. even if it costs us money.
I think the three of you have received offers from various sources to design, distribute books, take photographs, etc., related to the "Olympics," but rather than doing it on a large real estate scale, you wanted to do it on a scale that was within your reach, which is the basis of this project. Is that right?
Nakamura:
To begin with, there should have been an overflow of work on huge facilities and hotels related to the "Olympics," but there wasn't a single one. But I see that as perhaps lucky in a way. I feel that many projects are built with extremely low cost and at a very fast pace, but do not pay much attention to the future of the city, and I have some doubts about that.
I guess we didn't get the job because of this idea, but we thought it would be natural to start out on a scale that would allow us to be ourselves in the most colorful way possible. However, as I said earlier, we are not particular about small areas. It just so happened that there was potential for expression there.
. This project is not a straightforward business, so I think it is difficult to determine how to generate revenue. This may be hard to answer, but how does the money part of the project work?
Nakamura: What do you think of the opposite?
. I was wondering if you have separated the client work from this project, and if the former has been well transferred to this one.
Nakamura: That's how it is now.
Hamanaka: Each of "Dikey Mills," "Edstrom Office," and "Twelve Books" has its own business, of course, so basically, they are all doing their own thing. However, we do not clearly separate "SKWAT" into "SKWAT" and "Twelve Books" into "Twelve Books". We are trying to strike a balance between the two. . It's not like we make a profit from "Twelve Books" and put it into "SKWAT" either.
Nakamura: As a result, that is what we are doing now, but we do not intend to stop there. We are trying to make everything work as a business, but we are not doing business first, we are doing what we want to do first.
Makiguchi: This is a work of art for both of us. It's an expressive activity.
Hamanaka: It is not done in a model room way for commercial purposes.
Makiguchi: You'd do it at a loss, wouldn't you?
Hamanaka: Yes, because there are actually some negative aspects. At first, we were frustrated because we could not propose what we were thinking or what we wanted to express to someone and have it done at someone else's place and with someone else's money. This frustration led us to set up our own place and to realize that we had no choice but to express ourselves in this way.
Nakamura: It's like a fetish. It's like a fetish, and if you don't do it, you feel uncomfortable. It's like, "I did it, but I don't have the money. But I believe I can make up for it.
Hamanaka: We have more experience, including in business, so we can make do with what we have. There is a possibility that even that could be short-circuited, but in the end we will say, "If we are going to do it, let's do it through.
Nakamura: Yoshiko is probably the same way, but it's about how much you can push forward with something you think is good. There are not many people like that.
Makiguchi: Hama-chan has a great sense of immersion in what she likes, doesn't she? Once she decides on something, she goes, "Boo-hoo!
People want that kind of immersion, but they don't have it. We live in an age when people say they can't find what they love. .
Nakamura: I think the only thing that those of us who are involved in "SKWAT" now have in common is a strong sense of immersion.
Do you have a specific time frame for when this place will have to be vacated?
Nakamura: Currently, the contract says until March 2021. However, it may or may not be extended. . I think that is part of the fun of "SKWAT.
