Tokyo, Japan — Japanese hotel designers are rethinking how spaces can evolve with changing guest expectations while minimizing the need for constant renovation. At the Hotel Design Summit Japan #HDSJ, speakers shared best practices for creating future-proof, cost-efficient, and guest-driven hotel designs. As Japan’s tourism sector continues to surge post-pandemic, the discussion centered on building portfolios that balance creativity with long-term operational resilience.
Keeping up with guest expectations
Japan’s hotel designers are recalibrating how guest rooms and layouts can adapt to new travel behaviors while preserving a sense of luxury. As the market evolves beyond standard room configurations, developers and architects are exploring how to design spaces that feel indulgent yet flexible enough to meet changing expectations.
“Some of the challenges in our projects are with the guest rooms,” said Daishi Yoshimoto, Principal of Yoshimoto Associates Inc., who moderated the discussion. “There are usually only a few rooms per floor, and they’re not suites or connected rooms. Large families often want to stay together with all their luggage—but we don’t want to build apartments. We want to create spaces that feel luxurious, even for two guests.”
Before Japan’s inbound tourism boom, Yoshimoto noted, large family groups—particularly from China and the Philippines—often preferred to stay together in one room. This shift in travel behavior prompted designers to think differently about space allocation.
“We’re exploring options like bunk beds or new room types that can accommodate more people without losing that sense of refinement,” he explained. “The goal is to design rooms that feel generous and comfortable, not like reasonable apartments, but spaces that deliver luxury in a different form.”
Ryutaro Matsuura, Design Director at Nomura Co., Ltd., said that creating long-term value means designing with restraint and intention. “Being Japanese means creating something that can only be experienced in that place,” he said. “It’s not about specific shapes or motifs, but about removing what’s unnecessary and finding balance. When we design with that mindset, ‘Japaneseness’ naturally emerges.”
He added that many developers are now rethinking how to make hotels more adaptable in both design and investment. “Many are planning more spacious, luxurious rooms—around 23 to 25 tatami in size,” he said. “Since the pandemic, redevelopment has become more active, but there are fewer completely new hotels. With rising construction costs, we have to be smarter—conduct proof-of-concept studies, raise room rates, and focus on rebranding existing assets.”
For Ken Katayama, President of Dear Design Inc., designing for both Japanese and international travelers requires subtlety rather than symbolism. “Of course, clients sometimes ask for something ‘very Japanese,’” he said. “But that doesn’t mean using tatami or lattice screens. It’s about creating an atmosphere that feels naturally Japanese.”
Adding to this, Iku Kakoto, General Manager at Nikken Sekkei Ltd., noted that collaboration with overseas designers can bring both opportunities and challenges. “The project outcome changes completely when foreign designers are involved,” he said. “They bring ideas and materials that surprise us—things we’ve never seen before. But their concepts must meet local building codes, and that process takes time and adds complexity. Japanese designers, on the other hand, are excellent at cost control, coordination, and detail management. I believe hotels in Japan should be designed by Japanese designers—even if operated by foreign brands. That will be an important trend moving forward.”
Kakoto added that competition with international design firms is growing. “Even now, for domestic hotel brands and residences, we see more overseas designers getting involved,” he said. “Sometimes Japanese brands are taken over by foreign hotel groups, which is unfortunate. But as Japanese designers, we must work harder to create spaces that can only be enjoyed in Japan—spaces that express our culture and landscape. We should strengthen our local capabilities and keep developing Japanese talent.”
As Japan’s tourism industry surges post-pandemic, designers are rethinking how to create spaces that are both meaningful and durable—hotels that can evolve with the market rather than be rebuilt for it. “Budgets are always limited,” Matsuura added. “That’s why understanding priorities—where to invest, what to simplify—is the most important skill for designers today.”
Crafting experiences through design
Designing a hotel is not just about structures and surfaces — it’s about capturing the invisible spirit that defines how a guest feels within a space. Moderated by Asao Nakayama, the session “The Soul of the Space” brought together Yohei Akao (CEO, Strickland), Satoko Knopp of Marriott International, and Shouya Grigg of SHIGUCHI, Niseko to explore how design philosophies give form to Japan’s distinct sense of hospitality.
For Yohei Akao, the essence of design begins with emotion. Reflecting on his recent work with Patina Osaka, he explained, “Every city has its own rhythm and energy. You can’t just copy and paste a model — you need to think about what kind of Patina should exist in Osaka.” Drawing from the city’s vitality, Akao and his team used water, wood, and Osaka Castle’s geometry as design inspiration, translating these local elements through the hotel’s 26 stories. “When people enter, I want them — guests, staff, even the general manager — to feel uplifted. If they feel proud and smile naturally, that’s when the building gains its spirit.”
Satoko Knopp echoed that sentiment, highlighting how a hotel’s soul emerges only when it comes alive with people. “Developing a hotel takes years — four, six, sometimes seven. But the moment guests start to stay there, that’s when the spirit begins to reside within the building,” she said. Even within global frameworks, she emphasizes retaining the essence of place: “Without locality, everything would look the same — a cookie-cutter approach. We always ask: what can guests experience only in this location?”
Meanwhile, Shouya Grigg offered an artist’s perspective shaped by decades in Hokkaido’s natural landscape. “Designers work with clients and budgets. Artists don’t compromise,” he said. “At SHIGUCHI, we restored centuries-old houses surrounded by forest. You can already feel the soul in those materials — you don’t have to add design. If you overdesign, you risk suffocating it.” For Grigg, meaning — not luxury — is the true marker of depth. “People are not looking for luxury anymore; they’re looking for meaning. Meaning is the soul — the invisible value that time gives to a place.”
Ultimately, all three designers agreed that crafting experiences goes beyond aesthetic perfection. As Akao summed up, “We try to balance art, comfort, and functionality — to create a space that is artistic yet livable. That balance is what makes a hotel truly alive.”
Looking ahead
As Japan’s hospitality landscape continues to evolve, the 5th Hospitality Japan Conference #HJC2026 will once again gather industry leaders, investors, and innovators in Tokyo on October 7–8, 2026. The conference will continue to serve as a platform for forward-looking dialogue on the country’s hotel, tourism, and development landscape.
The next edition will deepen conversations on investment resilience, adaptive design, and the next phase of Japan’s tourism recovery. With renewed focus on regional revitalization, talent sustainability, and cross-sector collaboration, #HJC2026 will explore how the industry can strengthen its competitiveness while preserving Japan’s distinct sense of place.
Through the Hotel Investment Summit Japan, Hotel Design Summit Japan, and Hotel Revenue Summit Japan, Hospitality Asia will continue to lead the conversation on shaping the future of Japan’s hospitality—where creativity, cultural authenticity, and commercial performance intersect.