Keiichiro Sako is a Japanese architect and the founder of SAKO Architects, established in 2004 as one of the first architectural firms led by a Japanese architect in China. Sako’s extensive portfolio includes over 160 projects across five countries, including China, Japan, Korea, Mongolia, and Spain. His work spans a variety of building types, including residential, commercial, educational, and urban master plans.
Educated at Tokyo Institute of Technology, Sako gained early experience at Riken Yamamoto & Field Shop before founding his firm. He is recognized for his innovative and sustainable designs that incorporate local cultural themes and global design practices.
Notable projects include the CUBE TUBE in Jinhua, the VERTICAL RAINBOW in Tokyo, the ZIGZAG in Tianjin, and the LINES in Shanghai. Sako’s approach, often referred to as “Chinese Brand Architecture,” uniquely blends local context with international standards, creating functional and culturally resonant spaces.
What inspired you to become an architect?
When I was in elementary school, my family moved to a newly developed residential area, carved out of the mountains and fields, a bit removed from the city center. At that time, there were still many vacant lots around, and over the next few years, I witnessed two-story wooden houses being built one after another. Most houses in Japan are built by carpenters, and seeing two or three carpenters construct a house from scratch was something I found incredibly “cool.” Additionally, the coach of the baseball team I belonged to at the time was a structural designer, and watching him precisely draw plans using a drafting table at his home office left a lasting impression on me. I was filled with a pure admiration for that profession, thinking it was “cool.” Later, I realized that before these “cool” jobs came to the architects, who conceived the entire design, I became strongly attracted to that role.
How would you describe your design philosophy?
In one word, it is “theme.” In all my projects, I establish a clear design theme and ensure consistency from the overall concept down to the smallest details to reinforce that theme. The theme serves several crucial roles. First, it functions as a design manifesto. By exploring deeply into the theme, I aim to achieve results like “arriving at this kind of output” or “expanding the edge of design.” I want to demonstrate that “I achieved that challenge.” Next, the theme plays a role in sharing awareness among all stakeholders. Many people are involved in architecture—clients, myself, my design staff, partner firms, government officials, construction companies, suppliers, and more. Additionally, it takes time. Architecture doesn’t come to completion in a day; it unfolds in a four-dimensional space over time. The clearer the theme, the better it can unite all stakeholders and keep them aligned throughout the project. Lastly, the theme serves as a statement to the world. The medium of information has shifted significantly—from black-and-white photos to color photos, from still images to videos, and from major publishers to individual media. In today’s world, overflowing with information, a simple and powerful message is necessary to capture people’s attention. In 2004, when I established my office in Beijing, contemporary architecture was just starting to gain global attention. I realized that to stand out in such a place, it was crucial to send a strong message to the world. Incidentally, all my works are named “Theme + Location.” In other words, “Theme + Context.” I have consistently followed this practice for the past 20 years since becoming independent.
How do you choose the bold colors and unique shapes in your designs?
I always aim to remain adaptable and flexible. This approach is important not only for the client but also for myself. For example, forcing a design method that doesn’t suit a project will not lead to the best results. On the contrary, encountering a project that doesn’t fit my previous design methods presents an excellent opportunity for personal growth. My bold use of colors and organic shapes are products of such personal breakthroughs.
Can you tell us about your favorite project and why it stands out?
While I could mention several, I’d like to highlight my debut work, “CUBE TUBE in Jinhua.” This project was the turning point that led to my independence from Mr. Riken Yamamoto in 2004, making me the first Japanese architect to establish an architectural office in China. The project features two volumes: a 31.9-meter cube (“CUBE”) and an 88.55-meter-long tube (“TUBE”), placed at the corner of an intersection, becoming a landmark in the Jinhua Development Zone in China. Both are constructed using 550mm square units, with “CUBE” comprising 13,456 grid aluminum panels and “TUBE” comprising 8,880 grid sash frames for the facade. This project marked the starting point for a design method later named “Scaling Unit,” which involves stacking small units to create a large volume. Initially, the project was scheduled for completion in 2005, but due to land rights issues on the client’s side, the project was stopped for four years, eventually taking six years to complete. During this time, I experienced a mixture of expectations and concerns about how the work would be received globally, and a sense of urgency that the project might disappear. However, around the time the design was finalized shortly after my independence, architectural journalist Masayuki Fuchigami visited our office and highly praised the bold volume composition and the control of details, which gave me the confidence to continue as an architect. I also adopted the mindset of “Do your best and let the rest follow,” which helped me maintain my composure while working in the rapidly changing environment of China.
What is your favorite architectural detail?
My favorite detail is the glass facade of “VERTICAL RAINBOW in Tokyo.” To beautifully accentuate the large, vividly gradient-painted glass panels spanning seven floors, it was crucial to design the supporting structure in a minimalist way. The tempered laminated glass, measuring 3.3 meters in height, 1.4 meters in width, and 24 millimeters in thickness, is supported solely by H-shaped frames with a width of 100 millimeters, attached only at the top and bottom edges. While the detail may appear simple, it embodies a high level of technical sophistication.
Do you have a favorite material?
The organic “net” used in “ROMANTICISM 2 in Hangzhou” is particularly my favorite. This project involved deep reflection on the relationship between the body and space. The body, clothed as a second skin, is gently enveloped by the white “net,” which acts as a third skin. This futuristic form of the net was not achieved through advanced machinery carving out three-dimensional surfaces, but rather through low-tech manual labor carried out by a large workforce. At the time of the project’s completion, China was not yet wealthy, and high-tech machinery was not available. However, it was possible to position a large number of workers to carry out the on-site construction. The “net” is composed of steel bars, styrofoam, fiberglass, and epoxy resin. I was confident in proposing this construction method to the client because of my experience repairing the FRP body of yachts during my university years as a member of the sailing club. There is a great sense of achievement when experiences from other fields are realized as architectural expression.
What is your process when starting a new project?
I meet with the client without any preconceived ideas. This allows me to listen carefully to the client’s thoughts without any bias. I ask questions such as what kind of person they are, what type of architecture they like, what they expect, and why they chose me. Through these conversations, design ideas naturally emerge. In most cases, these initial ideas are directly realized in the final architecture, making the first meeting extremely important.
How do you balance creativity and practicality in your designs?
I believe that creativity and practicality are not mutually exclusive vectors. The same applies to creativity and commercial feasibility. There is always a point where they intersect, and finding that intersection is the key to delivering the best answer for the project.
How do you incorporate traditional cultural elements into your contemporary projects?
When I determine a context that should be preserved, I design with respect for that context. For example, in “HORIZONS in Isahaya,” I was concerned about the fading of the surrounding historical culture and designed an exterior to guide and preserve it. Specifically, I expressed the traditional Japanese eaves through a series of cantilevered balconies that wrap around the residential complex, creating a design that conveys an evolved sense of tradition. Similarly, in “KALEIDOSCOPE in Tianshui,” I incorporated the arch elements of the local cave dwellings into the kindergarten’s facade. At first glance, the cave dwellings integrated into the terrain may seem unrelated to the playful and cute appearance of the kindergarten, but this was an attempt to incorporate traditional elements into modern design subtly.
What role does the surrounding environment play in your architectural projects?
I currently have offices in Tokyo and Fukuoka, Japan, as well as in Beijing, China, and I travel between these three locations every ten days. While the differences in building regulations between Japan and China can sometimes limit design possibilities, they also inspire new ideas. Additionally, each city has its unique character, and moving between these urban environments helps me shift my mindset. Moreover, I am currently working on projects in Brazil, India, and Bangladesh, and I find that navigating between such diverse environments significantly broadens the scope of my creative expression.
Can you describe how technology impacts your design process?
It is clear that the architectural field must evolve in tandem with the SDGs. “SQUARES in Tianshui” became China’s first zero-carbon library. Achieving zero carbon in this project required careful balancing between architectural design and systems design. Designing without conflict for elements like public accessibility versus isolation, and integration with nature versus thermal insulation, was a significant challenge. We actively incorporated relatively new technologies such as solar and wind power generation, geothermal air conditioning, and triple vacuum glass for enhanced insulation. Through this process, I became even more aware of the responsibility that architecture must fulfill toward the global environment.
How do you approach working with clients to ensure their vision aligns with your unique style?
Before deeply understanding the content of a project, I avoid deciding on a design approach in advance. First, I strive to understand the client’s vision and observe the site, which naturally reveals the design I wish to realize. I then carefully explain to the client why this design is the most suitable. In doing so, the design crystallizes as a fusion of both the client’s and my vision.
What architectural trends or movements do you find most inspiring?
Metabolism has had a significant impact on me. The architectural volumes formed by my unique design method, the “Scaling Unit,” sometimes resonate with Metabolist architecture. This method involves repeating and proliferating small units to create large volumes. It has been applied in large-scale projects like “BUMPS in Beijing” and “PIXEL in Beijing,” as well as in interior projects such as “BOXES in Beijing.”
What advice would you give to aspiring architects?
I encourage them to store various experiences in your toolbox and eventually use them when expressing your work. By doing so, I believe architecture can evolve into a field capable of even more diverse and rich expressions. For me, my toolbox includes the wonder of seeing a “double rainbow” during childhood, admiration for carpenters, and repairing yachts during my university days.
