gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是业主，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第19期为您奉上的是创立 Aki Hamada Architects，并且在 teamLab 担任建筑师的日本建筑师滨田晶则。更多关于他，请至：Aki Hamada Architects on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.19 introduces Aki Hamada, founder of Aki Hamada Architects and working as an architect partner in teamLab.

____
背景
Background

“我希望可以更加直接地去思考和解决社会问题……我觉得建筑也可以影响社会，于是在修完社会学后转入建筑学科。”

“I was more interested in solving social problems and issues in a direct way… I found architecture could also have effects on society, and then after graduating from sociology, I chose architecture as my major.”

1.

你的家乡是什么样的？你成为建筑师的原因是什么？
What is your hometown like and why you chose to become an architect?

我出生在日本富山县，那里靠近海边，有一座名为立山的大山。我的父亲是建筑设计师，祖父则是船工，有自己的一座船坞。我自那时起应该就受到了他们的影响，对于建筑和制作物品充满兴趣。在上大学前我希望可以更加直接地去思考和解决社会问题，对于是否学习建筑仍抱有疑问。入学时我选择了社会学和心理学，在那里会举行建筑和城市规划专业的示范教学，学到了许多关于建筑的知识。渐渐地，我觉得建筑也可以影响社会，于是在修完社会学后转入了建筑学科读本科和研究生。

I was born in Toyama Prefecture, Japan where is close to the sea and locates a mountain called Tateyama. My father is an architect, my grandfather is a ship carpenter and he owns a dock. I was inspired by them since very young and has been interested in architecture and fabrication. Before I decided to learn architecture, I was more interested in solving social problems and issues in a direct way. Thus, I choose sociology and psychology in college. During that time, I participated in many open classes of architecture and city planning and gained a lot of knowledge. Little by little, I found architecture could also have effects on society, and then after graduating from sociology, I chose architecture as my major in bachelor and master.

▼Hamada的家乡，靠山临海，Aki Hamada’s hometown is close to the sea with mountain

2.

日本年轻建筑师的现状是怎样的？
What is the status of young architects in Japan?

有一点过去和现在应该差不多，就是年轻的建筑师并没有多少机会获得建筑设计的委托。尤其是在日本当下的环境下，新建建筑的机会更是少之又少，我们这代建筑师可以施展拳脚的地方主要是在建筑改造方面，很多人都是从室内设计之类的小项目开始做起的。在我读研究生的时候，老家的朋友要建一座咖啡厅，我接下了这个项目，并和美国人Alex一起成立了studio01。虽然年轻建筑师一开始的时候很难接到大的建筑项目，但是在小的设计中也可以发现建筑相关的问题，这对于建筑设计来说也是很有意义的。我希望现在做这些小项目时的想法可以超越项目本身，作为通用的理念为不同人所接受。

Young architects don’t have many opportunities in doing architectural practices, and even less opportunities in new architecture projects. So the architects of this generation are mostly to start their career from building renovation and interior design. When I was studying for my master degree, a friend of mine invited me to design a café and from that point I set up studio_01 with Alex who comes from U.S. Even though it is not easy for young architects to work big projects, one can still learn a lot and know better about architecture from those smaller ones, which is also meaningful for architects. I hope my ideas of doing these projects could run far beyond the projects themselves and could be accepted by people as a general ideology.

▼Hamada的部分设计作品一览，part of Aki Hamada’s design projects

________________
teamlab的工作和感悟
Working Experience with teamLab

更多teamLab作品，请至：teamLab on gooood
To see more works of teamLab: teamLab on gooood

“teamlab的作品中要设计大量灯具的位置，在建筑中也要考虑如何安排多种元素……虽然元素有所不同，但设计的方法和理念是一致的，我认为建筑也可以通过数字化设计完成。”

“我想将建筑从容器变成内容。”

“The works of teamLab is composed of numerous lights allocated in space. In architecture, we also have to considerate how to arrange the many elements simultaneously… Though architectural components are different from bulbs, the ideology of design is the same. In this way, I think we could use parametric design to solve architectural problems.”

“I think architecture should be changed from container to content.”

1.

你在teamLab的工作是什么？
What is your job in teamLab?

teamLab主要是做数字艺术，其作品的展示往往会上升到空间层面，将空间本身变成了一件艺术品。这时就需要建筑师这样处理空间问题的专家介入。我的工作不仅仅是会场设计，还包括配置数量繁多的灯具及其他元素。我在做建筑设计的时候也经常会用计算机来处理大量参数，这和teamLab的数字化设计和思维方式是一致的。像是在“Crystal Tree”这个作品中，我们必须配置几十万个LED灯泡，需要和程序员就空间以及LED的位置进行沟通，此时数字化的交流就变得极为重要。总的来说，我在teamLab的工作主要是和不同专业的同事通过拟定同一个规则来进行设计和沟通。

The work of teamLab is more about digital art, and the projects are always performed in spaces and transform the whole space into an artwork. Thus, they need architects that are professional in dealing with space problems. My work here includes the design of exhibition spaces as well as huge amounts of lights and other elements. I used to do parametric design in my projects, which is in accordance with digital way and thinking of teamLab. In the work “Crystal Tree”, we used hundreds of thousands of bulbs, and we had to discuss about the space and lights with programmer. So communication in digital ways plays a very important role in this project. Generally speaking, my job in teamLab is design and communicating with other professionals by same protocol.

▼“水晶树”，运用数字化手段配置几十万个灯泡，Crystal Tree, use hundreds of thousands of bulbs by digital design method

2.

你在teamLab的工作中学到了什么？
What have you gained by working in teamLab?

新的展览中有一件名叫“Forest of Resonating Lamps – One Stroke”的作品，也是通过设计大量灯具的位置完成的，这与建筑设计是相同的。在建筑中也要考虑如何同时安排多种元素，比如屋面、竖梃、扶手等等，将它们以参数化的形式进行配置，使其可以正常运作。虽然元素本身有所不同，但设计的方法和理念是一致的，从这点上说我认为建筑也可以通过数字化设计完成。

Our latest work “Forest of Resonating Lamps – One Stroke ” was also composed of numerous lights allocated in space. The design process has a lot in common with architecture design. In architecture, we also have to considerate how to arrange the many elements simultaneously, such as roof, sack, handrail, etc., in parametric ways and make them work correctly. Though architectural components are different from bulbs, the ideology of design is the same. In this way, I think we could use parametric design to solve architectural problems.

▼通感的灯之森林（点击这里查看更多），Forest of Resonating Lamps – One Stroke (click HERE to view more)

3.

数字设计对设计工作的影响主要是什么？
What are the main effects of digital design in your design work?

如果只是给程序员图纸让他照着去做的话，其实并不能直接地传达设计需求。更好的做法是提供三维坐标等文本数据来说明灯具在空间中的配置，比如通用的CSV等格式。这样一来，程序员只要输入数据就可以了解在不同位置设置了哪些物件。只要对空间进行过一次数字化转换，程序员就可以轻松地介入到空间设计之中，和建筑师一起实现可视化操作，这样的交流对于设计来说是十分重要的。将不同职业的人以相同的方式联系在一起是利用程序进行设计的优势之一。此外，数字化设计可以获得大量的反馈信息。比如我们可以利用数字化设计在虚拟空间中建造各种各样的模型，并不受限制地对其进行气流、光照和热学等模拟。借此，我们可以在设计中注入更多信息，追求更高的精细度。不仅如此，通过使用数字设计等新的技术，我们甚至可以进行人脑难以想象的偶然性设计，说不定能超越人类本身。

Design requirements could not be efficiently transmit to the programmers if we only provide them drawings. It is better to give them spatial data to illustrate the arrangements of lights in spaces, like CSV document that is commonly used. The programmers could clearly see the location of different elements after entering the data. By merely a digital transformation to the space, programmers could easily intervene in the space design, and corporate with architects for visual operations. This kind of communication between programmers and architects is significant. It is one of the advantages of parametric design to combine people from different professions through the same tool. What’s more, digital design can easily gain feedback information. We could take advantage of digital design in creating models in virtual space, on which unrestricted simulations of airflow, illumination and thermotics are allowed. Thereby, we are able to insert much more information to pursue higher precision. Moreover, by using new technology of digital design, we might be able to do unpredictable designs that are beyond imagination and eventually transcend human beings.

▼运用数字化手段设计灯具的位置，并用文本数据传达需求，use digital method to decide the location of numerous lamps and translate it into text

4.

在teamLab的工作经验对你的建筑设计有什么影响？
What influence does working in teamLab have on your architecture design?

teamLab的作品十分注重内容，优先考虑人的体验和感受。和艺术不同，建筑的话往往会把注意力集中在“外壳”这个部分上。但对于teamLab来说，重要的是利用放入空间中的内容为人们带来独特的体验，这也是我所重视的。我想将建筑从容器变成内容。

Works of teamLab values contents a lot and put people’s experience in the first place. Unlike art creation, architects tend to focus on the “shell” of the space. But for teamLab, it is more important to enhance the contents of the space to bring people unique and new experience, which is what I agree with and I think architecture should be changed from container to content.

▼teamLab的部分作品，用空间中的内容为人们带来独特体验（点击这里查看更多），works of teamLab, rich contents in the space give people unique experience (click HERE to view more)

5.

如何在多项工作中取得平衡？
How to balance the different works?

我并没有特意在不同工作中寻求平衡。一是所有的团队都是相互联系的，二是设计的方法也没有特别巨大的差异。当然建筑设计和艺术作品创造本身是不一样的，但是我的工作室本身有可以承担的项目数量，我们会在这个范围内尽力管理和推进设计。因此虽然项目数量很多，但我们可以以极高的效率去完成。为了实现这一点，首先需要设立一个设计的系统，使得像我们这样的小工作室也可以同时运转大量项目。这也是运用算法，技术和程序进行设计的优势所在。

I didn’t pay special attention in balancing different work. On one hand, the design teams are connected with each other. On the other hand, there is no big difference in design methods. Of course architectural design varies from art creation. As long as the number of projects is within our capacity, we would do our best to manage and complete all of them. In order to finish the projects efficiently, we first set up a system for design, which enabled a small studio like us to run many projects simultaneously. It is also the merit of using technology and program to design.

____________
更加自由的建筑
Architecture with more Freedom

“尽管建筑有着巨大而且沉重这样的特征，但是其内部的空间可以更为丰富多变，比如将建筑元素像艺术那样数字化……仅仅通过将一种元素做得更为轻盈便利，人们就可以更自由地使用建筑。”

“Though architecture itself is too enormous to be flexible, the space inside could be different. We could digitalize the architectural elements like what we do in artworks… People could use the architecture with more freedom by merely making one component lighter.”

1.

你怎么看待新陈代谢派？
What do you think of Metabolism?

我对于新陈代谢派的理论很有共鸣，认为建筑确实会如生命一般进行代谢。接下来的时代中不止是建筑，人类本身也要发生改变。也许对于现在来说还很不可思议，但是人类是可以随着科技进步和机械一同进化的。Norbert Wiener的《控制论》里所描述的世界在当下就有实现的例子。如同人类会和机械共同进化一般，建筑也会随之变化。对我来说，我想要设计可以适应环境的，有生命的建筑。之前我设计过一个名为Float的项目，希望在其中建造一个巨大而轻盈的空间。于是我设计了一个如同底座一般的建筑，分为地上和地下两个部分，上方设置轻盈的气球，可以根据时间和用途更替，明显地随着环境发生变化，和固定不变的建筑形成鲜明对比。如何在满足使用和环境需求的前提下创造更加轻盈适用的建筑，是我在这个项目中的主要关注点。在新陈代谢派中也有类似“可更迭”的思想，虽然由于建筑本身体量巨大，无法进行更换，但在现代技术的辅助下，或许可以从材料或者影像等方面发生“变换”。如果运用性能优越且能够自由变化的轻质元素，那么建筑离实现新陈代谢应该会更进一步吧。

▼Float项目，建筑主体设置轻盈的气球，变化的影像让其呈现出不同的样貌，Float, the architecture is composed of huge balloons and varies through the videos projected on them

My theory has much in common with Metabolism which we both agree architectures are all in a metabolization process like live entities. In the coming generation, architectures will experience a big transformation as well as we human beings. It may be incredible for us to talk about this, yet people could progress along with the progress of technology. The world illustrated in <Cybernetics>, written by Norbert Wiener, has a living example. Human evolves with technology as well as architecture. For me, an architecture design should be alive and adapted to the environment. I had a project called “Float”, which was aim to build a huge and light space. So I designed a architecture like a foundation which including the upper ground and the underground parts. The balloons above are changeable depending on time and uses, and they act like changing with environment, and have a bright comparison with the architecture below which is as invariant ground. How to design a lighter architecture while meets to the requirements of the environment is my design focus. There is a similar ideology in Metabolism is “renewable”. Depending on the volume of the architecture, it cannot be replaced, while by using the modern digital technology, we could change the materials or the surface of architecture. If we could use free-alternating and lighter elements, the architecture would step closer to the Metabolism in present times.

▼轻薄的表面材料及投影内容随季节变化，the light material and projection change with seasons

2.

更自由的建筑指的是什么？
What is architecture with more freedom

以teamLab的艺术作品为例，数码技术可以让设计变得更具有交互性，将艺术、空间和人联系到一起。在建筑设计中，我希望把人与建筑之间的相互作用进一步加强，即对艺术和空间进行升级。尽管建筑有着巨大而且沉重这样的特征，但是其内部的空间可以更为丰富多变，比如将建筑元素像艺术那样数字化。虽然现在还无法做到那一步，但是仅仅通过将一种元素做得更为轻盈便利，人们就可以更自由地使用建筑。人类自古以来就在追求自由，我一直在思考人与建筑的界面，希望把不能移动的建筑变得更受人控制。在日本的传统建筑中有被称为“间”的空间，人们可以自由地移动拉门，设立屏障，然后放上被炉等取暖工具就形成了不同的空间，比如铺上被子就变成了卧室等。这种高度的自由性使空间的意义发生了变化，使我感触良多，希望可以通过自己的设计使空间更加灵活多变。

Take teamLab’s artwork for example, digital technology makes the design more interactive, which combines art, space and people together. In architectural design, I hope that the relationship between human and architecture could be further enhanced by updating the space experience. Though architecture itself is too enormous to be flexible, the space inside could be different. We could digitalize the architectural elements like what we do in artworks. People could use the architecture with more freedom by merely making one component lighter. I have been thinking of the interface between people and architecture. As freedom is a pursuit of human beings from ancient time, I wish to make the unmovable architecture easier for people to control. In traditional Japanese architecture, there is a space called “ma”. People could create different spaces using sliding doors, blinds or movable furnace. The space would become a bedroom if you put quilt on the floor. Which impressed me the most is that the meaning of space is changed by high flexibility and it is what I want to approach in my design.

▼绫濑基板工厂项目，建筑的立面可以移动变化（点击这里查看更多），Ayase Circuit Board Factory with flexible facade (click HERE to view more)

在我之前设计的绫濑基板工厂改造项目中，隔断可以沿建筑柱网自由滑动，从而产生各种各样的功能空间。在设计过程中，本来是车间的空间要改成展厅，但我们所采用的自由设计策略本身不会因此发生任何变化。现在经常有工厂变成美术馆的建筑改造项目，绫濑基板工厂项目便是其中之一，而我们所做的仅仅是考虑如何设计“间”这一空间，即在自由度最大化的框架下保证使用者的功能需求，这是我们设计的重点所在。

In the architectural design of Ayase circuit board Factory, the partitions could be freely moved along the axis, creating various functional spaces. To transform the workshop into an exhibition hall would make no difference in our design strategy of free space. The key point of our design is to set up a framework with maximum freedom that could provide different functional spaces according to users’ needs.

▼通过滑动拉门自由改变室内布局，change the layout by flexible sliding doors

在考虑垂直方向的空间划分的时候，我认为建材本身必须要足够轻盈，所以在2.1米的位置进行了分割，下面是人使用的居住空间，上面是环境设施空间。环境空间内将所有环境调节所需的装置整合在一起，如采光、通风、空调和照明等，人并不会直接接触。这样的设计使得下方的活动空间变得更加宽广。此外，环境空间本身呈立体桁架形式，如同一根中空的大梁，不需要一根柱子便支撑起了活动空间，进一步保证了空间的自由。我们通过采用这样的构造成功建造了一座没有柱子的木造建筑。

I believe that the architectural components should be light enough when considering the vertical space division. Thus I cut the space at 2.1m height, creating living area below and environment area above. All the facilities for environmental control, such as lighting, ventilation, HVAC and illumination, are integrated in the environment area, where people would not directly interact. This arrangement enables a wider living space below. Besides, the use of space truss structure in the environment area free the living area from vertical supporting elements, further ensure the flexibility of the space. A wooden architecture with no columns is completed as a result.

▼无柱的二层，最大程度保证空间的自由性，设备和灯光设在上层的设施空间中，second floor space without columns, HVAC and illumination are set in the environment area above

3.

新技术如何使建筑和人更加自由?
How could new technology make people and architecture more free?

自由这个词本身很难定义。我所认为的自由包括两个方面，一是通过使用新的技术让设计本身变得更加自由。具体来说就是在新技术的帮助下，我们可以设计更为复杂的几何形态。我在富山的工作室那边有一个工厂，本来是我祖父留下的船坞，在那里有一台CNC木板加工机，我们可以用它制作木雕、各种产品以及墙板等。不更新生产手段的话是无法将复杂设计实现的，设计的自由也就无从谈起。因此我对于如何将数字化设计中的数据转变为现实的项目，以及数字化装配等方面十分关注。另一点就是建筑要给人以自由的体验。为了达到上述两点，我希望不断学习新技术，在现有建筑的基础上向下一个阶段跃进。

It is hard to define the word “free”. I think there are two aspects of freedom. One is that the design itself could be freer by using new technology. It is to say that with the help of new technology, we are able to design more complicate geometric forms. I own a factory at my studio in Toyama, which is the previous dock of my grandfather. There is a CNC router, which could be used to carve wood, fabricate products and wall panels. It is impossible to accomplish complicate design if we don’t update our means of production, not to say realizing free design. Thus I pay much attention on how to turn digital design into real project and digital assembly technique. The other point of freedom is that architecture should provide free experience to people. To reach the above goals, I have to keep learning new things, stepping into new stage of design based on present architectural approaches.

▼Hamada在富山的船坞工厂，设有CNC机器加工木板，Aki Hamada’s factory in Toyama with CNC router to process wood panels

____________
建筑与光的影像
Architecture and Video

“建筑中应该创造富有信息量的空间。”

“光可以照射在很大的面积上，影像的信息量很大，通过投影可以把影像做成空间，建筑自身随之产生丰富多彩的变化。”

“In architectural design, creating space with high information is important.”

“Light could shine on a huge area and video could contain large amounts of information. We could create huge video space by projection and architecture could change its appearance alongside.”

1.

project228中是如何考虑建筑和光的关系的？
How did you consider the relationship between architecture and light in project228?

在project228中，我希望把建筑做成影像。实际上人们可以进入的建筑空间只有两层，柱子一直延伸到屋顶露台，撑起投影用的幕布，形成户外广告一般的效果。我认为建筑本身表面积广阔，又位于河边，其本身就可以拥有户外广告这个功能。白天的建筑如同白色的帆船，到了晚上则会投影出广告或影像艺术，而建筑自身会随着影像产生丰富多彩的变化。

In project228, I aimed to make architecture a screen. In fact the architecture has only two floors, with columns stretching into the roof terrace, supporting the screen curtain that created an impressive effect from outside. The enormous surface area of architecture and the location on the riverside point to the possibility of the building to be functioned as an outdoor advertising. In day time, it is an architecture as like white sailing ship. In the night, the architecture changes its appearance along with the video artworks projected on the surface.

▼project228，项目外观如同白色帆船，晚上可以投影不同的内容，产生丰富变化，project228, which appears like a white sailing ship, changing in the night by various projections

▼白色幕布形成轻盈的室内空间，white screen creates a light interior space

2.

建筑如何因光而变化?
How could light change the architecture?

光和建筑的关系很难一概而论。光的特征之一是可以照射在很大的面积上，通过投影能够形成十分巨大的影像。在Float项目中我设计了大气球一般的构件，那里也可以投射影像。因此如何制造尽可能大面积的构件便成为了设计的重点。比起建筑，巨大的体量本身成为了设计优先考虑的内容，因为顶光理论上来说并没有质量。可以说我是一边考虑怎样的建筑形式可以让主要的影像部分成立一边进行设计的。

The relationship between architecture and light is multi-faceted. One factor of light is that it could shine on huge area, making oversized video works possible. In the project of “Float”, I designed a balloon-like component, which could be used as screen for projection. Thus it is important to create huge areas with minimum weight. Volume and Bigness of architecture becomes the priority in design because light is no weight theoretically. You could say that the form of the architecture was determined by the needs of video projection in this project.

▼Float项目，投影成为建筑形式的一部分，丰富的内容改变建筑空间，Float, projections become part of the architectural form, changing the space by its rich contents

3.

未来的建筑是什么样的?
What will the architecture be like in the future?

影像的信息量很大。由于人这种生物对于信息量大的事物十分感兴趣，所以大家都会去关注影像。就如同把影像做成空间一样，我也在思考如果没有影像的话该如何创造高信息量的空间。在没有发表的项目中我打算设计一面高信息量的墙壁。项目是一间艺术家的画廊，那位艺术家在奈良的土墙包围下长大，之后去学了壁画绘制，成为了著名的壁画艺术家。我认为在画廊展区之外的地方也有大量的信息需求，于是在想是否可以制作一面包含艺术家故事的墙壁。因此我将奈良土墙表面的纹理转变为数据，并使用CMC木板加工机将其制成了一面墙壁。借此我们将奈良土墙中不同的信息进行了一次转换，游客可以通过凝视墙壁感受其中的历史以及人文。我认为在一般的建筑中也应该创造这种富有信息量的空间，将类似基地或业主特征的物体通过数字科技转变为数据，再把这些数据变成空间。这种小型室内设计项目便是我为此而做的实验。

There are large amounts of information in video. That’s why people tend to be attracted by video works, as human beings are always interested in objects with high information quantity. Like projection in the space, I have also been considering how to create a high information space without video. I have worked a project of an art gallery. The artist grew up in Nara, surrounded by the local cob walls. Then he went to study fresco and became a famous fresco artist. When visiting a gallery, people may feel more information besides the artworks exhibited. Thus I started to wonder if I could fabricate a wall expressing the story of the artist at resting space. I transformed the texture on the Nara cob walls into digital information and turned it into a new wall by CNC router. People could stare at the wall and feel the history and culture of Nara behind it. I think that in architectural design, creating space with high information is important. It could be approached by digitalize the characteristic of the site and client oriented story transform the information into a space. I am testing my theory in such small-scaled interior design project.

▼艺术画廊，墙面保留了奈良土墙的纹理，包含更多信息，gallery, the walls are translated from the local cob walls in Nara, containing more information

▼奈良土墙及转译过来的墙板的加工过程，Nara cob wall and the making process of the gallery wall panels

▼画廊墙面及材料细部，details of the gallery wall and materials

______________________
工作中的挑战和对未来的预期
Challenge and Expectation in Work

现在正在进行的住宅加建项目中有一部分为玻璃覆盖，在玻璃上需要设计扶手。我将所有的扶手角度和遮阳、视线遮挡等因素全部数字化，对其进行了精密的设计。现在提到数字化设计，人们往往会想到各种复杂的形状，实际上我对于这种特别“数字化”的数字化设计并不是很感兴趣。我认为建筑的社会使命是将不同的人联系在一起，促进人们的交流，并且受到人们的喜爱。为此我想着重思考创造可以被人喜欢的建筑，设计一个可以让更多的人聚集在一起的场所。如果我能把这样的设计理念带到不限于日本的各种项目中去，那就再好不过了。

There is a residential project that I am dealing with. Part of the house is covered by glass and there should be handrails on it. I digitalized all the information of handrails, such as angle, sun shadow and visual block, in order to precisely design the elements. When talking about digital design, most people would come up with different kinds of complicated shapes. While it is not the “digital design” that I am interested in. I believe that the mission of architecture is to connect different people, facilitating their communication and be loved by people. I am trying to rethink about how to design architecture where people would like to gather. It would be even better if I could bring my idea of design into projects out of Japan.

▼Hamada的其他设计作品 – nantoka presso面包房，other design works of Aki Hamada – nantoka presso Bakery

▼Hamada的其他设计作品 – BREAD, ESPRESSO & JIYUGATA，other design works of Aki Hamada – BREAD, ESPRESSO & JIYUGATA

▼Hamada的其他设计作品 – midi a midi，other design works of Aki Hamada – BREAD, ESPRESSO & JIYUGATA midi a midi

现在我既在做数字艺术，也在进行住宅加建和室内项目设计，并没有特别偏向哪一方，所有项目我都是无论规模，一视同仁地平行向前推进。

I am now focusing on digital art and interior design and transformation of residential. No matter what kind of project it is, I will make no exception in dealing with them.

▼正在接受采访的Hamada，Aki Hamada during the interview

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