EM – In the heart of modern Tokyo, the Andaz Hotel offers a truly distinctive cultural experience: elevators “brought to life” through the traditional Japanese art of washi paper.
At the luxurious Andaz Hotel, part of the Hyatt group and located in central Tokyo, Japan, every elevator ride is more than a simple journey between floors – it becomes a passage through artistic and cultural heritage. These elevators are adorned with exquisite works of washi paper art, meticulously crafted by renowned artisan Tetsuya Nagata. The result transforms the familiar elevator space into a miniature art museum.
Tracing back nearly 1.500 years, around the year 610, papermaking techniques were first introduced to Japan by Buddhist monks, who used the paper primarily for transcribing sutras. The very first paper produced in Japan was called washi, wa meaning “Japan” and shi meaning “paper”.
Washi is made from the fibers of three plants native to the Land of the Rising Sun: kozo, mitsumata, and gampi. These plants are carefully selected and cultivated using traditional methods. The production process requires not only technical precision but also patience, perseverance, and considerable manual effort.
Despite the rapid expansion of the global paper industry, the Japanese continue to take pride in washi – a traditional craft that reflects the refinement and meticulous craftsmanship of Japan.
Washi is far more than mere paper; it has been widely applied in various fields. It is used in traditional arts such as ukiyo-e woodblock prints and origami, as well as for making folding fans and parasols. In modern times, washi has also been incorporated extensively into interior design and window treatments.
With a vision to create an architectural space blending contemporary design with traditional craftsmanship, Hyatt collaborated with washi artisan Tetsuya Nagata during the design of Andaz Tokyo.
Born and raised in Osaka, Tetsuya Nagata is regarded as a master of traditional handmade washi. In addition to preserving this unique cultural symbol of Japan, Nagata has breathed new vitality into it by combining washi with the artistry of traditional wagashi confectionery molds.
Master Artisan Tetsuya Nagata
After collecting over 2.000 antique carved wooden molds for wagashi from across Japan, Nagata began layering sheets of washi into the molds, transforming the handmade paper into delicate sculptural works – each infused with the spirit and history of the nation.
Sea bream, peonies, chrysanthemums, cherry blossoms, and other iconic Japanese motifs are all deftly incorporated into his creations. Each piece is a harmonious interplay of local identity, nature, and history.
“I want to preserve the memories of Japan’s beauty and soul that are slowly fading with time. The intricate carvings on the wooden molds have always captivated me. Each mold stands as a witness to the history and craftsmanship of generations of artisans,” Nagata shares.
In collaboration with Hyatt, Nagata skillfully incorporated washi art and auspicious motifs such as sea bream, turtles, trains, and cherry blossoms into the interior design of the hotel’s elevators.
Soft, linear LED lighting enhances the distinctive textures of the washi artworks, creating a space that is at once traditional and contemporary, intimate yet magical. Every detail and every image tells part of Japan’s cultural story, imbued with the spirit of Nagata’s artistry.
Nagata produced five separate works for the five elevators at Andaz Tokyo, using a total of 281 wagashi molds. Each piece was given a unique name linked to a Japanese myth, and the collection as a whole was titled “White Distilling Boxes” – a reference to the elevators as “boxes” preserving cultural heritage.
The stories embedded in each piece come alive as soon as a guest steps into the elevator. Once the doors close, the rush and concerns of everyday life seem to fade away, replaced by a distinct sense of time and space – a tranquil moment in which to immerse oneself in the artwork. This experience has become an iconic part of Andaz Tokyo.
For centuries, the Japanese have believed that spirits reside within all things – from the fantastical Yōkai of folklore to the more familiar deities (Kami) of Shinto belief, representing sacred presences in natural elements such as rivers, mountains, and trees.
This belief has long erased the boundary between the material and the spiritual, between form and function. Thus, an elevator at Andaz Tokyo is not merely a vertical transport system – it is a vessel of heritage, carrying the soul of Japan.
Beyond the elevator space, Andaz Tokyo subtly weaves Japanese folklore into its architectural narrative, such as the story of the “moon rabbits” pounding mochi on the lunar surface. Sculptures titled “Rabbit on the Moon” are placed in the elevator lobby on the 52nd floor as a welcoming guide, leading guests to the rooftop, where the moonlight embraces Tokyo’s skyline.
Washi serves as a recurring design theme throughout Andaz Tokyo. The design team – led by New York-based Tony Chi Architects in collaboration with leading Japanese designer Shinichiro Ogata – has created a space that combines the traditional elegance of Shoji-style architecture with the contemporary aesthetic that defines Hyatt’s brand.
This fusion extends beyond the use of washi, finding further expression in the main lobby with “Infinite Universe”, a large-scale wooden artwork by artisan Shigemitsu Kotaka.
Employing the kumiko woodworking technique, Kotaka meticulously assembled thousands of pieces of wood into intricate geometric patterns – without using nails, staples, or glue. Kumiko, a Japanese woodworking heritage dating back to the Asuka period, relies on precision joinery and interlocking grooves.
“Infinite Universe” is the most ambitious work of Kotaka’s career, crafted from ancient teak sourced from Mount Chokai in Akita Prefecture, in collaboration with six other artisans over 10 months.
The geometric patterns represent stars, symbolizing Andaz Tokyo’s limitless future. The piece is not only a masterwork of craftsmanship but also a symbol of connection between past, present, and future – reflecting the belief in the eternal interconnection of all things in the universe.
This concept harmonizes perfectly with the surrounding Toranomon district, where the hotel stands – a neighborhood where centuries-old temples coexist with modern skyscrapers and shopping complexes, forming a unique crossroads of time.
