ADAL CREATIVE PLACE OSAKA：展示、辦公與交流融合為一，探索新型社群連結模式

來自福岡的家具品牌 ADAL，長年專注於各類商業用途家具的設計、製造與販售，品牌擅長結合機能與融入周遭的家具品項，空間涵蓋飯店、餐廳、學校、公共設施等多種場域。今年他們選在大阪商業區的心臟地帶「本町」區一棟40 年歷史的建築，作為兼具展示功能的分公司據點。

該建築因受限於日本建築法中針對日照、通風與鄰地保護的「斜線限制（斜線制限）」規定，必須在樓層高度上逐層後退，以確保鄰近建築的採光權與街廓的通透性，最終形成階梯狀的特殊量體輪廓。

長年累積的時間痕跡，使其保有獨特的辨識度與存在感。因此設計團隊 REIICHI IKEDA DESIGN 在本次改造計畫，將這些原生的建築語彙視為資產，不僅保留原建築外觀所使用的磁磚立面與連續細長開窗，也將這些語彙作為設計介入與空間重構的起點。

ADAL is a furniture brand based in Fukuoka, Japan, with a long-standing focus on designing, manufacturing, and supplying furniture for a wide range of commercial spaces. Known for combining functionality with spatial sensitivity, the brand’s products are used in hotels, restaurants, schools, and public facilities. In 2024, ADAL chose a 40-year-old building in the heart of Osaka’s Honmachi business district as the site for its new branch office, which also serves as a live showroom.
Due to Japan’s building regulations concerning sunlight, ventilation, and neighboring properties, the structure was originally designed with what is known as slope restrictions. These zoning rules require each floor to step back gradually, ensuring natural light and openness between buildings. As a result, the building features a distinctive stepped form that gives it a clear identity within the dense urban context.
Rather than erasing its past, the design team at REIICHI IKEDA DESIGN treated the building’s original character as an asset. They retained elements such as the tiled exterior and the continuous rows of narrow windows, using them as starting points for the renovation and as anchors for a new spatial strategy.

辦公 x Live Furniture Showroom

相較於傳統展間，ADAL CREATIVE PLACE OSAKA 融合工作場域與「Live Furniture Showroom」的概念，提供店家一種別於制式展間的思考靈感。為了實現這樣的雙重定位，設計團隊打算從最原始的開放骨架重新佈局。他們全面拆除原有天花板與既有裝修，把空間清空，還原成裸露的結構狀態。

原始建築內部由連續排列的小型開窗與低矮天花版構成，整體空間比例相對壓低，導致較為壓縮的感受。天花板以粗糙岩面板封閉，並顯露出鋼樑結構的形狀，呈現強烈的原始感，但也缺乏舒適性與彈性。設計師選擇保留這些粗獷特質，再經由細部策略的轉化，柔和使用者的感受，重新建構一處容納辦公、展示與社交互動的多元場域。

Office meets Live Furniture Showroom
Unlike a conventional showroom, ADAL CREATIVE PLACE OSAKA merges workspace and exhibition, offering a new way for clients to experience furniture in use rather than as static display. To support this dual purpose, the design team reconfigured the interior from its bare structural core. They stripped away all existing finishes and ceiling panels, reducing the space to its raw skeleton as a starting point.
The original interior was defined by a series of small, regularly spaced windows and low ceilings, which made the overall proportions feel compressed. The ceilings had been finished with coarse, rock-textured panels that exposed the shapes of steel beams—elements that gave the space a strong, unrefined presence, but also reduced comfort and flexibility. Rather than concealing these traits, the designers chose to preserve the building’s rawness and balance it with subtle interventions. Through careful detailing and spatial adjustments, they transformed the environment into a versatile setting that accommodates office work, product display, and informal interactions.

貫徹「THE SHOW (Mitetteya)」的親和文化

整體設計概念以「THE SHOW（見てってや）」為題，靈感來自大阪人常用的一句溫暖邀請語：「見てってや」，意思是「路過的話，不妨進來看看」。話語傳遞的隨興與親切態度，反映在空間營造的開放性與可親性中。鼓勵人們自然走入、自由觀看，讓展示如同日常生活的一部分，走在城市街道般自由穿梭。

設計師試圖捕捉「大阪特有的距離感」，即人與人之間微妙而不造作的互動關係。這種關係，也延伸到家具與空間的互聯方式。

Embodying the approachable spirit of “THE SHOW (Mitetteya)”
The overall design concept is titled “THE SHOW (Mitetteya),” a phrase drawn from a common expression in Osaka that means “Why don’t you come take a look?” It reflects a casual, friendly tone that welcomes passersby without pressure. This sense of openness and approachability is directly translated into the spatial design, encouraging people to enter naturally, explore freely, and experience the space as part of everyday life, much like strolling through a city street.
The designers aimed to capture what they describe as Osaka’s unique sense of distance, a kind of relaxed, unforced social interaction. This cultural nuance is also reflected in the relationship between the furniture and the space itself, where each piece plays an active role in shaping how people move, pause, and connect within the environment.

他進一步指出，空間的主體除了人，家具同樣參與構築整體場域。每件家具的尺度、佈局與對應關係，皆是構成空間的重要元素。既具備使用機能，還引導人們的視線與動作。

藉由家具編排出的座向、動線與場景，設計師試圖描繪一種可被觀看的互動情境，讓空間發生的每個行為，不論是交流、停留或穿梭，皆變成「展示」的一部分。這樣的設計邏輯，緊密回扣住「THE SHOW」的命題概念，家具與人們共同參演這場持續上演的生活劇場。

The designer further explains that in this space, furniture plays just as vital a role as people. Every piece, from its scale to its placement and the way it relates to its surroundings, is a fundamental element in shaping the environment. The furniture is not only functional but also helps guide how people move through the space and where their attention is drawn.
By arranging seating, pathways, and spatial scenes through furniture, the designer sets up a series of interactions that can be observed. Every action that takes place—whether it involves conversation, pausing, or walking through—becomes part of the experience. This approach closely reflects the concept behind “THE SHOW,” where furniture and people together form an ever-evolving performance of daily life.

「觀看」與「被看」的趣味

「THE SHOW」傳遞的開放性與流動感，同時延續至入口區域。原本作為電梯前室的狹長矩形空間，被重新構成圓弧延展的迎賓轉折區。打破邊界後，空間之間產生滲透與連續。

玻璃牆的設計則像是一種「框景」，如同展覽上的視覺裝置，室內發生的各種片段與活動，被巧妙轉化為觀看焦點。使用者觀看的欲望被打開，也營造出一種被觀看的張力感。

這樣的配置下，空間場景既獨立又連續，內部不再被明確切割為辦公區與展示區，而是藉由材料、視線、動線與家具的細微轉換，構築出多層次、可互融的場景體系。每個區域在開放之餘，保有適度的模糊；我們穿梭時能感知不同情境的變化，任意停留、交流或觀看。

The Play Between Seeing and Being Seen

The openness and fluidity suggested by “THE SHOW” extend into the entrance area. What was once a narrow rectangular lobby in front of the elevator has been reimagined as a soft curved threshold that welcomes visitors. This transformation breaks down boundaries and introduces a sense of spatial continuity and permeability.
The glass wall functions like a framing device, similar to a visual installation in an exhibition. Daily moments and movements unfolding inside the space become subtle points of focus. It invites people to look while also creating a gentle awareness of being seen.
Instead of dividing the space rigidly into office and showroom, the layout relies on gradual transitions. Shifts in material, line of sight, circulation paths, and furniture arrangements define different zones. Each area maintains a degree of openness while allowing for nuanced separation. As people move through the space, they experience gentle changes in mood and function, finding places to pause, observe, or engage.

移動至辦公區域，設計師運用細薄深色板材懸掛於裸露天花之間，當作視覺節點與心理提示。這些點狀設計微妙地暗示空間的分區與節奏，協助使用者在開放平面裡轉換心理狀態，也緩和原始樑體所帶來的壓迫感。

As visitors move into the office area, the designer introduces thin metal panels suspended between the exposed ceiling beams. These subtle visual markers serve both as spatial cues and psychological prompts. They gently suggest zoning and rhythm within the open layout, helping users shift their mental state while also softening the visual weight of the existing structural beams.

什麼樣的空間將促進實體交流？

在強調交流與親密感的大阪城市文化，ADAL CREATIVE PLACE OSAKA 象徵品牌與城市對話的界面。這裡突破了單一機能的定位框架，完整擴展品牌對未來辦公與展示場域的想像及構想。這樣的空間提案，反映出 REIICHI IKEDA DESIGN 對「觀看距離」的詮釋：無論是人與人之間的互動尺度、家具與行為之間的關聯，抑或空間與城市間的文化繼承，設計力求維持一種適度開放、可進可退的狀態，讓場景回歸貼近日常的使用經驗。

綜觀現今強調社群連結的年代，什麼樣的實體空間，能承載真實的交流、生成關係，並讓人願意走入其中？我們不妨思考一下。

What kind of space can foster real-world connection
In a city like Osaka, where openness and intimacy are part of everyday culture, ADAL CREATIVE PLACE OSAKA becomes a point of exchange between brand and city. Rather than serving a single function, the space expands the brand’s imagination of what a workplace and showroom can be. It reflects REIICHI IKEDA DESIGN’s interpretation of viewing distance, whether it relates to human interactions, the connection between furniture and behavior, or the continuity between space and the urban context. The design aims to keep a sense of openness that allows movement both inward and outward, bringing spatial experiences closer to daily life.
In a time when community and connection are increasingly valued, what kind of physical space can support real conversations, nurture relationships, and make people feel welcome to enter? It is a question worth reflecting on.

ADAL CREATIVE PLACE OSAKA ADD：大阪府大阪市中央区瓦町４丁目7-8　本町東榮ビル４階
TEL：080-5808-0129
More Info：website

Photo credit/ Yoshiro Masuda

Text/ ChichiL

SPEAKOUTChichiLNovember 17, 2025shopping, workspace

ADAL CREATIVE PLACE OSAKA：展示、辦公與交流融合為一，探索新型社群連結模式

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