Even When Told to Make It a Hit (Part 1)

Space producer Uichi Yamamoto is a pioneer of Tokyo's "cafe culture." Beyond producing spaces like Komazawa's "Bowery Kitchen," Omotesando's "Lotus," and "Montauk," he has built communities that connect people. While Yamamoto has consistently designed comfortable spaces, he reveals the secret to his hits is actually "not riding the trends of the moment." In this Design Talk, Taro Ishizaka of Dentsu Live Inc. serves as the interviewer, welcoming guests who share Yamamoto's design philosophy: Yoshinobu Amano of George Creative Company and architect Makoto Tanijiri. Together, they explore the thought process behind creating successful spaces.

(From left) Makoto Tanijiri, Uichi Yamamoto, Yoshinobu Amano, Taro Ishizaka

A Rare Discussion with Three Distinguished Individuals

Ishizaka: Today's theme is "Even When Told to Make It a Hit." The spaces created by our three speakers always draw large crowds and maintain enduring popularity. We'll explore the reasons behind this through their projects and insights.

Amano: It's extremely rare for Uichi Yamamoto to appear at an event like this, so I feel today brings together a truly rare trio.

My first collaboration with Uichi-san was about 15 years ago, before he founded George Creative Company. He joined as Creative Director when we launched "CIBONE," a shop proposing a new lifestyle.

He also decided on the store name "CIBONE." At the time, he wanted a three-syllable katakana name like Gucci or Prada, something stateless. Honestly, I wondered, "Why CIBONE?" But after opening, customers frequently asked, "Which country is this brand from?" It felt like we'd perfectly succeeded in creating the flat, borderless brand we aimed for.

Mr. Tanijiri created a massive jungle gym called " Mountain Gym " for a design event held on the lawn plaza within Tokyo Midtown.

Tanijiri: I heard jungle gyms are disappearing from parks lately. The reason seems to be "it's dangerous if kids fall from high places." So I thought, if we made it a gentle, mountain-shaped structure, we could balance the excitement of a jungle gym with safety, and kids would enjoy playing on it. We used 2,500 pine square timbers. It's a simple structure designed to hold the weight of about 50 adults climbing at once.

Amano: Even little kids around three years old climbed straight to the top—about the height of a second-story building—and played without getting bored. The texture feels amazing too. I really think Tanijiri-san is incredibly skilled at creating "warmth-filled design."

A store filled with the aroma of coffee and 1,500 travel books

Amano: I was in charge of renovating the H.I.S. store in Omotesando. When I researched the site, I noticed many people would pick up pamphlets at the H.I.S. store and then go to the neighboring cafe to look at them while drinking coffee. I thought that was a waste, so I created a public space anyone could enter.

We then displayed about 1,500 travel-themed books selected by book selector Hirotaka Haba. We set up a Sarutahiko Coffee stand, so people could read travel books while drinking coffee. If they found a place that interested them, nearby H.I.S. concierges would hand them brochures. Sales really took off.

Yamamoto: That's near " Lotus," right? I passed by the shop the other day and saw they were holding a talk event.

Amano: We hold a travel-themed talk event once a month. We consciously aim to create more opportunities for people to gather—whether it's Mr. Haba's fans visiting, people drawn by Sarutahiko Coffee, or attendees coming for the talk events.

The Background of "Bowery Kitchen," a Pioneer of Cafe Culture

Amano: Every time I think about producing shops like this, I genuinely admire Uichi-san for paying attention to every detail—from the space itself to the BGM to the toilet brush. I want to be like that, so I work on it in my own way.

Yamamoto: Hearing about various examples, I actually feel what I've done might be at the opposite end of the spectrum. The first place I created , "BOWERY KITCHEN" near Komazawa Park, was a small shop of about 86 square meters. It turned 20 this past June. This wasn't a place I started because someone told me to "make it a hit"; it was a shop I created for my own life.

 BOWERY KITCHEN

Ishizaka: It's known as a pioneer of open-kitchen cafes.

Yamamoto: Back then, European-style cafes with rattan chairs were the norm. BOWERY KITCHEN was created with interior designer Ichiro Katami as an "anti-cafe" concept.

Since cafes back then often used brown tones, we deliberately went with a monochrome palette of white stainless steel and black plastic. It's surprising that a store built from an idea so opposite to what cafes were then is now called the "origin of cafes."

Ishizaka: Why did you think the complete opposite would work, when cafes using brown were successful?

Yamamoto: I was in my thirties then, and I wanted to create a "new kind of shop that would become a long-standing institution" from my generation's perspective. The image I had was of the kind of diner I visited as a child – plastic tables, green vinyl chairs, and a menu featuring natto and tofu. Bowery Kitchen was that original experience filtered through my own lens.

The open kitchen was born out of the need to manage the shop with a small staff, allowing us to see the dining area while working in the kitchen.

Ishizaka: So the open kitchen emerged as a result of pursuing functionality. Yet many people found it aesthetically pleasing.

Yamamoto: Ultimately, the style and approach to service probably emerge from your own necessity. For example, normally you'd install a ceiling under the beams, but "Bowery Kitchen" didn't have the money, so we attached the lighting directly to the ceiling structure. This also came from necessity, but it ended up being well-received.

Industry peers came from all over Japan, took back the details and atmosphere of "Bowery Kitchen," and created their own unique shops. So even though they share the open kitchen concept, I think they exist differently from my shop. I believe that ultimately helped shape café culture.

What was the concept behind "Lotus" in Omotesando?

Ishizaka: The next place we created, "Lotus" in Omotesando, was a completely different type from "Bowery Kitchen."

Yamamoto: "Lotus" also emerged out of necessity. "Bowery Kitchen" became so popular it couldn't accommodate everyone, so we knew we had to open another location. We thought it would be ideal to be near where our customers worked, which is why we chose Omotesando.

Both "Bowery Kitchen" and "Lotus" opened in areas with almost no other shops nearby. But both locations had a postbox right nearby. Since postboxes are always placed in easily accessible spots, we figured the location wouldn't be a problem.

Ishizaka: You have a variety of furniture designs, right? Previous cafes tended to maintain consistency with specific brands or designs, but at Lotus, the furniture curated by Mr. Uichi created a truly exquisite atmosphere – it felt fresh. It must have had a significant influence on Japanese interior design too.

By the way, "Lotus" and "Bowery Kitchen" are completely different types of places, right? Normally, you'd probably make a popular shop similar to itself.

Yamamoto: "Bowery Kitchen" had a monochrome design, and since I was always there, I got bored. I developed a thirst for color, so I made "Lotus" colorful. I think customers, lagging behind me, felt a similar thirst, and when they saw Lotus, they thought, "It's colorful and cute."

※Continued in Part 2
You can also read the interview here on AdTae!
Planning & Production: Dentsu Live Inc. Design & Technical Unit Campaign Planning Room Digital & Account Planning Department Aki Kanahara