competition, requiring them to beat out many of Japan’s highest profile architectural firms. Their scheme triumphed by tackling both explicit branding issues and architectural subtleties in every aspect of the building. Merging the digital and analogue worlds, and providing for both sophisticated tastes and simple curiosity, KDa’s design is intended to allow a new retail paradigm to emerge.
       
     
 Daikanyama T-SITE is located in Daikayama  Google Map Link   Check out the reviews in  TimeOut Magazine  and  CNN
       
     
  KDa’s T-Site project is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki. Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing.    KDaによってデザインされた『DAIKANYAMA T-SITE』は、カルチュア・コンビニエンス・クラブによる本、音楽、映画を通じて個々のライフスタイルを提案する『代官山 蔦屋書店』を中心とした複数の建築によるカルチュア コンプレックス。東京の中でも低層の建物が立ち並びゆったりとして閑静なショッピングエリア代官山に位置し、プリツカー賞建築家の槇文彦氏によるヒルサイドテラスが佇む旧山手通りに誕生した。商業空間の新しい在り方や役割を示唆することを目標に進められたプロジェクトの実現には、建築、インテリア、家具、ディスプレイに渡る多様なデザインスキルが求められた。
       
     

KDa’s T-Site project is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki. Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing.

KDaによってデザインされた『DAIKANYAMA T-SITE』は、カルチュア・コンビニエンス・クラブによる本、音楽、映画を通じて個々のライフスタイルを提案する『代官山 蔦屋書店』を中心とした複数の建築によるカルチュア コンプレックス。東京の中でも低層の建物が立ち並びゆったりとして閑静なショッピングエリア代官山に位置し、プリツカー賞建築家の槇文彦氏によるヒルサイドテラスが佇む旧山手通りに誕生した。商業空間の新しい在り方や役割を示唆することを目標に進められたプロジェクトの実現には、建築、インテリア、家具、ディスプレイに渡る多様なデザインスキルが求められた。

  Slotted between large existing trees on the site, the three main buildings of the complex reveal KDa’s characteristic wit in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations.    既存の大きな樹木や街路樹の間に差し込まれるようにコンプレックスのメインとなる『代官山 蔦屋書店』の三棟は配置されている。   建物そのものをブランドロゴのT字に型どり、ファサードには小さなTがモチーフとして編み込まれたような表情を見せるなど、KDaならではのさりげないウィットが演出されている。
       
     

Slotted between large existing trees on the site, the three main buildings of the complex reveal KDa’s characteristic wit in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations.

既存の大きな樹木や街路樹の間に差し込まれるようにコンプレックスのメインとなる『代官山 蔦屋書店』の三棟は配置されている。
建物そのものをブランドロゴのT字に型どり、ファサードには小さなTがモチーフとして編み込まれたような表情を見せるなど、KDaならではのさりげないウィットが演出されている。

  Each building gradually steps back from the main road so the 3 are not immediately read together. Each building is built to it’s maximum foot print allowed, but the arrangement of two- and three-storey buildings creates relaxed walkways between them.    三棟の建物は旧山手通りから少しずつステップバックするように配置され、巨大な一つのボリュームとして読み取れないようになっている。   三棟はそれぞれ法的に許されるほぼ最大の建築面積で建てられているが、各棟の高さや配置の工夫により建物の間に開放的な街路スペースを生んでいる。
       
     

Each building gradually steps back from the main road so the 3 are not immediately read together. Each building is built to it’s maximum foot print allowed, but the arrangement of two- and three-storey buildings creates relaxed walkways between them.

三棟の建物は旧山手通りから少しずつステップバックするように配置され、巨大な一つのボリュームとして読み取れないようになっている。
三棟はそれぞれ法的に許されるほぼ最大の建築面積で建てられているが、各棟の高さや配置の工夫により建物の間に開放的な街路スペースを生んでいる。

  Low-e glass not only helps condition the building but reflects the greenery and the glass reinforced concrete T-panels.    Low-e ペアガラスは建物内の環境を保つだけでなく、周囲の樹木や植栽、Tのモチーフが施された壁面も反射させる
       
     

Low-e glass not only helps condition the building but reflects the greenery and the glass reinforced concrete T-panels.

Low-e ペアガラスは建物内の環境を保つだけでなく、周囲の樹木や植栽、Tのモチーフが施された壁面も反射させる

  The pavilions contain retail space on the 2 lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse.    三棟はそれぞれ下部二層が店舗となっている。   艶感のある百貨店のような雰囲気になることを避けるため、古い大学の図書館や倉庫にいるような心地よさが感じられるよう、あえて古材フローリングを選ぶなど素材の質感に配慮している。
       
     

The pavilions contain retail space on the 2 lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse.

三棟はそれぞれ下部二層が店舗となっている。
艶感のある百貨店のような雰囲気になることを避けるため、古い大学の図書館や倉庫にいるような心地よさが感じられるよう、あえて古材フローリングを選ぶなど素材の質感に配慮している。

  The three buildings are linked by an 55m long organisational spine – called “magazine street” – which passes through interior and exterior, linking the three buildings together.    施設の背骨である全長55mのマガジンストリートが屋内外を跨ぎ3棟を結びつけている。
       
     

The three buildings are linked by an 55m long organisational spine – called “magazine street” – which passes through interior and exterior, linking the three buildings together.

施設の背骨である全長55mのマガジンストリートが屋内外を跨ぎ3棟を結びつけている。

ccc_111128_042.jpg
       
     
  A flexible perimeter bench allows for lighting, books cases, tables, listening stations and seats to be ‘clipped’ on, controlling what is placed against the full height glass windows.    窓際の長いベンチは照明、本棚、テーブル、視聴機などがクリップ留めのように自由に配置でき、天井まである大きな窓に面して何が配置されるべきかをコントロールできるようになっている。
       
     

A flexible perimeter bench allows for lighting, books cases, tables, listening stations and seats to be ‘clipped’ on, controlling what is placed against the full height glass windows.

窓際の長いベンチは照明、本棚、テーブル、視聴機などがクリップ留めのように自由に配置でき、天井まである大きな窓に面して何が配置されるべきかをコントロールできるようになっている。

  Square ‘lanterns’ suspending from the ceiling make for a warm atmosphere for browsing, while helping create a comfortable scale.    天井に吊られた四角いランタンは、その光が読書のための暖かい雰囲気を作り出すとともに、空間に心地よいスケール感を生むことに一役買っている。
       
     

Square ‘lanterns’ suspending from the ceiling make for a warm atmosphere for browsing, while helping create a comfortable scale.

天井に吊られた四角いランタンは、その光が読書のための暖かい雰囲気を作り出すとともに、空間に心地よいスケール感を生むことに一役買っている。

  Tailored particularly to over-50 “premium age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated product ranges. Other facilities include a café, an upscale convenience store, and the Anjin lounge, where visitors can browse a library of classic design magazines and books or peruse artworks for sale as they eat, drink, read, chat, or relax.    特にプレミアエイジと呼ばれる50~60代前後の大人のこだわりにも応えられるべく、厳選された商品キュレーションと感度の高いブティックスペースが展開する。   その他にも、『スターバックスコーヒー』やワンランク上の『ファミリーマート』そして飲食とあわせて読書や会話を楽しみ寛ぐことができると同時に希少なデザイン誌やアートピースにも出会うことができるラウンジ 『Anjin』 などがある。
       
     

Tailored particularly to over-50 “premium age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated product ranges. Other facilities include a café, an upscale convenience store, and the Anjin lounge, where visitors can browse a library of classic design magazines and books or peruse artworks for sale as they eat, drink, read, chat, or relax.

特にプレミアエイジと呼ばれる50~60代前後の大人のこだわりにも応えられるべく、厳選された商品キュレーションと感度の高いブティックスペースが展開する。
その他にも、『スターバックスコーヒー』やワンランク上の『ファミリーマート』そして飲食とあわせて読書や会話を楽しみ寛ぐことができると同時に希少なデザイン誌やアートピースにも出会うことができるラウンジ 『Anjin』 などがある。

  Two bridges clad in polished stainless steel battens connect the buildings, reflecting the surroundings and creating gateways for visitors passing through the site.    
       
     

Two bridges clad in polished stainless steel battens connect the buildings, reflecting the surroundings and creating gateways for visitors passing through the site.

 

  鏡面のルーバーで包まれたブリッジは棟と棟を繋ぐ。周囲の風景を反射させながら、行き交う人のゲートウェイとして機能する。
       
     

鏡面のルーバーで包まれたブリッジは棟と棟を繋ぐ。周囲の風景を反射させながら、行き交う人のゲートウェイとして機能する。

ccc_2012_07_114.jpg
       
     
 Magazine street is always clearly visible through the building acting as the circulation and navigation spine.   建物のどの場所にいても視界に入ってくるマガジンストリート。   人の流れとナビゲーションの骨格として重要な役割を果たしている。
       
     

Magazine street is always clearly visible through the building acting as the circulation and navigation spine.

建物のどの場所にいても視界に入ってくるマガジンストリート。
人の流れとナビゲーションの骨格として重要な役割を果たしている。

  Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax.    『Anjin』。コンプレックスの中心部に位置するこのラウンジはバーだけでなく、パフォーマンス空間、アートコレクション、世界中の珍しい書籍(フランク・ロイド・ライトの直筆サイン入りまで!)が揃い、珈琲やちょっとした料理を味わいながら読書や会話を楽しんだり寛いだりできる。
       
     

Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax.

『Anjin』。コンプレックスの中心部に位置するこのラウンジはバーだけでなく、パフォーマンス空間、アートコレクション、世界中の珍しい書籍(フランク・ロイド・ライトの直筆サイン入りまで!)が揃い、珈琲やちょっとした料理を味わいながら読書や会話を楽しんだり寛いだりできる。

  The Anjin Lounge features a performance stage with a contemporary Japanese screen by Masatake Kosaki which can slide back revealing a 12 screen LCD array.    『Anjin』には、開くとその背後に12面のマルチLCDディスプレイを配する 鴻崎正武氏 により描かれたモダンな屏風の設えられたステージ空間がある。
       
     

The Anjin Lounge features a performance stage with a contemporary Japanese screen by Masatake Kosaki which can slide back revealing a 12 screen LCD array.

『Anjin』には、開くとその背後に12面のマルチLCDディスプレイを配する 鴻崎正武氏 により描かれたモダンな屏風の設えられたステージ空間がある。

  The top lit Anjin bar is made up of layers of second hand books. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Vogue, Domus, Esquire, and Abitare.    天井から自然光が差し込む 『Anjin』 のバーカウンターは、何層にも積み重ねられた古書によって作られている。   このラウンジを訪れた人たちは、ヴォーグ、ドムス、エスクァイア、アビターレといった美しく装丁された世界の名門雑誌の素晴らしいコレクションに出会える。
       
     

The top lit Anjin bar is made up of layers of second hand books. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Vogue, Domus, Esquire, and Abitare.

天井から自然光が差し込む 『Anjin』 のバーカウンターは、何層にも積み重ねられた古書によって作られている。
このラウンジを訪れた人たちは、ヴォーグ、ドムス、エスクァイア、アビターレといった美しく装丁された世界の名門雑誌の素晴らしいコレクションに出会える。

  The T-Panels are made of glass reinforced concrete. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami.    T字のパネルはGRC(ガラス繊維強化コンクリート)によって出来ている。   この壮大なプロジェクトは、東日本大震災の影響があったにもかかわらず、11ヶ月の施工期間を含むプロジェクトの開始からわずか20ヶ月で完成した。
       
     

The T-Panels are made of glass reinforced concrete. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami.

T字のパネルはGRC(ガラス繊維強化コンクリート)によって出来ている。
この壮大なプロジェクトは、東日本大震災の影響があったにもかかわらず、11ヶ月の施工期間を含むプロジェクトの開始からわずか20ヶ月で完成した。

 Credits:  Architecture and interior design: Klein Dytham architecture Art Direction: Tomoko Ikegai Architectural Consultant: RIA Structural Engineer: Structured Environment Main Contractor: Kajima Construction Photography: Nacasa & Partners  Full text.  KDa’s new Daikanyama T-Site is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki. Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing. Tailored particularly to over-50 “premier age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated merchandise. This selection of goods is intended not to be exhaustive but stimulating – sections include art, architecture, cooking, cars, design, history, and literature. Each section is run by a concierge – like their intended customers they are all over 50, and both have expert knowledge of their subject area and can provide other services (in the stores travel section you can book a holiday!) The project also merges the worlds of new and old media. Movies, for example, can be bought, rented, or downloaded, and while iPads are on hand throughout the store as guides to the stock on offer, that stock also includes Tokyo’s largest selection of pens. Cunningly solving a number of planning issues, including retention of the beautiful trees standing on the site, the complex was set back from the street and split into three pavilions. This arrangement of two- and three-storey buildings creates relaxed walkways between buildings. Two bridges clad in polished stainless steel battens connect the pavilions, reflecting the surroundings and creating gateways for visitors passing through the site. In the design of the pavilion exteriors, KDa’s characteristic wit emerges in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations. The Ts are no mere graphic play, but provide fully three-dimensional organizing principles, guiding how the plan is laid out and defining the arrangement of the structural system. The pavilions contain retail space on the lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse. The three pavilions are linked by an organizational spine – called the “magazine street” – which passes through interior and exterior, linking the three buildings together. To reinforce its presence, the magazine street’s shelving, flooring and slatted ceiling are all timber, even where it runs outside under the bridge. Elsewhere, a stone floor creates continuity between interior and exterior while an open ceiling gives a warehouse feel (big lighting lanterns hang down to subtly mask the buildings’ innards) and signage designed by graphic maestro Kenya Hara was printed on perforated metal to create more openness and visibility. Within this organizational and material framework, each of the boutique spaces has its own character – the shelving in the literature section is tightly packed to evoke Tokyo’s atmospheric Jimbocho second hand book district, while in other spaces overhead shelves are used to make them feel more intimate. Other facilities include a café, an upscale convenience store, and the Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Domus, Esquire, and Abitare – an entire class of fashion students was spotted pouring over the archive’s back issues of Vogue. Despite its design innovations, this was not a big budget project – it was low cost and produced extremely quickly. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami. KDa were awarded the project through an invited competition, requiring them to beat out many of Japan’s highest profile architectural firms. Their scheme triumphed by tackling both explicit branding issues and architectural subtleties in every aspect of the building. Merging the digital and analogue worlds, and providing for both sophisticated tastes and simple curiosity, KDa’s design is intended to allow a new retail paradigm to emerge.
       
     

Credits:

Architecture and interior design: Klein Dytham architecture
Art Direction: Tomoko Ikegai
Architectural Consultant: RIA
Structural Engineer: Structured Environment
Main Contractor: Kajima Construction
Photography: Nacasa & Partners

Full text.

KDa’s new Daikanyama T-Site is a campus-like complex for Tsutaya, a giant in Japan’s book, music, and movie retail market. Located in Daikanyama, an up-market but relaxed, low-rise Tokyo shopping district, it stands alongside a series of buildings designed by Pritzker Prize-winning architect Fumihiko Maki.
Drawing on all KDa’s design skills – architecture, interior, furniture and product display – the project’s ambition is to define a new vision for the future of retailing. Tailored particularly to over-50 “premier age” customers, Tsutaya’s normal product range is complimented by a series of boutique spaces carrying carefully curated merchandise. This selection of goods is intended not to be exhaustive but stimulating – sections include art, architecture, cooking, cars, design, history, and literature. Each section is run by a concierge – like their intended customers they are all over 50, and both have expert knowledge of their subject area and can provide other services (in the stores travel section you can book a holiday!) The project also merges the worlds of new and old media. Movies, for example, can be bought, rented, or downloaded, and while iPads are on hand throughout the store as guides to the stock on offer, that stock also includes Tokyo’s largest selection of pens.
Cunningly solving a number of planning issues, including retention of the beautiful trees standing on the site, the complex was set back from the street and split into three pavilions. This arrangement of two- and three-storey buildings creates relaxed walkways between buildings. Two bridges clad in polished stainless steel battens connect the pavilions, reflecting the surroundings and creating gateways for visitors passing through the site. In the design of the pavilion exteriors, KDa’s characteristic wit emerges in subtle ways – the perforated screens of the façade are formed from the Ts of the Tsutaya logo, and much larger T-shapes are disguised in the building plans and elevations. The Ts are no mere graphic play, but provide fully three-dimensional organizing principles, guiding how the plan is laid out and defining the arrangement of the structural system.
The pavilions contain retail space on the lower floors with accommodation above. Internally, KDa didn’t want a slick “department store” feel, and so selected materials such as aged timber flooring to create a relaxed space – part university library, part warehouse. The three pavilions are linked by an organizational spine – called the “magazine street” – which passes through interior and exterior, linking the three buildings together. To reinforce its presence, the magazine street’s shelving, flooring and slatted ceiling are all timber, even where it runs outside under the bridge. Elsewhere, a stone floor creates continuity between interior and exterior while an open ceiling gives a warehouse feel (big lighting lanterns hang down to subtly mask the buildings’ innards) and signage designed by graphic maestro Kenya Hara was printed on perforated metal to create more openness and visibility.
Within this organizational and material framework, each of the boutique spaces has its own character – the shelving in the literature section is tightly packed to evoke Tokyo’s atmospheric Jimbocho second hand book district, while in other spaces overhead shelves are used to make them feel more intimate. Other facilities include a café, an upscale convenience store, and the Anjin Lounge. Located in the center of the complex, this lounge includes a bar, a performance space, a collection of artworks and rare books for sale (including a signed Frank Lloyd Wright volume!) that visitors can enjoy as they eat, drink, read, chat, or relax. Visitors to the lounge can also browse an amazing world magazine archive that includes beautifully bound collections of such classics as Domus, Esquire, and Abitare – an entire class of fashion students was spotted pouring over the archive’s back issues of Vogue.
Despite its design innovations, this was not a big budget project – it was low cost and produced extremely quickly. The whole project was completed in 20 months, with construction taking just 11 months despite disruptions to Japan’s construction industry caused by the Tohoku earthquake and tsunami. KDa were awarded the project through an invited competition, requiring them to beat out many of Japan’s highest profile architectural firms. Their scheme triumphed by tackling both explicit branding issues and architectural subtleties in every aspect of the building. Merging the digital and analogue worlds, and providing for both sophisticated tastes and simple curiosity, KDa’s design is intended to allow a new retail paradigm to emerge.

 Daikanyama T-SITE is located in Daikayama  Google Map Link   Check out the reviews in  TimeOut Magazine  and  CNN
       
     

Daikanyama T-SITE is located in Daikayama Google Map Link

Check out the reviews in TimeOut Magazine and CNN