In designing the resort, Azuma first set her eyes on the ingrained lifestyles and rituals of the Taketomi natives. Everything from the ubiquitous red-roofed wooden homes to local songs and dances suggested a way of life perfectly tailored to the elements of Taketomi island.

Azuma's discovery of the absolute sense of comfort offered by the island's traditional architectural features greatly influenced her design. "Gukku" walls give guests privacy; white sand gardens bring natural light inside; and trees planted north of each pavilion block strong winds.

Wind was a major factor in the pavilion's design. Wood framed glass doors face south towards the garden, and opening them allows the island's soothing breezes to travel freely through the pavilion, imbuing it with the gentler rhythms of island time.

Taketomi Island is one of few remaining places in Japan where life is centered around traditional villages, cultures, and arts. Hasegawa's biggest challenge was how to insert a resort offering something new into such a compact universe without disrupting its continuity.

He learned that homes on Taketomi were once built behind concentric walls around a castle-like structure. Modern homes, however, are each surrounded by stone walls and situated parallel or perpendicular to each other. Hasegawa decided to incorporate both elements into his design.

The more Hasegawa looked into Taketomi's architectural features, the more he saw how perfect they were for this island in the way they offered privacy and protection from the elements. He realized such features would well serve not only the landscape, but also the resort's guests.

The result is a fifteen-acre village where every guest has their own garden to relax in, and where life moves at a leisurely pace, whether in the small kitchen garden or the large, wide open pool. Everything here is a natural extension of the charms of this island.

Takeishi's focus was to preserve the natural lighting of the island. By avoiding the use of strong lights, blocking light that shines upwards, and employing a few small lights in key locations, he has created a lighting scheme that enhances the beauty of the moonlight and starlight.

Light fixtures in the dining room and guest pavilions were designed as simply as possible. Light stands with local weaving motifs reflect light off of walls and floors to produce a gentle ambience, while the pool is lit from within with a soft glow that gives it an understated beauty.

In Japan, there are areas known as Preservation Districts for Groups of Traditional Buildings, where the landscapes have been determined by the government to have special cultural value. There are 91 such districts in Japan, and two in Okinawa. Taketomi Island is one of them.

Approximately 350 people live on Taketomi Island, where around twenty festivals take place each year. The biggest is the ten-day Tanedori Sai, held in autumn. Every islander participates in this festival, its scale demonstrating the locals' commitment to preserving their traditions.

Since I began visiting Taketomi, I have witnessed an inherant spirit of cooperation among the island's people--one that is integral to their livelihood. Two people may fight over something during the day, but they will make peace by night to ensure a festival goes off without a hitch.

HOSHINOYA Okinawa was built on such principles. Although the Preservation Districts guidelines are very strict, their very existence helps preserve the appeal of this island. I would like to invite guests to live as the locals do so they may discover the wonders of Okinawa.