Keisuke Maeda


Keisuke Maeda was born in 1954 and graduated from Kokushikan University in 1998. He established UID Architects in 2003. Keisuke Maeda is young up and coming Japanese architect based in Hiroshima. He believes strongly that architecture should stimulate, engage and challenge the viewer. Above all he hopes that those who see his work will enjoy the experience and be left with a lasting impression. The success of each project is based on a set of partnerships. The first of these is the partnership of minds between clients and architect. For a design to become a home it is necessary to incorporate within it not just the wishes of the client but also wherever possible aspects of their personality. The second partnership is that between the design and its future location. The final structure must sit together in dialogue with its surroundings. The third and equally important partnership is the one that exists between Keisuke and his associates at UID. Theamwork is the key to ensuring the final product is of the highest standards.


Maeda received a number of awards such as Good Design Award(2005/2007), Dedalo Minosse(2005/2006), The JIA Top 200 Architects Award(2008), JCD Desgin Award(2009), The JIA Top 100 Architects Award(2010), ARCASIA Awards for Architecture(2011/2012) and JIA new face award (2012).


This is a small house planned in a forest surrounded by rich nature. The site is located in the foot of a mountain with scarce neighboring houses in Onomichi City. The family is consisted of two daughters, their mother and their loving cat. Since there are only three women, we thought it would be appropriate to gently connect a of the place’s environment and architecture, allowing close distance between the family members. It is to seize the environment as non-dividable, similar to creatures that generate their nest under elements that cover forest’s ground. It is like a principle that expands from a nest in a forest, to a forest , then to the earth, and ultimately to the universe.


Holocaust Education Center
By merging orthogonal elements and rounded gaps and surfaces, the architect has treated the external façades, made of black steel plates, and has fenced the entire plot with a low hedge in Cor-Ten steel plates pierced with 150 holes as reminders of the 1,500,000 children dead. The main entrance underpasses the winding glazed wall, into the double-height space, whose curvature follows the panoramic staircase upwards. The two-storey building provides almost 800 ㎡ of floor space of educational environment set up around a foyer, a library, an audio visual room, a lecture hall with 150 seats, a children’s room, and a garden of Anne Frank’s roses on the back side, on ground level. The second level remarkably integrates permanent and temporary exhibition rooms to hanging passageways and overflowing perspectives. Structured with a steel frame system and finished with concrete floors, plaster boards and stone for walls, the overall architectural composition is the result of the interlacing-intersection of two boxes, which hold certain symbolic meanings. Among antithesis and osmosis, organic alike and geometrical, filled up volumes and voids, the distortion of Holocaust and its inhuman constriction is seen as inseparable from desire and repose of the victims. Rather than a memorial, an outspread memory dedicated to the future is a ring bell for times when the awareness diminishes. Hope and ambition often grow up within death and defeat, and peace can only be true after wars and through respect for human beings.