Subscribe
Share
Share
Embed
Welcome to Defining Hospitality, the podcast focused on highlighting the most influential figures in the hospitality industry. In each episode we provide 1 on 1, in depth interviews with experts in the industry to learn what hospitality means to them. We feature expert advice on working in the industry, behind the scenes looks at some of your favorite brands, and in depth explorations of unique hospitality projects.
Defining Hospitality is hosted by Founder and CEO of Agency 967, Dan Ryan. With over 30 years of experience in hospitality, Dan brings his expertise and passion to each episode as he delves into the latest trends and challenges facing the industry.
Episodes are released every week on Wednesday mornings.
To listen to episodes, visit https://www.defininghospitality.live/ or subscribe to Defining Hospitality wherever you get your podcasts.
Dan Ryan: Today's guest is a designer with a well rounded background in design, interiors, and custom furniture. He believes that the desire to do good for others is at the core of hospitality.
His GORD project was the 2023 winner of Radical Innovation's professional product category. He's a licensed architect. He's the owner and founder of CREM, a multidisciplinary design firm in Brooklyn. And he's also a recent HD award winner for hotel public space mid scale for Kimpton's Theta in New York City.
And in the same category, he was also nominated for the public space at the Sheraton Kagoshima. Ladies and gentlemen, welcome Jun Aizaki. Welcome, Jun.
Jun Aizaki: Thank you, Dan.
Dan Ryan: It's so good to see you. I, I want everyone to know that I met Jun, I think it was shortly, it was a while ago. It was, uh, you had just completed the public space for something near the Kimpton Theta, but it was the, uh, the Aventi Hotel, which was also a Kimpton hotel.
Um, um, On, I think it's on 6th Avenue and like 29th ish, and I remember, um, I had done the rooms there, all the furniture in the rooms, and they did the public space, and it was kind of an interesting time when that hotel opened. It was either during or shortly after the financial crisis. It opened, and after the financial crisis, that whole neighborhood changed, so Whatever they had done for the public space, it just, it, it never really like took off if you will.
Right. And also the neighborhood changed over time, which further changed it because the whole audience evolved. And then you came in and I just remember the folks at Kimpton just being so happy, um, with the work that you did to kind of reimagine this amazing space and kind of, Solve the Rubik's Cube for it to make it work.
So I remember meeting you shortly after that, and then we've just become kind of friendly living in New York and, and seeing each other, um, out and about, and you have a great team and I'm just super happy that you're here, Jim.
Jun Aizaki: Yeah, thank you so much. Yeah, thanks for having me, Dan. And, um, yeah, yeah, I, I do recall, you know, the first times when we met and yeah, it's been a while, but yeah,
Dan Ryan: And I, I also think it's really cool that you just won this HD award. Congratulations. Um, for another Kimpton hotel, kind of right around the corner from that one. So it's like, It's this neat little, uh, kind of halo effect there in, uh, in the midsection of Manhattan. So,
Jun Aizaki: Yeah, no, yeah, thanks. Yeah. And that was actually a couple of nights ago and, you know, yeah, to be, to be back, um, And, you know, talking to you, you know, and kind of like creates this like loop, which is, which is awesome. Yeah.
Dan Ryan: Yeah, and it's nice to be talking to you for in a longer format and not as we're getting off the airplane in Las Vegas airport, so I'm, I'm, I'm appreciating the time that we have together, um, as we, so before we get into everything, I ask every guest how, what hospitality means to them or how, how do you define it?
So June, how do you define hospitality?
Jun Aizaki: Sure. Um, yeah. Hospitality is, is. Well, first of all, it's not something that, you know, like I, I was planning on, you know, pursuing as, as, uh, you know, profession, to be honest. Um, uh, I kind of, you know, stumbled upon it if I, if I may. Um. Uh, you know, during my careers and really found it, you know, fascinating and it, you know, actually, I realized that it actually, you know, aligns with what I want to do, you know, after, you know, getting into it, which is, you know, interesting for me, how do I define it?
Um, yeah, I do think it's, uh, hospitality is really, um, something, um. That, um, you uh, do, do for others. Um, for me, the, the, the part of hospitality that attracts me the most is kind of, um, it's almost like being a problem solver for other people. You know, like you're doing something, you're providing a service and making, you know, somebody else's life, you know, more, you know, richer or more interesting or, or more useful or more, you know, practical.
And yeah, that, that aspect is something that I really, really enjoy.
Dan Ryan: I love the idea of like really doing something or solving a problem for someone else. Um, and. I hear so many different responses for what it means, but at the core, it's really about doing something for others, wherever they are. I'm intrigued by the fact that you didn't, and also, you're not alone in that you didn't choose this category.
Kind of avenue for, uh, for your design vocation and your, and your passion where it's channeled into here. But so many of the guests it's actually surprising. I should do a poll. So many of them never thought that they would be here. They just found it. And then I want to say got stuck in it, but getting stuck means like you're, you have no options, but it's like, they're drawn to it.
And the gravitational pull of it is so strong that they never want to leave. Or if they do, it's at the heart of what they do. And then they'll do other initiatives with their design or whatever their superpower is, but always come back to hospitality. How did you first find this passion and love for hospitality design?
Jun Aizaki: Um, well, um, you know, like after, you know, finishing school, well, I started architecture in school, first of all. And, um, I think, um, you know, like during school you work on a lot of like, you know, like imaginative projects. You know, like you come up with like crazy ideas and I always kind of like thought it was a little like out of touch with the reality, you know, I really wanted to get my hands kind of, you know, dirty and get, you know, like, get, um, get straight into like making things and, you know, a lot of like, um, things that we were doing in school and also, you know, um, at workplaces, you know, in architecture, usually had like a longer time span or something that, you know, like, They didn't quite like relate, you know, like directly for some reason.
And, um, I, you know, my first job really, you know, in New York was at the Rockwell Group and, you know, like many people in our industry, you know, it's, you know, like I got my, yeah, so the launchpad and I must say, like, I got my, you know. I don't know, like I did undergraduate, you know, architecture and then like I did like graduate rocko group, you know, it's like, you know, um, yeah, yeah, I was there for five years.
And yeah, like, that's where, you know, I worked on my first like restaurant projects and. I don't know, like something just like, you know, hit the, hit the right note for me. Um, the, you know, being on the job site, I, I worked under, you know, a designer, you know, he, you know, took me kind of as, you know, like, you know, he was kind of like a mentor to me.
And then, um. Yeah, like, you know, you would draw things at work and then like you would go to the web, you know, go to the job site, you know, you see things right in front of you, you know, all the things that you drew, you know, kind of like coming to life and, and then, you know, when that was actually done, you saw people coming to the space and like, enjoying this space and you, you know, you hear the conversation about design, you know, what they think and I don't know that whole process of coming up with something, you know, drawing a sketch and then like, yeah.
Communicating that to somebody who makes it and then seeing that, you know, like become an actual, you know, like physical, you know, object or space just sort of like, and then feeling the people's, like, you know, the person's reaction actually kind of like closed the entire loop for me. And, and all of a sudden it was like, okay, that's, that's it.
That's why I'm doing, you know, like, you know, drawing things on CAD every day. And. You know, like staying up late and like, you know, doing this thing that, that I'm passionate about, but, you know, it's not, it doesn't end there, you know, like you're actually, you know, get the reward, you know, by, you know, like here, you know, like giving, you know, give giving and affecting people's experiences.
And I don't know, like something about it just like, you know, made.
Dan Ryan: I, I'm intrigued by, okay. So this is actually interesting because you said when you were in architecture school, you would come up with these concepts that are kind of out of touch with reality. Um, but then I also feel like when you're working on a new project or you're pushing the envelope of hospitality design or any project. Okay. So on in the school area, you have this out of touch with reality, but in many cases, To be forging a new path, which I think you and your team do really well, and I know Rockwell does really well, it's almost like you have to start with, I don't know, something unattainable, or maybe not out of touch with reality, but you're, you're starting with this really incredible idea.
That might be out of touch with reality, but they always, I mean, you, you're brought back to earth and you're doing it, but everything is always a little, is different, very different, sometimes a little different, but more often than not, it's you're reimagining things. So how do you start with the out of touch with reality or like, That initial school student idea, because I, I just getting to know you and seeing kind of how you look at things and how you approach things, even like you're the gourd project, which we can talk about later.
It's like, you're always trying to re imagine and think about something differently, strikingly different, invariably, we're all human going through these environments doing it, but like, how do you, Come up with that out of touch inspiration that might not be achievable and then bring it back to earth so that everyone can share from it.
And. Experience what it's like to be in the space that you work on.
Jun Aizaki: Um, yeah. Um, yeah, that's a good point with school and you know, I, you know, I, I didn't mean to say, you know, like schoolwork is like, just like out of date. It's something that's not attainable, you know, like, I, I think every, every dream is, you know, every vision is actually attainable, you know, I guess, you know, like starting work and starting with hospitality and specifically like a restaurant project, just, you know.
Actually gave me the sort of realization that yes, things are attainable, you know, like it's, it's like, you know, if you have like a vision or like a dream, like, if you can dream something up, you know, there's always a way to get there kind of, you know, so, um, so, yeah, how, how, how do you, you know, how do you find those?
Um, like, for, for me, um, if, you know, if I understand your question, you know, like, I, like, those are. Like I, you know, they, they just come during like every day, like, you know, living, you know, like I actually keep like, you know, whenever I have like an idea, you know, like I keep it in my notebook. Right? So I have like a whole like, like sketchbook, like, well, it's actually, I use my iPad a lot now, but,
Dan Ryan: Do you have it with you at all times?
Jun Aizaki: yeah, most, most of the time. Yeah, yeah, yeah, yeah,
Dan Ryan: you're capturing it, you're sketching it.
Jun Aizaki: yeah, sketching or like, I was just like, take notes, you know, so I could just like, go back, you know, in my head and like, you know, retrieve whatever idea or like, whatever that like, spurred that, you know, sort of like inspiration.
But, um, yeah. It's almost like, yeah, it's not that I sit down and like, think about, you know, these things, it's just like through, you know, every day, you know, whatever, you know, I see something or like, I go to a place and to a different city or, you know, talk to people and get inspired and that just kind of like, starts to pile up and
yeah. most, I will say most people, and I'm a hardcore practitioner of getting things done. And, uh, the guy who wrote that book, David Allen was a guest on this podcast. Cause he's like a guru. I'm like, uh, I love him. And he changed it. Like his methodology, which you can do in any way with iPad.
Dan Ryan: With a sketchbook, with anything, the first thing is to capture, capture every single idea that you have, because your brain is not meant to store things. It's meant to take all the different information that's out there and have new fresh ideas. Okay. capture it, then you can review it at some point later, but then you clarify what it is.
Like you might be working on a project. It could be like, I love entrepreneurs also you being an entrepreneur and a designer, because so often than not, we, we have an idea. And this doesn't go just for architects and designers or entrepreneurs and designers as anyone, any idea that we all have, we can always turn it into something.
We just have to clarify like what the next step is, what the next action is to make it real. And it is amazing. Actually, since you became an entrepreneur, what kind of inspiration or out of tech, like how, how did you come around with capturing that idea and like, and making CREM a reality? Because it was nothing.
Before it was an idea in your
head, did you capture that? And what were your first steps in doing that? Actually, that's a good.
Jun Aizaki: hmm. Yeah, that's a good point. Yeah. I mean, I think that just, you know, like, like you said, just doing is one, you know, like no matter how big the step is, you know, like when it, when it came to like starting my company, you know, like I started with like, you know, really, you know, smaller, small projects, um, you know, one project, you know, like I, I thought of, you know, you know, You know, I used to call whatever I was doing a collaborative, you know, like, even though it was just me, you know, like, working from my, you know, you know, sublet and, you know, apartment, you know, but, but, but really, you know, like, I do think that, you know, action, like, just doing something, you know, and persistence, you know, like, is, is key.
You know, just, you know, if it doesn't, you know, work once, try it again. If it, if it doesn't work in, you know, one, from one direction, try it from a different, you know, direction, um. Yeah, a lot of times, you know, people in my studio, you know, just know that I, you know, I, it's hard for me to take no as an answer, you know, and I think that's true with a lot of, you know, like, not just designers, but, you know, a lot of people and it's just, you know, like, if you, if you kind of have like a vision, you know, like you want to You know, get there and yeah, you'll somehow figure out, you know, how to do that.
that's, that's actually kind of like, you know, how I treat all the ideas that I, you know, I come up with, or, you know, ideas I have, you know, like, like I said, it's kind of like all that, all like piling up, but one by one, you know, like, even like the gourd project is something that, you know, like I was, that's, that was on my like sketchbook for years.
You know, slowly, you know, I started working on it then. Yeah. And, and, and frankly, quite frankly, like, it's still, you know, uh, you know, a work in progress and it keeps on, like, evolving. So
Dan Ryan: I want to dig into that one. But before we dig into that one, if you think about that idea of not taking no and re imagining and re concepting and kind of just keeping looking at things at different, from different angles, right? That's really what I get. When I speak to you, the intellectual you, you're all, I just get, I don't know what's going on in your, in between your ears, but I get the feeling that there's a lot going on in there.
And I feel like you're always curious, looking at things. And if we were to go back to that eventy. Where it opened and the neighborhood was one thing and then the neighborhood quick, quickly changed and the whole ground floor, it just, it had a really hard time of figuring itself out, then you somehow solve that Rubik's Cube going on that, not taking no, or, or looking at things from all the different angles.
How did you know on that particular project when you got the concept? Right.
Jun Aizaki: that's a, that's a very, uh, that's, that's a very interesting question. And I, I'm really glad you're asking this because, like, there was actually, uh, uh, you know, defining kind of like, no moment, um, for that project and, um. Uh, if you, if you, if you had, if you recall the original, um, hotel plan, the hotel entrance was actually closer to twin, closer to 30th street.
Um, and there was like a canopy and, uh, yeah, the, the restaurant was, was actually where the hotel, uh, reception and, uh, um, the lobby is now. So we, you know, initially, like we were asked to actually be. Design the, um, I think, I think it was the restaurant only. That was what we were asked to design. And then we looked at the overall plan and said, wait a minute, you know, you could keep on trying to, like, put a restaurant here in the middle of the block, but unless, you know, you change the flow.
Your restaurant's not going to do great. So we convinced the owners to actually flip the restaurant and the front desk or the reception area. So there was kind of like a big switch in the plan and in order to, you In an operating
yes, in an operate, yeah, yeah, yeah. So we actually did all the kind of like extra work, you know, and again, this is that moment where we, You know, I guess, you know, I didn't accept no for an answer and said, you know, like, you have to do this, you know, like, it's really, it's really going to change the dynamics of the whole project then.
And, um, we, uh, yeah, we were fortunate enough to have somebody that, you know, like. Like, you know, had the ears to listen to us and, um, yeah, what's, you know, really sort of like started as like a really diagrammatic, you know, kind of like a napkin sketch of like, here, if you change this, you know, you're going to be able to, um, enter the hotel.
There's going to be a space that opens in the back into, there's actually a public park in the back and there'll be this like flow and. And then you get this like restaurant space on the corner that could open up to 8th Avenue, 6th Avenue, and, you know, you get this like fantastic view and, you know, indoor, outdoor feel.
And it's actually going to, you know, generate traffic on the block, and it's really going to transform. And, um, yeah, we, you know, like, 1 step at a time, we actually, like, presented these, like, sketches and visuals and, um, that's that's really interesting because just in hearing you say what you just said, um, you would, you would kind of activate going through and that big part or not big, but that park enclosed on the East side of the building. So I, I said that the neighborhood had changed and it just wasn't like fitting that well, but what I, what you did also helped accelerate.
Dan Ryan: The change of that couple block radius area as well, because you created a pathway into this, like, I don't know, special moment that's through the hotel on the East side of the building. But it also, I don't, I don't even know. It just, it totally transformed that whole area. I just remember it was like all beach.
I'd got the feeling it was all bead and hat and wig shops all around there. It was kind of changing. And then. The whole lobby transformed. And then the, it just kind of poured gasoline on the evolution of that couple block radius, right?
Jun Aizaki: Yeah, I think it really did. And in fact, um, we, we actually designed the whole entire facade on the ground floor of that building. So the canopy that you see, all the storefront, um, and, you know, like all the, all the, um, penetration, um, that's something that, you know, like we worked up on and.
Yeah, like I, I do think that it really did transform and like you said, you know, it kind of like accelerated the whole, you know, you know, we don't take full credit for like what happens in the neighborhood, obviously, made
Dan Ryan: was like a
Jun Aizaki: that are,
Dan Ryan: growth. And, and it, it all kind of talked to each other. It was actually, it's pretty amazing. If I think about it, I'm actually getting, cause my office used to be right around the corner. So I just really experienced that whole change. I'm just getting a little goosebumps and nostalgia thinking about it.
I mean, it was. That's pretty cool. Now let's just pretend that actually from your experience, when you started that, just starting as doing a restaurant, right? And then it turned into re fenestrating, moving a canopy, punch, you had to punch through or no, you had to rearrange some things inside so that it would draw you to the outside.
What was like when you were first brought on, what was generally speaking, the budget to just do the restaurant and then for you not taking no for an answer and having an owner that. An operator that, um, believed in your vision and saw it, like how much did the goalposts move from X original budget to Y finished budget, and then what were the follow on positive economies of the change that happened for the hotel and the ownership and the management?
Well,
Jun Aizaki: I would say that that goal, you know, I don't know how many folds, but, you know, it did, it did increase, you know, quite a bit for us in terms of like our scope and, uh, you know, it's just hard to quantify, you know, and also, um, the economic gain, you know, is, is probably. You know, yeah, uh, no, uh, yeah, I don't know.
I just don't have the tools. Like, I wish I, and I should, I should, I should research this more and put it on our, like, you know, website because that's, you know, yeah, numbers talk to people, you know, but yeah, for sure, you know,
Dan Ryan: numbers, but also, okay. So, and I, I'm sorry for throwing that at you because I know that like, you probably aren't privy to it, but I just from foot traffic and humans spending money, being in there eating, and I can only imagine that the, the ROI. The scope, I can only imagine, increased by a couple times, I would
Jun Aizaki: Yeah, yeah, that's for sure.
Dan Ryan: And then I would say the ROI also was pretty incredible because, you know, it was just like a magnet pulling people in. Um, was the ownership or management resistant to your vision at first and like, how did you help them quote, see the, see the light?
Jun Aizaki: Um, you know what, like, and they were very receptive and I actually, um, yeah, it's funny where, or, you know, or. Talking a lot about this project because I was just there last night, you know, having a dinner. I brought some friends in from Japan. And, um, yeah, yeah. And, um, yeah, we had a fantastic meal and Laurent, you know, the chef owner was there and that's just like seeing the space and feeling the, you know, vibe and.
Yeah, last night was like a fantastic night, um, in terms of the weather and yeah, yeah, all the doors were, you know, open and that's like the best time to see La Mico, you know, so, um, yeah, it was, you know, it was, it felt, it just felt great then, like, after, you know, all these years, the restaurant still doing, you know, like, great.
It's such a, you know, um, yeah. Yeah. Um. That testament to, you know, the, the timelessness of the space and the design, I guess. And yeah, I felt really, really good about it, you know? Yeah. So, um, yeah. But, but yes, uh, it went pretty smooth in the beginning, you know, you know, so, so, uh, yeah. DLJ Capital, um, Andy Rifkin, you know, and also, you know, obviously like, you know, Kempton, you know.
I think people just sort of, um, aligned with the vision and went along with it,
Dan Ryan: cause it's very, it's, I think it's a very unusual story. Now that we're talking about it, because most of the time for most of the hotel projects I work on, they're all about ROI and they have a capital plan. And, you know, it'll come down usually from up high within the organizations, the owner, usually ownership, um, sometimes management, um, and it, you know, goes through, it gets socialized through committees and everything else.
And then they go, but it's. It's not very often you hear about the designer or the architect changing the hearts and minds of everything, especially in an already existing and operating building. Like maybe they'll get brought in, you're brought in to do one thing and then totally reimagine this whole block.
It's, it's just a very unusual story. And if there was a designer or architect out there that saw a vision that maybe the clients didn't see. Do you have any advice for them about how to like take a pause and say, have you considered XYZ and like get them to accept your vision on a major thing?
Jun Aizaki: Right. How to do that? I'm not sure. I think it's, it's also, you know, the people involved and, you know, the, the structure of the organization of the ownership. I mean, I tend to think that when there's like a strong, you know, person who, who also share, you know, like, you know, who, who's, who tends to, um, understand the vision, you know, that's always, you know, easier.
You know, Did you ask for any, as you were kind of concepting just the restaurant and you had this kind of lightbulb moment, if you will. Did you ever like ask permission to, Hey, if I see something different, or was it ever given to you to, to say, Hey, if you see something different or have an idea, we're open to it, maybe that's maybe the mindset of the client. What was the lightbulb moment, I guess?
Yeah. For
Dan Ryan: that particular challenge. Cause it's like, I'm going to put pictures of, well, I'll get befores and afters because it's just crazy. And we'll put it in the YouTube part of this, but it's really a dramatic change of an operating building. And to hear that it was a surprise is really surprising to me.
So I just want to dig into it more. And I know it's from a while ago, but it just seems like a really awesome example of getting aligned on vision and, and doing it. So what was like the light bulb moment for you?
Jun Aizaki: I think the lightbulb moment, like, actually, like, in fact, this, this is kind of like an exercise that I, that, that we, you know, as a, you know, studio, you know, like, owner leader, um, encourage our staff to always, you know, do, which is really to like, think outside the box. You know, uh, it's basically, you know, when you're giving given like parameters, you know, like I always encourage people to like, look even beyond that parameter, you know, it's kind of like a habit that.
I don't know. Like, I guess I've, you know, I, I think, you know, that's kind of at the core of problem solving too, you know, like you have to look beyond what other people are kind of, you know, like seeing as the problem or, or the, the, you know, or the, the set of, you know, um, parameters. And, um, I don't know where, where I got that habit from maybe school or I don't know, maybe, maybe, you know, maybe when I was younger, but anyway, that's.
You know, to, to, to have that open mind, I think is so important. So yeah, like that, it's just like something that we always do in our studio to, you know, like kind of like go beyond what you're asked to do. And I think sometimes like we, we get annoyed for, you know, doing that. And sometimes, you know, we have situations like the, this project, you know, where, you know, we're, we're able to like, really, really like, you know, contribute and.
Yeah. And then, and then I, from there, like sometimes it just becomes about how to sell that, you know, and I don't know, you know, like not, not that I'm talking about this and I feel like maybe, maybe, maybe people, you know, back then it was easy for, for like the, you know, developers or the owners to like, you know, accept this idea.
Well, 1st of all, because, you know, we provided, you know, the extra work and like the, you know, the, the drawings
Dan Ryan: get paid for it.
Jun Aizaki: and,
Dan Ryan: Ah,
there you
go.
Jun Aizaki: Yeah. Yeah. And.
Dan Ryan: invested in the vision.
Jun Aizaki: You know, but, but, and also like, you know, I think a lot of times it's also, like, key who that idea is, you know, is, or where the genesis is, and to, to kind of, you know, present it in a way and work with people. So, you know, it's, you know, it's, it's, it's their idea or it's, you know, it's like, it's like something, you know, it's a collaborative, you know, collaborative process.
So, you know, being able to, I don't know, you know, like not.
Dan Ryan: I, well, cause the reason why I'm asking is it's interesting. Cause you're building like you're building buildings or spaces and you're taking everything and you're thinking outside of the box to use that word that you said, right. And you can, I found. In doing, like with Berman Falk and doing custom furniture for guest rooms, we're working within a box.
And one of the things that I found as you, as you were talking, it made me think of, Okay. So we're doing all the case consent seating in a room. I'm not changing your design. I'm executing your vision. Right. But oftentimes the model room will be not really have a quote budget per room. Right. It's just like, let's get the vision out there.
And then we go and we'll go down the path of doing this model room and then we'll get a real budget number of what the whole room needs to be for the rollout. And I found that a very. Interesting question is, and more often than not, I'd say 99 percent of the time, that budget is smaller than Mm-Hmm. Put in the room, right? Cause you want to sell the vision, right? I'm executing your vision. You want to see the best of what you can, but then when we start going through these value exercises, value engineering exercises, I always like to ask that all the stakeholders design most heavily weighted there is, you know, what's most important to you and that.
In the room and then down on each piece of furniture because that clarifying question, it's amazing what, what it, what you find, because you'll find, okay, we need to cut 40 percent out of the overall room budget. So that translates to 40 percent of what we're doing. And then you might find out. It's this, the, the drawer pull or it's the stone or it's, what's another weird one?
Like it's the toe kick, like the material at the toe kick. And I'm like, okay, well, if that's the most important thing to you, then we can, we have a lot of room to work with in all of the other parts of the furniture. And I find that, I don't know, it took me or 20 years to figure that question out. Um, but it's just saying what's most important.
And, and then you can, um, Reprioritize everything around that, but it's, it's working within a box for what I'm doing, trying to
exercise kind of, I don't know, make your vision come to life,
but for you, it's also thinking outside of the box. So I don't know. It's just like an interesting relationship the
Jun Aizaki: Yeah. Yeah. Yeah. Absolutely. Absolutely. And I get your point about like, you know, prioritizing, you know, like when you, when you have kind of like the box and like your. You know, kind of like forced to work within that, you know, limit, like you're, you're, you are, yes, you have to prioritize in order to, you know, like make, you know, make things better.
Um, I guess so that's, that's one, I guess, I guess, um, yeah, like we're typically, you know, asked to do that, but I think as designers, you know, and also like being an architect also gives you that sort of like, you know, Thanks. Thanks. Bird's eye perspective or you know, like you're looking at things, not just inside the box.
But I don't know, like we're, we're always thinking, you know, like zooming in and out, you know, like having like this perspective here, but also looking at the details and like you said, what to prioritize, you know, having both of that ability, you know, like gives us that, um, yeah. Gives us that, you know, ability or just that, that, that vantage point.
Yeah. And. Yeah.
Dan Ryan: I want to ask another question. I don't, I've interviewed people who have won. Awards before, but I don't think, I think you're the first person I've ever interviewed. And it wasn't like planet. I don't think I've ever interviewed someone who won an award like two days ago. So,
Jun Aizaki: Mm-Hmm.
Dan Ryan: right. So that's like really exciting.
And I want to like, congratulations again. That's pretty awesome. But you were also among really incredible competition, right. For Theta and also for Kagoshima. But Theta is the one that won. What do you think? Actually, that's pretty cool. So, if you think about Eventi and Akimpton, that's on, um, 28th 6th, um, where's Theta?
It's on
Jun Aizaki: It's in 50, uh, 49th and 50th Street. On eighth. Eighth Avenue.
Dan Ryan: Okay, so it's basically just up a little bit and a little bit to the west. Um, what do you think attracted the judges of that HD award for public space to you? to Hotel Theta in particular.
Jun Aizaki: Um, uh, for, for Theta, I think, um, it's, it's funny that you mentioned that too, because I think it's more of, you know, what our ability to, to be able to maximize, you know, kind of like the limitations and what the box, you know, what's given, you know, as a parameter to in a defined box, because, um. Yeah, that's a project that, um, was, you know, it's a, it's a, you know, full renovation, first of all.
So, you know, like you're already, you know, limited in terms of, you know, um, yeah, like the canvas, you know, the building, um, yeah, it was actually a building that, um, that, um, it was, it was a Hilton Garden Inn, I believe, um, previously. Yeah, yeah. And, um, it was.
Dan Ryan: Whereas the Aventi was built brand new,
Jun Aizaki: Right. Well, yeah, before, before, yeah, we, we came on board.
Yeah. It originally was brand new. Yeah.
Dan Ryan: So, so what do you think about that re imagining of, of a Hilton Garden in, into a boutique Kempton? I don't know. Can you say the word boutique anymore? I don't know. I guess it would be whatever. About a really cool boutique, a cool Kempton hotel, a lobby. What do you think? What do you think lit the judge up, judges up, or like attracted the judges to, to that space, I don't know, rather than all the, all of your other competitors who were in the award, in the category with you?
Like what's, what do you think separated in your, in your,
Jun Aizaki: hmm.
Dan Ryan: do you think separated you from the rest of the pack, number one, and whatever that was, did, was it something you captured in your notebook originally?
Jun Aizaki: Mm hmm. Yeah, it's funny. Yeah, it's a great question. Um, um, I mean, with these awards, you know, like, 100 percent honest, you know, like, you never know, you know, what captures, you know, and with, with judges, you know, every, you know, everybody is a You know, human and what resonates. I don't know. You know, I don't know what, you know, specifically hit the right note and, you know, especially among, you know, you know, other great, you know, designs, you know, that we always don't know, you know, like, what, what it is, but, you know.
Dan Ryan: Then what did you love about the Theta?
Jun Aizaki: Yeah.
Dan Ryan: And did it, did it, was it something in your notebook before you even knew about the project that you drew upon, like a past inspiration? That's actually, I'm curious about
Jun Aizaki: Yeah. I think that's, you know, that that's, you know, this, this is more specifically, you know, for, for, for each project, you know, for each interior design project, you know, like we, we. rely heavily on coming up with concepts. And, you know, we tried to mine really, you know, like, take, take a project, the mind, you know, the, the, the, you know, uniqueness of that project, you know, whether it's, um, you know, something that's derived from the, the, the, the, the.
You know, like, context of the neighborhood or, or the brand or the people involved or, or something architectural, you know, we try to create stories and, um, you know, make, make that, you know, whatever, um, uh, Space we design, you know, special, you know? Yeah. And, um, I think, I think that's, you know, when we're successful at doing that, you know, it does send out an aura, you know, it does send, you know, like, you know, it, it, it does become a space and the, the pictures, you know, kind of like tell the story and, you know, I would like to think that, you know, that's what, you know, the judges eyes and, um, yeah, what I like about, um, Or, or, no, 1 of the things, you know, maybe I should just like, focus on 1 thing, but it's the fact that the original building was designed by Morris Lapidus.
Yeah, you know, the architect, but it wasn't, you know, it was, it was, uh, it wasn't really known for that, you know, it, it wasn't like one of his, like, kind of like outlandish, you know, like, more is more kind of like buildings, but then, like, it had the, you know, some of the elements, um, and some of which we haven't, you know, even like, um, You don't even know because like it's still under construction, like the FNB spaces.
But anyway, on the ground floor, you know, there were all these like columns and, um, which, you know, which the columns are kind of like these massive, like, columns that were like covered in CMU and so the structure and, uh, we didn't quite know what to do with it because there were like these fins and almost like, These like sheer walls, and they took up a lot of the space in the lobby, and it was plastered over and painted over the course of years.
And, um, the spaces were kind of like disjointed. So, you know, like, we came in and we laid out the spaces and we turned those like, peers into these, um. Uh, Curve Portals. And, um, yeah, that actually, you know, is something that's very, you know, uh, iconic. And you can really see that in the space. And like, we kind of like based the design, you know, based on that, um, you know, integrating that into the, the lobby.
And, uh, yeah, I
Dan Ryan: Do you know what's, you know, it's crazy just from an outside perspective, outside perspective. I saw the photos in the, for the award, right? And, but as I'm talking to you right now and looking at you, I'm looking, I just pulled up the photos and I see the curved columns and then I see the screens with the cross hatching.
And I feel like the curves are over your left shoulder, that curve shape. And I feel like the hatching texture is the drawing over your right shoulder right there. It's so crazy. I'm looking at the picture and I'm looking at you and they basically all come together.
Jun Aizaki: That's so funny. That's funny. That's funny. Yeah. I mean, yeah, the, the, the, the, the stuff that you see are like, you know, some like, you know, sketches from my, like, the sketchbook that I was talking about too. so Oh, so those
Dan Ryan: are, that's yours behind you.
Oh, okay. I didn't even know that. Okay,
cool.
So it's coming out from between your two ears in this picture
and your teams, obviously, but like it's in the, it's in the picture and it's on the wall
behind you. That's kind of cool. I'm gonna put these photos in there and then everyone else can be the judge.
We can all be judges
Jun Aizaki: All the time. Yeah.
Dan Ryan: Well, I'm being a psychiatrist or a psychologist now too. Um,
Jun Aizaki: that. You should do this more often. Mm-Hmm,
Dan Ryan: yeah, I really, I, um, okay, so cool. I see the curves and I really like the crosshatch, um, panels. The, those wall panels are
Jun Aizaki: right. Yeah. So, so I should mention, you know, that Yes. You know, like. Looking back, like I, you know, like I had like sketches that have, you know, like original sketches, like some of that's, you know, that's one of the, you know, contributions of design from a design perspective that I, you know, like, I was able to, you know, you know, infuse in the project, um, through through like a sketch, because I have like, uh, you know, like, earlier, earlier, like conceptual sketch, you know, but, but at the same time, it's really, um, yeah, my, you know, You know, my, my team that really pulls that vision together and, you know, having, you know, having our, um, staff, you know, taking that, you know, sketch and then like going through this whole process, you know, is what makes it happen, you know, as well. Yeah,
Dan Ryan: you the other day, or, um, maybe it was actually it was a couple of weeks ago. Um, I, you know, this. That book Shogun is turned into a TV show, right? So I read the book when I was a kid. I'm reading it again. It's 16th century feudal Japan.
And then I'm reading it. And every time they're like hot or thirsty or whatever, they're drinking out of a gourd. And I was like, Oh my God, that's amazing, June, because you, um, at the radical innovator, uh, radical innovation event last year, um, you won for this, the gourd project that you were doing. And it's something that nature gives us gourds, but just, and it's something that is very useful, but what was the, I like, how did you, Come up with that idea.
I know you said earlier, you're still working on it. What drew you to it? And did that come out of your sketchbook as well?
Jun Aizaki: it did. Yeah. Um, thanks. Um, yeah, it did. It did kind of come out of a, of a, exactly like a, you know, like a list of ideas, you know, that, that I had, um, um, yeah, I haven't seen the Shogun, but I, I used, you know, I remember the original one
Dan Ryan: Oh, but I, I, I don't even know if they show it in the show. Cause I'm not done reading, watching that, but like in the book, they were always like the sailor from, you know, 16, whatever the English guy, he's like, Oh, I was so thirsty and they handed me a gourd. And, and he was just amazed by like something so, um, natural and readily available could be re imagined in a. And, uh, such a useful and sustainable product, right? Instead of like all of these Stanley pressed hydro flask things. Why don't we just reach for a gourd and drink out of a gourd? And it's biodegradable. Yeah. Like the gourd. I wish I had my, you sent me one and it's, it's in my office and I don't have it on me right now.
Jun Aizaki: I'll have to send you another one. Yes.
Dan Ryan: But when you think about the gourd project, if you were to, if you were to play it out, like, how do you want that to take hold or that I, maybe not even the gourd as, as a drinking vessel, but just the idea of looking at nature, And what's all, what it's already giving us and using
Jun Aizaki: Right. Yeah. Um, well, first, first of all, like, so this is another, you know, it's like a pet project. You know, it's a, it's a project that we've been working on for, you know, uh, I don't know, multiple years, like, you know, 7, 8 years to be honest, you know, but, um, yeah, it really came out. Yeah. Um, well, well, like, I guess it was from like sketchbook or some of my notes, you know, to try to come up with, you know, a, a container that, you know, that's like biodegradable and, um, yeah, it was probably more than, you know, that note was like, put in my notebook probably like long, you know, long time before that, you know, like when, you know, like we.
You know, you, you know, we, we always use plastic cups and, you know, like, I'm sure I'm not the only person like, you know, even like, you know, 10 years ago, even way back, you know, like, people look at those cups and say, hey, you know, like these things, you know, like last, you know, so much longer, you know. Then the actual, like, you know, the time you use, use, use it, you know, when you're, you're done with your cup of like ice coffee and like one second, you just like throw it out then, you know, and, uh, Yeah, so I had something like, you know, like, you know, why is it like that?
You know, like, why can't we come up with, you know, all these like technologies, you know, like in the world, you know, a better solution. So, you know, that was, let's just say that was like, you know, 10 or more than 10 years ago, you know, so, uh, you know, there was a time when Found that note and said, okay, you know, let's, you know, let's tackle this issue and, um, and this was, you know, quite a while ago now, you know, like, I, I think there's, you know, so that there's so much more, you know, you know, development and, um, research and, you know, development that has been done in that whole, you know, um, area.
But, um, yeah, it just started with that simple question and trying to, you know, look for, you know, solutions. Um, and, uh, yeah, I remember just, like, thinking about different ways of, you know, different ways of, like, how do you make, like, a container that's, you know, that, that you could, like, throw out, you know, like, the rest of your, you know, like, perishable trash.
Uh, you know, I remember, you know, I had people in our studio, like, experiment with like, you know, like, with like pasta, you know, like trying to make a cup out of pasta, you know, like, this is kind of like a, you know, like, like a creative, you know, like exercise that I like to have people in our studio, you know, do sometimes and, um, anyway, you know, that led to one of the ideas, which was to take, you know, Yeah, take, uh, you know, well, you know, that, that led to, you know, finding, or, or like, I knew about this already, but, you know, gourds, you know, which is something that's been used, you know, in like many, many different cultures, you know, in the world, um, and it's really like, you know, it, it, it was, it's ready and in abundance, it's easy to grow and, um, Um, yeah, people from like Africa to Asia to South America, you know, like use, you know, historically used it as containers and as like instruments, all kinds of stuff, you know, like, people still do.
Um, so, you know, we said, you know, Oh, let's try this one. This is kind of like promising. And then we said, you know, Hey, but, you know, like you, you need to be able to like. You know, form it in a certain shape. So, you know, that's where we got the idea of, you know, creating, uh, a custom mold for, you know, for it to have, you know, gourds grown in it.
And that, I think, you know, that idea also, well, that that came from like, you know, references to like, um, some, some of these, like, Japanese, like, watermelons that are grown into like squares. So they're like easy, easy to like stack and pack, you know, which is, which is like a very Japanese kind of, you know, thing.
But anyway, yeah, packaging, you know, so, so, um, you know, we kind of like combined those two, you know, like the, the gourd and this like, um, this idea of like putting a mold and, you know, shaping something.
Dan Ryan: So, and it grows into the mold. So it's confined, there's
constraint, and then you cut the top of the
gourd off
and hollow it
out. That's, that's, that's, yeah. That's what we did,
curious about, as far as your team and in the
studio, those kind of creative projects. How many of those are you guys working on at any given moment? Or do you try, do you have a goal to try and do one a year, one every couple years, one a quarter?
And then how do you all decide? What it is you want to work on. Cause that's actually, that's kind of a cool and fun collaborative R& D that again, you're not billing for it. Right. But you're, you're kind of, it's a good way to bring everyone together and build community and strengthen community within your
Jun Aizaki: true. true. Yeah. Um, yeah, like, we don't, we don't really have, like, a set number. You know, maybe we should, you know, like, we should at least try to do one every year, you know, I think. But, um, yeah. Um, yeah. We don't, we don't do that. And I, you know, I think it's more, less frequent, you know, like I would say, you know, we could do something, you know, maybe like every other year, you know, because, because it does take, you know, kind of like a, you know, like a resources, you know. Yeah, um, but yeah, that's something that we try to continue to do. Like we've, we've done this. Um, so, so when, like, right after we did started the Gourd, we started the, the, the bridge project, um, the timber bridge project, which is, uh, uh,
Dan Ryan: I don't know
Jun Aizaki: yeah. yeah. Okay. So it's a, it's a pedestrian bridge proposal that connects, um, with the Greenpoint neighborhood of Brooklyn and Long Island City and Queens.
Dan Ryan: Oh, kind of near the Kosciuszko where they
did that new kind of
traffic bridge.
But it's
not very, it doesn't look very welcoming for
walking. So this
is a way to solve that.
Jun Aizaki: Yeah, yeah, well, that, the Kosciuszko Bridge is, you know, it's part of the Brooklyn BQE, right? But, um, closer, like, further west, there's, you know, near the mouth of Newtown Creek, there's,
Dan Ryan: Yeah, there's like a
canal there where some people have some sailboats park and exactly, That's exactly what we're proposing, the bridge, um, and this is like a project that we've been working on, and we actually Launched it in 2017.
Jun Aizaki: Um, and, you know, we're working on relaunching that right now. But, um, yeah, there, there is actually a bridge called the Pulaski bridge, which is, you know, which is built for cars. Um, and, you know, it actually is a drawbridge as well, um, because there has to be, you know, like boat,
Dan Ryan: But that, that one's in New Jersey, right?
Jun Aizaki: No, no, no, no.
It's in, it's in.
Dan Ryan: Cause there's the Pulaski Skyway,
which is like right. That's the one from new Yeah, yeah, yeah. No, it it's the same name, but yeah, yeah, yeah. The one, the one is in, uh, Greenpoint in Long Island City.
Wow. All
Jun Aizaki: I
Dan Ryan: guys, Kosciuszko and
Jun Aizaki: right. It's true. I think. Yeah. Well, you know,
Dan Ryan: They were good. They explored up the
Jun Aizaki: right. right. Or I think, I think they were, um, like, you know, generals or, you know, like in the Civil War or, yeah.
So, yeah. I think there's some like six Yeah. Historical significance. And, um, but anyway, and yeah, and also like in, in, in Brooklyn, you know, there's a lot of, um, there's a significant Polish, you know, community. Um, but anyway, um, so that's like another, you know, uh, project that we, in a way, you know, kicked off ourselves and it, it was definitely a, um, sketchbook project that I had in, you know,
Dan Ryan: So wait, you just said this area needs a pedestrian bridge and then you're designing it. And concepting it. Did you get any buy in from the city? Like, how are you, what's the next step on that? Are you going to go sell it, like quote, sell it to the city or, um,
Jun Aizaki: that,
Dan Ryan: or was it part
of an open competition?
Jun Aizaki: it wasn't like we, yeah, we just kind of like, yeah, started doing it ourselves.
Dan Ryan: so wait, you have to go to the, the, who do you approach with that?
It's like, uh, the department of transportation of New York city or the transportation
Jun Aizaki: Yeah, yeah, we, um, I mean, you know, this, this, this, this project was more active and, you know, it's kind of an ongoing thing and we're still working on it. But, yes, back in 2017, we approached the, you know, EDC, the mayor's office, um, DOT, MTA, there's, you know, there's, there's a lot of, you know, transportation authority.
So, you know, we, we did, um, A lot of legwork and try to, like, you know, talk to people. Um, yeah, Mayor Adams, who was the Board of President back then, you know, liked the idea, liked the idea. Like, he wrote us a letter. Um, and there was a lot of, um, you know, developers and neighborhood. Do you know like support?
Um, and, uh, yeah, we, we were like, I was on a TV show, you know, presenting this one time and yeah, yeah, we'll send you all the information. But anyway,
Dan Ryan: I had no idea. How did I
Jun Aizaki: yeah. yeah. But anyway, anyway,
Dan Ryan: Wait, where are you now? Is it, is it happening?
Jun Aizaki: it's well, um. It's, it's, it's, you know, we're, we, we've learned that it takes a lot to like make something like this happen.
Um, and, um, but, you know, again, I guess, you know, it goes back full circle to what we, where we started, you know, not taking no for an answer and like being persistent and, you know, like, you know, following through with your vision and,
Dan Ryan: But I, but not, not taking no for an answer with a receptive owner and a brand and a manager is one thing, not taking no for an answer with the city of New York and the bureaucracy of the city of New York is something quite different and that is amazing. Oh my God. I really want to learn more about this because that sounds awesome.
And that place could use a little. a little love and to connect it over that canal in like a nice way that that
could
be transformative for
those two
neighborhoods.
Jun Aizaki: Yeah.
Dan Ryan: Oh, wow. Okay, cool. So I want to follow up with you on that one. Um, so June, as you're looking out into the future, having just won this award and just all the other projects and great team that you've built, um, what's exciting you most about what you're seeing ahead in the future?
Jun Aizaki: Um, well, yeah, I, I do want to kind of like reign back and just talk, talk and, you know, stress the fact that, you know, the, the team is, you know, you know, like that's, that's my, you know, you know, accomplishment, you know, like, it's very, you know, it's hard, you know, running a design office, you know, in New York and where, you know, like, it's really, you know, You know, design offices are kind of, you know, in a way like a transient, you know, this like living art, you know, or organism, you know, that people go in and out, then, you know, your scale kind of has to like, you know, you know, go with the ebb and flow of the, of the, you know, the business, but, you know, just, you know, again, you know, like, Persistence and being there, you know, it's like your extension and these are the people in the group that makes, you know, like.
Every day work happen and also, you know, when you make the ideas happen to, you know, so so yeah, um, I just can't stress how important and how much I owe that to to to to to. But also like, you know, even like past people who went through, you know, our studio, you know, it's just like this thing that's, you know, you know, kind of like malleable and, um, yeah, that, that I'm, I'm able to kind of, you know, um, work with.
And, you know, as a, as a generator and also, you know, realizer of some of these, like, ideas and, you know, whether it's like a space or an object or, or, or even like these crazy, you know, outlandish ideas, you know, but, um, yeah, what. What excites me the most is, um, yeah, just kind of like, yeah, the, the, the, the idea that our, our team is also like, I feel like we're, you know, solidifying and we're able to, you know, like do more exciting projects and we're starting to get known for, you know, being, you know, creatives that, you know, bring these, you know, bring change to, to, you know, to the world and, um, yeah.
Just, you know, simple fact that you're, you know, asking me these questions and I'm able to, like, share these thoughts with, like, you know, you know, other people is, like, fantastic. I'm having this, you know, ears to, like, listen to me about, you know, some of these, you know,
Dan Ryan: It's pretty, I mean, It's pretty amazing.
Jun Aizaki: Yeah.
Dan Ryan: So now I have a question on the, on the team. If like, let's take the idea of the team. And I love how you said the current and past people who have come through because everyone we, I, I'm a big believer that we all stand on the shoulders of those before us. Right.
Um, every interaction is a source of inspiration, um, and helps us push forward. If you were to take that team past, past and current.
Jun Aizaki: hmm.
Dan Ryan: What would they say they appreciate the most about you?
Jun Aizaki: Um, about me? Huh. I don't know. I don't know. I think, well, maybe it's not exactly about me, but, you know, like, people who go through our studio, who work in our studio actually say that a lot. Mm hmm. You know, we have an amazing group always, and maybe, you know, I'd like to think that that's, you know, that, you know, that, um, that's kind of like a compliment to the fact that I have, you know, you know, the eye or the energy to attract, you know, people that are, you know, that work together well, and, you know, have that, you know, kind of like quality,
Dan Ryan: No, that's, that's a great,
that's a great answer to be able to attract really great, amazing people, which you do have. It's there's a, that's like the, that's the secret
sauce, right, It's, um,
a very special thing. If you were to take that idea of the group or of the team past and current. So what they appreciate you as your ability to attract, right. And, and, and empower them to
do.
Whatever they're doing. Um, what's one thing that they would say that you could improve on?
Jun Aizaki: I don't know, um, communication. I don't know, yeah, I mean, because like, I think that's key. And, um, I mean, I mean, maybe, maybe, maybe, You know, like, I think I have my own way of, you know, communicating with people and, um, everybody has different ways. Right. Um, but I, I do understand and believe that that's, you know, always the key.
You know, that's what ties everybody together and. Yeah, um, yeah, and I think there's always room for improvement. So, you know, like, I would, I would put that up up high. Um, yeah, but, but, you know, like, I think it's not even just like our studio, you know, like when, when, when I talk about, like, attracting people and, um, um, having that energy or having, you know, having that, um, I, you know, it's, it's really.
You know, I think the same could be said for like clients, you know, like, or, or, you know, people who work with us, you know, like extended, you know, like, yeah, you know, like the car industry as, as, you know, as a whole, you know, like people who build the project for us, who make stuff, you know, the artists, everybody, you know?
Dan Ryan: at some point in my entrepreneurial journey, you know, again, standing on the shoulders of those before us, I don't know what I did. So I was talking to someone, Margaret McMahon, I said something in a way. That was, I don't, I guess repellent. Like I was like, Oh, call me back. If you want to
Jun Aizaki: Okay.
Dan Ryan: something like that.
Jun Aizaki: Okay.
Dan Ryan: And she picked up the phone and just yelled at me and was like, you can't say it like that. Like you have to want the people to, you have to be open and attract what's coming to you.
And she sent me this book called the law of attraction, uh, or the laws of attraction. And it was, and I, I. Devoured it. And I said, Oh my gosh, I didn't realize that kind of saying the thing that I said in like a funny way, I didn't mean any harm by it. It was not my intention, but to just reframe how I'm doing at it, like life and business and everything is so it's hard enough, right?
To be closed off to it and kind of put up, you know, like when you hold two positively charged or negatively charged magnets up to each other, like you don't need any of that friction or, or, you know,
Jun Aizaki: yeah.
Dan Ryan: You don't need any of that repellent energy and to really create this safe environment where people feel comfortable and can explore their vision and work with you, be inspired with you. They inspire you and then they may go off and go inspire others. It's, it's being able to look at that and be able to find those people
Jun Aizaki: Mm
Dan Ryan: and impact them in a positive, in a way. Um, is a real gift. And I, and I don't think it's like a, a, a magical power. I think anyone can do it. We just need to all be aware of how to do it.
There's tools to do it. Um, and there's ways to like working out to flex your
muscles to be that way. So
I thank you for sharing that. I, I really appreciate it. Um, when you. If you go back, I also like asking this question, June. So you mentioned you went to Pratt.
Jun Aizaki: Mm hmm. Yes.
Dan Ryan: Um, if the June I'm talking to now magically appeared in front of the June studying architecture in the studio all night with cut fingers for making models. When you were 19 or 20 or whenever that was, what advice does the, does the grayer June have for the younger June?
Jun Aizaki: I, uh, just, just keep, you know, do what you, you know, follow your instincts. You know? Yeah. Yeah. I don't know. Yeah. Yeah. Yeah. Don't get into hospitality. No. No.
Yeah. I don't know. Uh, uh, I mean, it's a, yeah. Fun question.
Dan Ryan: Cool. I like that. Follow your instincts. Just go, um, and create. I think it's also just capture all of your ideas
as well, because whether it's on paper, on your phone, anywhere, and don't just capture them, but really look at them, clarify, review, cause they all can turn into something. All these ideas can turn
into something. Timber bridges
or re re imagine footprints of buildings or businesses or anything. So, well, June, I, congratulations again on the award or the multiple awards that the radical innovation award for the Gord, the Gord project, and also, um, for Hotel, uh, Theta, uh, in New York. That's awesome. And congratulations.
And thank you so much for your time and putting yourself out there.
Jun Aizaki: Yeah. Thank you so much, Dan. Yeah. This was, um, yeah. Such a, yeah. Fun conversation. We should do it Um, and also, I'd be remiss if, uh, well, we will do it more often. We'll do it at one of your restaurants.
Dan Ryan: How yeah, I have. Fantastic. Let's do it.
Um, I just also want to thank all of our listeners, because without you, we wouldn't be here talking to really cool people like June. Um, And learning from him and with all of these learnings from all these conversations, I don't know if I mentioned it in the last one, but I started a newsletter, the Friday five, it's really simple, but it's highlights the current episode that's launching a past episode.
Like there's so many good nuggets, uh, from the 150 plus people that we've spoken with. So just cutting right to there. Um, But just please sign up. I'll put the show notes in there. And June, if anyone wanted to learn more about you or Cram, where can they find you?
Jun Aizaki: Um, yeah. At our website or Yeah, follow us on Instagram. Yeah.
Dan Ryan: Cool. And we'll put that in the show notes as well. So again, thank you, June. Thank you listeners. And we'll be in touch.