FORMULA

@perverze_official x @homeeconomicsexperiment pop up store at Hankyu-umeda in Osaka. -IN TRANSIT- Products never arrive on the sales floor without first passing through phases of movement and temporariness. They are packed, stacked, transported, and unpacked. What is usually concealed in this process is deliberately revealed here as the retail environment itself. Protective floor mats represent a floor “before completion.” Cardboard boxes embody a state of “in transit.” Fixtures are structures that directly adopt the scale of logistics and distribution. The products by PERVERZE and HOME ECONOMICS EXPERIMENT, likewise, resist being confined to a fixed definition, continuously shifting their expression in response to context. A landscape of distribution becomes display. A temporary state becomes a final form. This is not merely a pop-up space, but a place that captures the very moment when meaning and function remain in flux. 商品が店頭に並ぶまでには、必ず“移動” と“仮設” の時間がある。 梱包され、積まれ、運ばれ、解体される。 本来は隠されるその過程を、あえて売り場として提示する。 養生マットは「完成前」の床であり、段ボールは「輸送中」の状態であり、什器は「流通のスケール」をそのまま転用した構造体である。 PERVERZE とHOME ECONOMICS EXPERIMENT のプロダクトもまた、完成された定義に回収されることなく、状況とともに表情を変える。 流通の風景を、陳列へ。 仮設の状態を、完成形へ。 ここは単なるポップアップスペースではなく、意味や用途が揺れ動く、その瞬間を切り取る空間である。

@pop_yours / @popyours_store - Playground equipment Hip-hop was never born only on a stage. It comes alive wherever people gather—streets, schools, parking lots, vacant spaces—where sound meets instinct, and play begins without permission. This booth translates that raw energy into space through the motif of “PLAYGROUND EQUIPMENT.” A solid aluminum frame, reminiscent of jungle gyms and playground structures,reimagined as a system to hold products, visuals, and moments. Objects don’t just sit—they float within the frame. Products, photographs, and graphics drift in tension, forming a single three-dimensional composition. It’s not just a display. It’s a structure where music, fashion, and graphics intersect—the very architecture of hip-hop itself. A playground, redefined.

Designed two types of lift systems for @the.tunnel_ restaurant . - Cantilever-structured lift system, raised and lowered using an electric driver for storing the table. - A two-tier kitchen worktable with a manual handle-operated lift system. Fabricated by @ingot_ / @takuma_fab

Fixture design for @the.tunnel_ restaurant in Harajuku. - High-top table with engineered stone, inspired by highway interchanges. - 2 and 4 seater tables inspired by traditional soba houses. - Stackable stools inspired by traditional soba houses. - Trash box modified from a USM unit, I call it “Over Expansion”. - DJ table with an integrated freezer, informed by the proportions of a 20ft shipping container. Truly appreciate all of you guys. @ingot_ @koutaomori @new_classic_furniture_studio (@katayan2 / @yuuogihara ) Also thank Shigeru-san @_shigeru_ for trusting me.

Designed a structure named AIR AXIS for UNBOXED by AIRMAX. Nike Air Max は、「空気」という本来見えない存在を構造として可視化し、人が体重を預けられる“信頼の構造”を提示した画期的なプロダクトである。 本作は、その思想をスニーカーというプロダクトの枠組みから解き放ち、より根源的なレベルで再解釈する試みである。ここで扱うのは空気そのものではなく、空気の存在を前提として成立する構造の在り方。 空気は形を持たない。だが圧力は痕跡を残す。 風船によって膨張した空気は、レジンの殻として定着される。内部は空洞であり、空気そのものは既に存在しない。外殻だけが、膨張の記憶として残される。 AIR AXIS は、それら複数の殻を一本の軸で接続した垂直構造体である。一点の緊張によって支持されたそれぞれの殻は、崩れそうな均衡のなかで立ち上がる。 見えないものを信じるという行為。そして、その信頼を成立させる設計。 これは空気の塔であり、存在しないものを前提とした構造体である。 Resin work : @yamahei_tkc - Nike Air Max is a groundbreaking product that made the invisible—air—visible as structure, presenting a form of “trusted support” capable of bearing human weight. This work reinterprets that idea beyond the framework of a sneaker, approaching it at a more fundamental level. it focuses not on air itself, but on the structures that can only exist because of it. Air has no form.Yet pressure leaves a trace. Air expanded within balloons is fixed as resin shells. The interior is hollow—the air is no longer there.Only the outer skin remains, preserving the memory of expansion. AIR AXIS is a vertical structure connecting multiple such shells along a single axis.Each shell is held in tension at a single point, standing in a fragile state of near-collapse. To believe in the unseen— and to design the conditions that make that trust possible. This is a tower of air: a structure built upon what no longer exists.

03/14/2026 A restaurant in Harajuku

多くのプロジェクトに携わり、試行と対話を重ねる中で、確かな手応えを感じた一年でした。 スタジオを構えたことで思考と制作の密度が高まり、集中できる環境が、明確にクオリティに還元されているように感じます。 我が子の成長も日々感じ、父としての喜びを感じています。仕事に集中できる環境を支えてくれる妻には、心から感謝です。 来年も楽しみなプロジェクトが控えています。 協業して下さる各業者の皆さまへは深い敬意と感謝を、信じて任せて下さるクライアントの皆さまへは、最大の誠意をもって向き合い続けたいと思います。 - This year has been one in which I worked across many projects, and through continuous experimentation and dialogue, I felt a growing sense of confidence in my work. Establishing my own studio has increased the density of both thought and production. Having an environment where I can fully focus has clearly translated into higher quality outcomes. I also feel my child’s growth each day and the joy that comes with being a father. I am deeply grateful to my wife, whose support makes it possible for me to stay fully engaged in my work. Several exciting projects await in the coming year. To all the partners and craftsmen who collaborate with me, I extend my deepest respect and gratitude. And to the clients who place their trust in me, I will continue to meet that trust with the utmost sincerity.

@omarafridi_official Tokyo store. Creative direction : @omarafridi_official Interior architecture : Formula Fixture design : Formula / @leesisan / @_multistandard_ Area : 82.128 sqm Construction : @new_classic_furniture_studio Date of completion : December / 2025 Spatial photos : @kohei_kawatani Special thanks to @ingot_ & @malukome_x

December 20th in Shinagawa. @omarafridi_official

-Split chair- Stainless steel by polished finish 400 Manufactured by @ingot_ Designed a new chair for formula studio. - When I first started this line of work, I was deeply drawn to stainless steel as a material. Hard, cold, inorganic—its almost defiant presence somehow resonated with my own attitude toward design. Even now, some still associate me with "the guy who only uses stainless steel." But I’ve never wanted my work to be defined solely by material. In fact, disrupting that fixed perception—creating distance from my own past—has become increasingly important to me. This chair, titled Split chair, begins with that act of separation—literally "splitting" the seat—as a symbolic break from what came before. Within a deliberate tension that avoids appearing cheap, I allowed the inherent qualities of the material—its hardness, coldness, and sharp edges—to naturally shape the form and details of the piece. I intentionally designed a sense of "unfriendliness" into it. A hard seat, angular form, and a kind of resistance to easy acceptance. And yet, within that, I carefully considered comfort—through the seat’s spread, the angle of the backrest, the way the legs wrap in. It’s that balance that defines the chair’s structural and conceptual integrity. From initial sketches to the choice of every single screw, I make every design decision myself. Still, I often get asked, “How much of this did you actually make?” Each time, it reminds me of the ongoing gap in how the relationship between product and interior is perceived—and sparks a kind of defiance in me. A desire to communicate without relying on words. Precisely because this is a product-focused design, it demands a thoughtful relationship with the space it occupies. I want to create not only objects of strength, but objects that carry with them a sense of inevitability within the environments they inhabit. If something only makes sense when it's explained, I’m not sure it qualifies as good design to begin with.

-Giant baby chair- Solid wood in stone textures paint. Manufactured by @new_classic_furniture_studio Designed a new chair for formula studio. - The birth of my daughter brought a profound sense of responsibility into my daily life. At the same time, I found myself constantly overwhelmed by the sheer, undeniable feeling of love for her. This chair began with a deeply personal motivation: I wanted to create something that would make her look even more adorable when she sat on it. It felt right to present such an honest and intimate idea through my own studio. There were three non-negotiable conditions I felt were essential when designing something for a child: no sharp corners, a soft seat, and a stable center of gravity. Children often move in ways adults can’t anticipate, which is why I believe imagining and preparing for every possible risk is not only necessary for safety—it also helps define the presence and identity of the product itself. Last winter, my father gifted my daughter a pink wool romper. It left a lasting impression on me, and I wanted to recreate that charming texture by giving the chair a tactile surface—almost as if I were “dressing” it. I believe that limiting the number of elements—especially in terms of material and color—adds a kind of intensity and clarity to design. Initially, I thought of naming it the “Baby Chair,” but in reality, it’s mostly adults who end up using it. There’s something humorous and surreal about an adult sitting on a chair that clearly looks like it was made for a child. That contrast inspired the final name: Giant Baby Chair. The contrast felt when placing it alongside the Split Chair was striking. The textures and forms were completely opposite, making me almost feel like an outsider witnessing how profoundly our environment can shape what we create. It made me realize that humans are fluid and multifaceted beings, and understanding them fully is no simple task. I’ve come to believe that if a design doesn't imagine its user, it can't truly be considered good design.

Formula studio ガラス工場として建てられた建物は、鉄骨が剥き出しになった荒々しい佇まいで、工場としての機能だけを追求した構造だった。代々木八幡の閑静な街並みに、長い年月をかけて馴染みながらも、どこか心地よいノイズを生み出していた。環境に根ざしてきた建物だからこそ、まずは「工場」という空間の特性と改めて向き合うことから、スタジオデザインが始まった。 工場とは先述の通り、機能性を最優先に設計され、装飾的な要素は基本的に排除されている。そこで過剰な装飾を一切加えず、必要最低限の素材のみを用いながら、部材の置き換えや割付の調整によってデザインの要素を導き出した。このアプローチは什器にも反映されており、空間全体を通して、施工プロセスの中でデザイン的思考を注ぎ込む余白を見つけ出し、最小限の手数で丁寧に空間を形づくっている。