Taiga Takahashi advocates an “applied archaeology” philosophy, aiming to excavate future archaeological artefacts by reviving relics of the past. Consequently, the display fixtures required showcasing historical documents and archival photographs relevant to each season's theme. The mimeoscope—a light table format invented for reproducing blueprints and illustrations—was deemed the optimal solution.

 　The design approach followed applied archaeology principles, reinterpreting time and techniques inherent in Kyoto architecture through the use of iron, wood, and translucent materials. Black leather-finished iron was employed, inheriting the blacksmith's philosophy of achieving rust resistance through surface-forming techniques like hand-forging and quenching. This embodies the enduring durability seen in ancient temple nails and medieval gate doors.
 　For the timber elements, a natural-derived shibori-nuri finish was adopted, utilising persimmon tannin and pine soot ink traditionally used for building finishes and fabric dyes. While persimmon tannin typically requires considerable time to develop its colour, recently developed versions that reproduce ancient hues evoke the passage of time.
 　The semi-transparent material is an off-white acrylic, chosen to represent the transition from fire to electric light as a primary light source in daily life, while also honouring the lineage of materials like hemp, washi paper, and frosted glass.
 　The composition of materials expands the two coexisting structural principles of Kyoto – the order represented by grid-like urban planning and lattices, and the randomness seen in Japanese garden pathways and stepping stones – into a three-dimensional, irregular grid. Referencing the arrangement of broken latticework and stepping stones, elements were positioned to resist fixed patterns, then rhythms of lattices and checkerboard patterns were inserted.

 　For the tabletop, the light source was concealed within the acrylic plate, set slightly inward from its edge, to create a refined impression at the terminus. Similarly, the wooden frame was made a size smaller than the tabletop, creating a square. This ensured no joints were visible on the surface, achieving a finish where the frame, acrylic plate, and steel box are fixed together as three distinct elements.
 　Consequently, a wooden latticework reminiscent of traditional Japanese shutters or shoji screens appears on the fixture's surface, functioning as a frame for the displayed objects.