The Phenomenology of Space in Wim Wenders’ Perfect Days: A Dialogue Between Architecture and Cinema

Abstract

Wim Wenders’ Perfect Days explores the intersection of cinema and architecture through a phenomenological lens. The film examines public restrooms in Tokyo, each with unique architectural characteristics, delving into how these spaces are perceived and how they enhance the viewer’s spatial experience. In the film, spaces transcend their traditional role as mere backdrops to become central components of the narrative. The restrooms featured in the film stand out as significant elements that shape individuals’ sensory awareness, social contexts, and personal experiences from both architectural and phenomenological viewpoints. Architectural design integrates phenomenological qualities of space, such as the interplay of light, shadow, sound, and textures, enriching the viewer’s experience of these locations. This study investigates how these restrooms are conveyed to the audience through the film’s structure and narrative and how they shape sensory and emotional experiences. Qualitative research methods were employed, using document analysis and content analysis to frame the conceptual foundation of the study. It was found that these spaces form layers of both individual and collective meaning through their design elements and relationships with the urban context. The study demonstrates how the concept of phenomenological space can be interpreted through cinema.

1. Introduction

Cinema is a medium through which phenomena within specific cultural spaces are explored [1]. It captures emotions and spatial experiences while allowing the use of personal tools to convey not only these emotions but also other subjective components of spatial experience to the audience [2]. Drawing from various disciplines to engage its viewers, cinema often relies on architecture as one of the most significant tools for conveying ideas [3].

Architecture and cinema have the most intricate and significant connection among all artistic forms. [4]. In 2001, Pallasmaa—an architectural theorist who advocates a phenomenological approach—described architecture as the art form closest to cinema because it portrays space, structure, time, and physical and psychological identity, whether in real or imagined settings, relying on an emotional connection for these portrayals [5]. In this sense, these two fields have interacted, intertwined, and progressed together on many levels since the invention of cinema.

From a cinematic perspective, space enables the direct transmission of intended messages as well as the visual and intellectual articulation of ideas. The use of space in films can reveal much about social life and architecture. Films employ direct or indirect depictions of spaces and architectural imagery to convey emotions, thoughts, and the issues they wish to share with the audience [6]. In a film, architecture works harmoniously with events and characters. A film’s deep meanings and a cinematic scene’s atmosphere stem directly from architecture [5].

Architecture has expressed space, whether intentionally or unintentionally, throughout the history of cinema. At the intersection of architecture and film lies the concept of space, which forms the foundation of both fields. Given that every film takes place in a distinct imaginary cinematic environment, space may serve as a background in some films, as a complementary component of the story in others, or even as the primary element forming the narrative [7] or spatiotemporal illusions [8]. Eisenstein, who was a famous film director and film theorist, in his theory of “Montage and Architecture”, also introduces the idea of movement through space, distinguishing architecture from film through the concept of the “spatial eye” [9]. As viewers progress through a series of spatially positioned phenomena experienced via the visual sense, the eye follows an imaginary route among a sequence of objects, interpreting various phenomena that pass before a stationary observer using both vision and thought [3].

Cinematic architecture pertains to the intrinsic emotions and mental imagery of the cinematic experience, influenced by the director’s intentions and the film’s narrative. Emotion and experience form its two foundational pillars. Spatial cognition, emphasizing the comprehension and perception of locations and events in a film, aims to construct a mental map of the filmic narrative in the viewer’s mind. By emphasizing feelings and meanings, spatial emotion provides a framework of significance for spatial cognition [10].

Phenomenology serves as a bridge between these two disciplines. It perceives senses, sees through emotions, and examines phenomena not just in specific instances but as a whole [11]. With a focus on understanding human experience, phenomenology explores how individuals express their thoughts, feelings, and experiences regarding a particular reality or idea. Phenomenological studies strive to grasp space without idealizing or concretizing it. Rather than adopting a deductive approach, phenomenology functions as a therapeutic endeavor—a means of profoundly understanding the core features of an entity without overshadowing its unique characteristics [12].

In its exploration of human senses and experiences, phenomenology interrogates the conceptual meaning of architecture. By viewing space as a locus of interaction and experience, a phenomenological approach becomes one of the essential techniques for studying architecture and space in cinema, which form the foundation of visual storytelling [6].

This study examines Wim Wenders’ Perfect Days [13] using a phenomenological approach. Wenders’ perspective on the city is a recurring theme in his films, where the space of the photographic image becomes a central subject. For Wenders, the space and time in which the narrative exists are as significant as the story itself. In this context, this study focuses on the protagonist’s experiences that resonate with the audience’s emotional connections to the space. It examines how spaces with identical functions are presented to the viewer through their designs by renowned architects and Wenders’ interpretations of them in the film Perfect Days. The film explores 17 public toilets with diverse architectural characteristics, deepening the perception of these spaces and enriching the viewer’s spatial experience through Wenders’ unique perspective. The study aims to investigate how public toilets with distinctive designs shape emotional experiences in Perfect Days using a phenomenological approach. Another aim of the study is to decipher how the audience perceives space, in addition to analyzing the film’s narrative and plot structure. In this context, the analysis of the film incorporates the designers’ interpretations and investigates how spatial experiences are conveyed to the senses. The findings reveal that when simple, functional structures are planned based on phenomena that enhance the quality of architectural design, they transform into photographic spaces that become central figures in a film, establishing a direct connection with the viewer. In this regard, the phenomenological approach aims to create a powerful and lasting impact on the viewer by revealing an architectural space’s aesthetic and functional elements. At the intersection of the disciplines of architecture and cinema, space transcends its role as a mere backdrop to become a central narrative element, engaging directly with the viewer.

2. Materials and Methods

Perfect Days is a 2023 Japanese-German drama film. Directed by Wim Wenders, the script was written by Wenders and Takuma Takasaki, produced by Master Mind and Wender Images, and directed by Franz Lustig. Starring Kôji Yakush, Tokio Emoto, and Arisa Nakano, the film highlights Wenders’ minimalist narrative style and calm cinematography [14]. Wim Wenders’ Perfect Days film, which won lead actor Kôji Yakusho the Best Actor award at the Cannes Film Festival, presents a profound phenomenological analysis of Tokyo and human nature. Through the lens of public toilets, symbolic of Japan’s culture of hospitality, the film offers a new perspective on spatial experience and social perceptions. In this context, the Tokyo Toilet project, initiated by the Nippon Foundation in 2018, aims to transform the traditionally negative image of public toilets. This initiative showcases an innovative approach combining aesthetics, functionality, and social benefit through 17 toilets designed by architects recognized globally, adhering to principles of accessibility and inclusivity [15].

In Perfect Days, Hirayama, a public toilet cleaner in Tokyo, leads a simple, mindful life centered on daily rituals and a deep respect for nature. The film highlights the architectural and experiential significance of Tokyo’s public toilets, portraying them as more than functional spaces. Their thoughtful design (materials, light, and sound) creates multisensory environments that encourage introspection and redefine privacy. By bridging public and private spheres, these spaces become sites for ritual and existential contemplation, shaping personal and collective urban experiences. Through the narrative, the film reimagines these spaces as integral to the rhythm of daily life and the perception of time.

The study was limited to the Squid Toilet, Public Toilet Village Three Mushrooms Toilet, Glass Toilets (two pieces), Modern Kawaya Toilet, Amayadori Toilet, Andon Toilet—which the protagonist directly experiences in the movie—as well as the Origata Toilet, House Toilet, White Toilet, and Hi Toilet, which are only shown from their exteriors. Within this framework, the study focuses on analyzing the public toilets in Perfect Days through their phenomenological and architectural dimensions. The film also incorporates elements reflecting intellectual explorations of the contemporary world in a phenomenological context. Particularly, the contrast between light and shadow, as discussed in Junichiro Tanizaki’s “In Praise of Shadows”, emerges as a significant theme rooted in a profound aesthetic understanding. The themes presented in Patricia Highsmith’s “Eleven”, addressing familial relationships within a tense socio-psychological framework, and Aya Koda’s “Trees”, which explores the impact of nature’s loss on human connections in a dystopian setting, parallel the conceptual dimensions of the film. In these works, elements of chaos and uncertainty clarify impressions of the search for security inherent in both the physical and social aspects of space, offering a deeper insight into space’s aesthetic and phenomenological dimensions. This study employs qualitative data analysis to examine the phenomenological dimensions of space in Perfect Days. During the research process, document analysis and content analysis were conducted. Document analysis involved reviewing academic publications and film critiques related to the concept of phenomenological space. The data obtained from document analysis were analyzed inductively to understand the phenomenological features of the toilet spaces depicted in the film. Concepts were identified and categorized during this process, and the analysis was structured around the following themes:

• Perceptual Experience: (light and shadow, color and texture, sound and acoustics, smell)
• Space and Felt Space: (spatial organization, scale and proportion, flow and movement, boundaries and transitions)
• Time and Space Relationship: (historicity, change and continuity, memory and remembrance)
• Emotional and Semantic Dimensions: (identity and meaning, felt emotions, user experience)
• Environmental Context: (interaction with the natural environment, place and context, landscape and visuality)
• Material and Structure: (material usage, structural elements, craftsmanship and technology)
• Originality: (unique experience, body-space relationship)
• Social and Cultural Impacts: (cultural identity, social use, rituals and daily life)

The strong relationship between the sensory body and environmental stimuli reveals how internal experiences affect emotional dimensions. These elements are not independent of each other; on the contrary, they provide a holistic understanding that enables a multi-sensory experience. All these themes shape cultural experience and revive collective memory. Architectural form goes beyond an abstract dimension, awakening bodily senses and activating personal memories, providing a spatial experience [16].

The spatial settings in the film were analyzed and described within the framework of these themes. The toilet spaces depicted in the film stand out as architectural and phenomenological elements that shape individuals’ sensory awareness and collective and personal experiences. These structures, through their design features and connections with the urban environment, create layers of meaning on both an individual and a societal level. The study aims to demonstrate how the concept of phenomenological space can be interpreted through cinema.

3. Results

This study reveals both how, in the film Perfect Days, the protagonist evokes emotions through the exploration of public toilets with different features and how the audience creates a spatial perception beyond the narrative. These architectural spaces, which are designed to enhance daily experiences, become the film’s center and important elements that occupy the audience. In this respect, the role of the phenomenological approach in cinema, which combines architecture’s aesthetic and functional qualities to create a permanent effect and make space a vital narrative component, is important. In this context, the study first addresses the definition of space, the perception of space by people in architecture and cinema, and the place of the phenomenological approach in spatial perception in real life. In the second stage, the architectural features of each toilet in the relevant scenes of the film and the reflection of phenomenological perception in Hirayama, who is the protagonist, were determined during his work cleaning public toilets in Tokyo and afterward on his spatial perception. Thus, the importance of space, which appeals to the senses from a physical, spatial perception and is at the center of life, is revealed.

3.1. Space Between Architecture and Cinema

3.1.1. What Is Space?

One of the leading figures of modernist architecture and theory, Bruno Zevi, defines space as both the starting and ending point of architecture. Architecture is not merely confined to the physical properties of structural elements that define space, such as length, width, and height. These elements act as tools for defining space. In its essence, space is described as a defined void wherein movement occurs and life takes place, and it is framed by structural elements [17,18,19] (p. 52). Architectural theorist Norberg-Schulz, who adopted a phenomenological perspective in architecture, states that human-made spaces derive their existence from their “boundaries”, and that the identity of places begins with these boundaries [20] (p. 50). Throughout history, architectural spatial structures have been shaped along axes of centralization and verticality. In this context, interior spaces are often delineated by floors, while exterior spaces are marked by boundaries such as the sky. According to Norberg-Schulz, the most concrete concept used to define the environment is “place”. It is a common understanding that events and actions occur in specific spaces; however, it is impossible to conceive of any event without a spatial context. This clearly reveals that place is an integral part of existence [15] (p. 6). Thus, the place gains a unique identity. Although it defines a void or a volume, a void transforms into a “place” when the characteristics that make the space distinctive are emphasized.

3.1.2. What Is Space in Cinema?

Cinema transforms space by blending its physical attributes with an ideological approach, conveying the message at a perceptual level. From this perspective, one of the most fundamental concepts between architecture and cinema is undoubtedly “space” [11].

Pallasmaa (2001) mentions that at the core of architecture lies the act of creating a place, and almost all films contain architectural visuals [5] (p. 13), [21]. He expresses the spatial collaboration between architecture and cinema as follows: “Both architecture and cinema create the spaces we experience. Both art forms create detailed images of life and communicate them to the audience. Architectural structures and cities build and preserve certain ways of life and culture, while films showcase the cultural archaeology of the period in which they were made. Both art forms define the essence and dimensions of the existing space, transforming slices of life into experimental scenes” [18] (p. 50).

Cinema can influence the meaning and narrative of events by interpreting the spaces where the stories take place in various ways. The spaces in films shape how the narrated story is perceived. According to Pallasmaa, in this context, space in cinema exists in an integrated manner with architecture. Therefore, cinema and architecture are two disciplines in intense interaction [20] (p. 230).

The innovative techniques cinema offers for the visualization and arrangement of space provide new methods for perceiving and designing in architecture. These techniques create a laboratory environment in the processes of experiencing and designing space [5] (pp. 14–15), [18] (p. 51).

An architectural structure and a film go through similar steps in terms of design, implementation, and production processes. In both disciplines, the process begins with a visual idea taking shape in the mind; this dream is detailed on paper and then transformed into a tangible product through various techniques. The transformation of an idea into a concrete structure becomes possible with the existence of space.

In architecture, space refers to a livable area shaped according to needs, while in cinema, space creates a visual stage where characters and stories come to life. Architectural spaces not only provide a background in cinema but also offer a visual expression full of meaning.

This shared spatial function inevitably leads to the use of similar tools and techniques in the design processes of both architecture and cinema. Concepts such as screenplay, composition, editing, plans, and scale form a common language between the two disciplines [18] (p. 51). Filmmaking starts from the source of a concept, develops a formal structure, and creates a style to represent the characters’ psychological motivations and their interactions within the story. Filmmakers often use architecture as one of the tools for this representation. Therefore, there is a close connection between cinema and architecture due to their similar ways of expressing space, structure, time, and identity.

Pallasmaa [21] states that architecture and cinema converge through the concepts of time and movement: “Architecture, like cinema, exists in the dimensions of time and movement. A person perceives a building in parts. To build a building means to foresee and design the contrasts and connections that will be experienced inside it”.

Both fields depend on the act of perception and the representation of ideas; this involves existing or participating in an imaginary realm, whether in a physical or psychological context and offers an opportunity to deepen the relationship between space and time [5]. For instance, Bernard Tschumi [22], who represents one of the frontiers for contemporary architecture and defining event-architecture concepts, suggests that a dynamic architectural space should not be understood by focusing solely on a single frame (e.g., a façade), but rather by reading a series of frames or interconnected spaces. In his “Montage and Architecture” theory, Sergei Eisenstein distinguishes cinema from architecture through the “spatial eye”, and thus initiates the practice of traversing space [9]. In cinema, the eye creates a series of positions that pass in front of a motionless viewer through “both seeing and thinking”, while in architecture, the viewer moves among a series of arranged phenomena using their visual sense.

3.1.3. Phenomenological Space

The concept of phenomenology has been defined in various ways by different philosophers: the philosopher known as the founder of phenomenology, Husserl, describes it as “a return to the things themselves”. Heidegger, a philosopher who outlined the philosophy of being and an ontological approach, defined it as “a way of seeing”. Meleau-Ponty, a philosopher who made important contributions at the intersection of phenomenology and existentialism, defined it as “the essence of perception”. Lastly, Pallasmaa defined it as “a multisensory experience” (Perceptual Experience) [23] (p. 6). One of the fundamental aims in human life is to establish a “place”. In its simplest sense, humans try to hold onto the temporary environment they find themselves in. Building and cultivating the land are inseparable parts of the existence process [24] (p. 147). The need for shelter is not only a necessity to protect oneself from physical environmental conditions but also a reflection of the individual’s effort to sustain their existence. The concept of “place” is associated with both its literal meaning and the process by which the individual works the land “according to themselves”, encompassing the concept of “home” [25] (p. 29). According to Heidegger, a building is a manifestation of human existence. Structures are built according to the land’s characteristics and the users’ needs, shaped by both physical and human topography [26] (p. 10). Similarly, cities are built according to societal needs and undergo transformations to respond to society’s expectations. However, cities that fail to meet societal demands begin to lose their qualities of “place”. Likewise, societies that disconnect from the land lose their spirit. This process signifies a reciprocal and cyclical loss (Environmental Context) [27] (p. 43). Relph, a thinker who associates the phenomenological approach with the concepts of space and place, emphasizes that to understand the essence of a place, an analysis of features such as location, landscape, time, society, personal spaces, rooting or attachment, home, and necessity is required. However, he argues that the essence of a place comes not only from these features but also from human unconscious experiences and existential purposes (Time and Space Relation) [28] (pp. 1032–1033). Bruno Zevi, who defines architecture as “the art of creating space”, states that architectural space interacts with disciplines such as art, industry, construction technology, economics, environmental sciences, psychology, and politics (Material and Structure). On the other hand, Lefebvre, a philosopher, sociologist, and geographer known for his work on the effects of space on social structures and society, approaches space as a social production and explains it through a threefold dialectic process: (i) perceived space (material, spatial practices), (ii) designed space (imagined space), and (iii) representational spaces (lived space) [29] (pp. 67–68).

According to Lefebvre, humans are social beings beyond being individual entities (Social and Cultural Effects). Social bonds transform the individual soul into a collective soul, and this transformation influences the identity of places, gradually forming a unique spirit for the place itself (Time and Space Relation). However, in some cases, the spirit of the place may become independent of its original existential reasons. According to Pallasmaa, place and spirit are mutually dependent; both are vulnerable to the same destructive effects (Emotional and Semantic Dimensions) [5]. Pallasmaa emphasizes the importance of the body in spatial experience. Spatial experience is based on the relationship between subject and object (Originality). Through physical contact with the environment, the body perceives the invisible dimensions of space (such as sound, smell, temperature, light, and shadow), eliminating the distinction between subject and object [30] (p. 2). Merleau-Ponty argues that the meaning of an architectural structure is derived from the interaction of the senses. The meaning of space is made possible through bodily sensory experiences, which make the space more profoundly meaningful for the human being [31]. In his work “The Poetics of Reverie”, Bachelard, a philosopher and historian of science known for his in-depth studies of the understanding of space and time, discusses how the continuous interaction and cooperation of the senses strengthens our perception of reality [21,32]. The concrete visual elements created by architecture guide the consciousness and allow the individual to experience their bodily and spiritual existence fully. Heidegger emphasizes that the senses should be prioritized in architecture and that the body should continuously interact with the environment. This interaction facilitates a mutual exchange of knowledge between the self and the world, and this knowledge is continuously redefined [21].

From a phenomenological perspective, space cannot be considered independently from the individual’s perception. Space encompasses both the material and spiritual dimensions of existence, including both concrete and abstract elements. Architecture is an interaction and experience space that meets sensory, experiential, and existential needs. In this context, the accessibility of space through imaginal experiences is important. The use of materials plays a crucial role in highlighting the sensory qualities of architectural structures. The experience of the building through the body, meeting psychological and physiological expectations, its connection with its surroundings, the use of light, and the formal characteristics of the form all hold a critical place in phenomenological meaning [12] (pp. 510–511).

3.2. Spatial Phenomena Analysis of Toilets in the “Perfect Days” Movie

The protagonist of Perfect Days, Hirayama, leads a simple, orderly, and mindful life in Tokyo, working as a public toilet cleaner. His days begin early with care for his plants and other daily rituals; he carries out his work with meticulous dedication, reflecting his respect for nature and an awareness of the present moment. However, his tranquil routine is interrupted by events such as a colleague resigning, a surprise visit from his niece, and a confrontation with his sister. Spending time with his niece brings moments of reflection on past relationships and personal choices. However, Hirayama remains a figure who lives in harmony with nature, his city, and his individual world, finding happiness in this minimalist lifestyle. The public toilets, through their physical design elements (material, light, sound), create a multisensory experiential space that shapes the individual and sensory awareness of their users. Beyond being functional stops, these spaces serve as sites for introspection, ritual, and existential refuge in everyday life. Acting as transitions between the public and the private, they redefine the boundaries of privacy. Their contextual positioning, dialogue with the city, and the layers of meaning they offer to users make them standout architectural elements. In the film, the recurring use of toilets as narrative spaces enhances the rhythm of spatial experience and the perception of time. It provides a fresh perspective on how these small yet thoughtfully designed public spaces in Tokyo shape both individual and collective experiences. The film Perfect Days approaches spaces not just as functional units but as phenomenological environments that shape individual experiences [15] (Figure 1).

3.2.1. Squid Toilet

The first toilet in the film is located in a children’s playground in Ebisu East Park, also known as Octopus Park due to the octopus-shaped play equipment. Designed by Pritzker Prize-winning architect Fumihiko Maki, this structure is set in a natural context and offers a secure and comfortable public space surrounded by green areas. The building’s thin white roof, resembling a squid, serves not only to shelter the toilet units but also functions as an element that connects nature and individuals [15].

The design consists of three units: one for women, one for men, and a unit for pregnant, disabled, and ill individuals. The corridors between these unites are united only by the roof’s covering, and the walls form a seamless connection, avoiding sharp boundaries between nature and the space (Figure 2a). While all the toilet units themselves are rectangular prisms at the same level, their upper portions are semi-transparent, following the form of the roof, which is arranged in a broken pattern. Unlike toilets with enclosed doors, the sinks are bordered by walls but are not closed off by a separate door. The material difference between the toilet units’ opaque surfaces and the sinks’ semi-transparent elements creates visual and tactile variety (Figure 2b,c).

In this structure’s language, nature emerges as a key actor in the space. From an open point in the roof, light and air pass directly into the corridor, allowing users to feel seasonal changes. In this way, nature’s phenomena, such as sun, rain, snow, and other weather events, are experienced not only in the toilet spaces but also in the surrounding areas. By designing the park facade of the toilet as a bench, the building transforms from its original function into a function directly related to the outside world (Figure 3a). As Lefebvre puts it, “(Social) space is a (social) product”, and this perspective suggests that space should not be treated as an isolated or static phenomenon; instead, it must be understood as a dynamic, living, and continuously evolving design [29].

In this space, Hirayama’s actions deepen spatial awareness within a phenomenological context. His meticulousness while cleaning the toilet reveals his sense of belonging to both the task and the space. As he carefully attends to every detail, his awareness of his surroundings stands out. For instance, when a drunk person approaches wanting to use the toilet, Hirayama steps out of the toilet block to avoid disturbing him and leans against the wall. During this moment, he observes the play of shadows from the tree branches on the white walls. The interplay of shadows and the sensation brought by the wind show how Hirayama’s momentary connection with nature is enriched by the possibilities offered by the space (Figure 3b). This experience proves that he finds existential peace even in a work environment. The Squid Toilet in Ebisu East Park thoroughly exposes the multifaceted relationship between nature, the individual, and the structure within the context of architectural phenomenology (Figure 3c). As Husserl emphasized, when observing a perceived object, immediate satisfaction is rarely achieved; the object invites the observer to a deeper investigation and exploration. In this regard, perceiving a space is not limited to a visual action alone but requires a bodily relationship and interaction. Additionally, fully grasping a phenomenon takes time; therefore, temporality plays a decisive role in the perception process. This structure, offering users not only a physical but also a sensory, emotional, and existential experience, becomes an essential element shaping the film’s perspective on space.

3.2.2. Public Toilet Village

According to Kuma, “The fundamental purpose of architecture is to create relationships; it is not to give form but to design a new form of relationship with the environment” [34] (p. 97). The multi-part structures and rhythms created by light offer changing perspectives, new experiences, and human movement. The space is experienced not only visually but also through bodily perception, which allows it to take shape according to the individual’s perception, making it possible for the space to merge dynamically with time. Kengo Kuma’s architectural approach aims to transform the relationship between nature and humans into a spatial experience. As a reflection of this understanding, the “public toilet village” in Shoto Park creates a functional and sensory space, blending with the park’s natural green fabric (Figure 4a). The toilet village consists of five different volumes, positioned at random angles and covered with wooden slats. These structures are connected by a natural walking path that adapts to the slopes of the topography, presenting a spatial arrangement that blends into the forest [15].

The independent placement of the volumes allows the space to become an open and transitional experiential area. The walking paths, made of a mix of earth and gravel, emphasize the naturalness of the space. Each unit’s interior is designed to accommodate various uses; it has functional sections catering to different needs, such as those of families, individuals with special requirements, children, and patients (Figure 4b). The use of natural materials in the outdoor space is complemented by modern and comfortable arrangements in the interior. Decorative tree motifs on the walls and wood-like countertops in the sinks create a space in harmony with nature (Figure 4c). The design language of the space not only serves a physical function but also offers a phenomenological environment that encourages users to connect with nature.

Hirayama’s interaction with this space reveals the impact of its design on individual experience (Figure 5a). While cleaning, Hirayama encounters two small children leaving the children’s restroom. He then hears the crying of one child and heads toward the restroom, where he finds a child on the toilet (Figure 5b). As he calms the child and calls the parents, the concerned mother soon arrives and takes the child away. This scene illustrates that the space is more than just a functional area; it is a place where emotional connections can be made between individuals. Hirayama’s brief interaction highlights both the human aspect of the space and its effect on individual emotions. After observing the child, whose anxiety transforms into a peaceful and happy expression upon being reunited with her mother, Hirayama’s concern for the child changes to a calm and content expression on his own face.

The toilet village, as a space that allows both physical and emotional interactions, emphasizes the bond between nature and humans. With wooden slatted panels, Kuma’s organic design language aligns with Lefebvre’s view that “space is a social product”, offering a structure that shapes social interaction and strengthens the individual’s connection with the environment. This scene in the film, with Hirayama regaining his emotional balance in nature, deepens the importance of the toilet village both in terms of individual awareness and its place in a social context (Figure 5c).

3.2.3. Three Mushrooms Toilet

The Yamate-Dori Mushroom Toilets, designed by Toyo Ito, pay tribute to the natural forest texture surrounding the Yoyogi-Hachiman Shrine. Despite the heavy traffic of the main street, the three separate units built along the staircase leading to the shrine blend harmoniously with the natural context. The design is based on the metaphor of “three mushrooms emerging from the forest”; the cylindrical and organic forms merge with the background forest texture, conceptualizing the space as an art object connected to nature (Figure 6a) [15]. The three different but interconnected units offer users a smooth and accessible experience through the circulation spaces. The toilet units, with varying sizes and functions for women, men, and individuals with special needs, demonstrate an architectural understanding sensitive to user diversity. While the women’s restroom adopts a double-cabin and wide arc-shaped plan, the men’s restroom is arranged with a smaller-scale layout. The restroom for individuals with special needs is designed in a cylindrical form. The relationship of these three volumes with the open air is reinforced by their flattened, dome-like roofs and transparent strips at the top of the cylindrical structures, allowing for natural ventilation and light intake (Figure 6b,c).

In the outdoor space, the hexagonal patterned floor that highlights the form and boundaries of the toilets, with a gradual color transition from brown to beige, strengthens the natural context (Figure 7a). The interior features an anti-static PVC floor, beige-painted walls, and ceramic sanitary ware elements, creating a modern and minimalist design.

Hirayama’s experience in this space reveals the phenomenological effects of the design. At the beginning of the film, Hirayama walks past the mushroom toilets and heads toward the park in silent communication with nature. He observes the light–shadow play created by the trees in the wind, immortalizes these moments with his analog camera, and carefully places a small tree sprouting from its roots into a plastic bag. When he returns home, he transfers the plant into a new pot and cares for it. This is a tangible reflection of Hirayama’s respect for nature and his lifestyle that elevates the moments he experiences.

In a later scene, while cleaning, Hirayama finds an SOS game started on a piece of paper wedged in the toilet wall. This small discovery creates an instant moment of awareness in his daily routine. He first throws the paper away but later returns to the park and greets the same tree again, sensing that the game has some significance. He places the paper back and becomes involved in the game. Over a period of days, he collaborates with an unknown person to complete the game, and the thank-you note found on the paper creates a smile of happiness on his face (Figure 7b,c).

This scene illustrates how the spaces with which Hirayama establishes both physical and mental connections hold meaning in his everyday life. The form and organization of the mushroom toilets shape the users’ relationship with the space on both functional and emotional levels. Hirayama’s experiences around the toilets validate Lefebvre’s statement that “space is a social product”. This design does not merely provide a physical function; it also creates an environment that facilitates the formation of unseen emotional bonds between individuals.

Toyo Ito’s Mushroom Toilets use the silence of nature and the play of light and shadow to serve as a bridge between the physical space and human perception. From a phenomenological perspective, Hirayama’s experience in the space deeply illustrates how the design resonates within individual consciousness.

3.2.4. Glass Wall Toilets

The glass toilets designed by Shigeru Ban for Yoyogi Fukamachi Mini Park and Haru-no Ogawa Community Park combine modern technology and architectural aesthetics, offering an innovative contribution to the concept of public space. The focus of the design is to address common concerns of hygiene and privacy in public toilets. These toilets, with exterior walls made of transparent glass, transform through users’ actions in the space, creating invisible barriers/limits; when the door is locked, the glass walls become opaque, but in an unoccupied state, they retain their transparency, allowing the interior of the toilet to remain visible (Figure 8a) [15]. This technological innovation not only encourages users to keep the space clean and orderly but also positions the design as a tool that strengthens a sense of communal belonging. At night, the toilets function like lanterns, providing illumination for the park, facilitating a broader interaction between the toilets and the public space.

The glass toilets strike a careful balance between functionality and aesthetics. The toilets in Yoyogi Fukamachi Mini Park, in shades of yellow, pink, and purple, and those in Haru-no Ogawa Community Park, in shades of green, yellow, and blue, adapt to the surrounding natural environment with their colors. These colorful prismatic structures amidst greenery present both geometric regularity and natural harmony with their simple rectangular forms. The ceramic material used for the flooring complements the park’s overall texture, while ceramic sanitary ware and mirror-clad interior partition walls provide a clean, modern aesthetic (Figure 8b,c).

Hirayama’s experience in the glass toilets reveals the phenomenological aspect of these architectural structures. The spatial dynamics created between transparency and opacity through the glass walls offer not only a physical function but also a sensory experience (Figure 9a). While cleaning, Hirayama’s interaction with the external world intensifies; the light and shadow compositions created by the glass walls incorporate reflections of the moving trees around (Figure 9b). Hirayama’s own shadow and the surrounding textures merge on the glass, highlighting how the space is transformed and imbued with meaning through human action (Figure 9c).

While cleaning, Hirayama’s observation of nature allows him to form a deeper connection with his surroundings. For instance, while watching a visitor perform a ritual by hugging a tree, he seems to share in the person’s emotions. This action demonstrates that nature is not just a physical backdrop but also an active component that shapes the meaning of a space. The transparent outer shell of the glass toilets blurs visual boundaries, creating a direct unity with nature, while the permeability of natural light and the dynamic reflections on the glass enhance the sensory perception of the space.

Hirayama’s time spent at the neighborhood public bath at the end of the day extends his spatial experience. This bath scene complements the phenomenological effects of the toilets; the ritual focused on the body and senses implies that Hirayama’s relationship with architecture goes beyond the physical. The feelings that begin with the transparent and permeable nature of the glass-walled toilets allow him to simultaneously explore social, individual, and natural connections. Hirayama’s bond with this space reveals the deep relationship between the individual and architecture. The integration of natural light, reflections, and shadows into the architecture creates not just a physical structure but also a “phenomenological space” where humans can connect with their environment.

3.2.5. Modern Kawaya Toilet

The toilet design by Masamichi Katayama/Wonderwall® in Ebisu Park is inspired by Kawaiya, a Neolithic-era hut from the early Jomon period. Considering cultural connections, the toilet structure is designed as an object that blends into the environment, much like a park’s play equipment, benches, or trees. The designer notes that Kawaiya huts are typically primitive and simple, built with hardened earth or connected wooden pieces. Imagining the ancient Kawaiya, the designer randomly combines 15 concrete walls, aiming to create both a toilet and an ambiguous space. The design does not merely represent a toilet; it creates an indeterminate space, with the interior also engaging with the park (Figure 10a).

While visually enriching the community and environment of Ebisu Park, the design creates a sharp geometric contrast (Figure 10b). Around the toilet are structures composed of rectangular prisms with transparent strip windows, while the glass structures immediately behind the toilet further connect it visually to the park. These elements complement the massive concrete of the toilet while achieving harmony within their contrasts. Surrounded by hard surfaces and concrete, the structure’s human-scale mass gives a soft effect to the space. The strong geometric design of the building counters nature’s order, softened by the wooden patterns on the wall surfaces (Figure 10c). The wooden textures create a calming balance against the harsh concrete, thus allowing the user’s sensory response to the space to emerge more comfortably.

The choice of materials used in the interior of each toilet further reinforces the connection with the exterior. The surface texture of the walls enhances the sense of continuity within the space, while the white ceramics and metal elements integrate with the sinks, as well as the transparent and reflective surfaces. The combination of these architectural elements not only fulfills a basic functional purpose but also imbues the space with a visual meaning.

The phenomenological experience in the toilets deepens, especially through Hirayama’s observations inside the space. While working in the women’s section, the entry of an older woman alters Hirayama’s relationship with the space. As he waits for the woman, bird song, along with the shadows of surrounding trees reflected on the wall, create a sense of harmony within nature (Figure 11a). Hirayama feels the drama created by the light reflections on the wall (Figure 11b,c). These sounds and visual reflections, interacting with the rhythm of nature, form a mental connection. The breeze created by the wind on his skin and the dance of the sunlight with the tree branch shadows creates a soothing mood that transcends feelings. This becomes a spiritual experience reflecting a local sensibility: the ability to feel the park through Hirayama’s body and mind and empathize with the surrounding nature, transforming into a feeling the space offers him. Natural light, the reflected shadows, and the bird song are the essential elements that nourish the spiritual aspect of the toilet. The interaction created through sounds and lights allows the space to be impactful not only visually but also sensorially and acoustically.

In the transparent-walled toilet within Haru-no Ogawa Community Park, the interaction between Hirayama and his colleague intensifies with the arrival of his girlfriend. As they clean the toilet together, the transparent wall between the interior and exterior space enhances all forms of communication. On the exterior façade, all elements of the interior and the people become visible in the reflection on the glass, where real objects and some of them merge with their reflections (Figure 12).

3.2.6. Amayadorı Toilet

Designed by Tadao Ando, the Amayadorı (a sheltered place from the rain) toilet not only serves as a public restroom but also gains significant public value within the green landscape of Jingu-Dori Park, becoming a “place” in the urban environment. Ando’s design highlights the relationship between humans and their surroundings while also emphasizing the role of natural elements in the design. In this way, the design acquires deeper meaning by integrating itself into a social context in all aspects (Figure 13a).

Tadao Ando’s design is based on a circular plan (Figure 13b,c). The wide roof at the center of the design and the surrounding open corridor provide warmth specific to the environment. Ando aimed to effectively incorporate environmental factors such as wind and light from the surrounding context so that visitors can easily feel them. The cylindrical walls woven with vertical shutters free the user’s movement space while maintaining privacy through transitional surfaces that do not open directly to the outside. These semi-permeable walls created with shutters balance the naturalness of the exterior with the peaceful atmosphere of the interior, offering the user a visual and sensual environmental experience. The light play reflected from the natural light coming from the roof covering and ventilation systems leaves an abstract impression, especially on users at night.

The interior is organized into three areas: one for women, one for men, and one for individuals with special needs. The divisions between layers are made in a way that guides the users while also strongly organizing the interior. The toilets located behind the shutters offer an unseen privacy in terms of placement. This form allows visitors to explore the space as they approach the toilet without having a clear visual connection to the center of the interior. The transparent walls on the outer perimeter, along with the reflected light, blur the boundaries of the toilets organically, creating an interactive space between nature and humans (Figure 14a).

The emotions and perceptions Hirayama experiences while working in this space create an environment that interacts with natural light play and becomes intellectually enriched. The transitional areas around the toilets, especially the light and shadows reflected from the metal shutters, enhance the psychological and physical relationship of the users. During this temporary work session, Hirayama feels connected to the environment while watching these reflections. Instead of mental stagnation, a type of visual ritual emerges under the influence of light, shadows, and the wind (Figure 14b,c). Moreover, this design, embedded in an aesthetic union with nature, offers a spatial richness shaped by Hirayama’s silhouette and the reflection of the trees. This visual composition reinforces his sensory experience of the space. At night, the moment when reflected lights transform into black-and-white forms presents an abstract and aesthetic interpretation of a similar interaction.

Tadao Ando’s Amayadorı Toilet in Jingu-Dori Park, with its visual and sensory connections blending with its surroundings, is not just a toilet but also a manifestation of a social and cultural understanding. The aesthetic harmony created by the effects of the shutters, light, shadow, and wind transcends the space’s physical boundaries, transforming it into a more abstract presence. Hirayama’s environmental impressions and the rhythmic play created by the light combine with psychological impressions that involve a temporary but meaningful connection process. In this way, the design is not just a functional structure that guides the user, but also a spatial work that expands the boundaries of inner experiences and social belonging.

3.2.7. Andon Toilet

Designed by Takenosuke Sakakura within Nishihara Itchome Park, the Andon (light signal) Toilet was renovated due to its poor condition. The architect’s goal was to create a facility that not only meets the basic public requirements but also offers both functional and architectural appeal (Figure 15a) [15].

The structure, consisting of three unisex cubicles, features a design where the toilet is accessed from the back, while the other cubicles allow users to see the outside from the interior through frosted glass, ensuring privacy by making the interior invisible from the outside (Figure 15b,c). The space is illuminated with natural light, creating a comfortable interaction with nature as it reflects the patterns of the surrounding trees. The facade elements provide a bright atmosphere during the day and are lit with soft lighting at night, creating an inviting and warm environment. This contributes to making the park a more active and safer public space.

While Hirayama and his colleague work in this toilet, the frosted glass reflects translucent images (Figure 16a,b). In addition, the space also becomes a place where Hirayama’s colleague forms a special friendship with a child. The child mentioned enjoys playing with the young man’s ears, and the mutual enjoyment of this interaction pleasesHirayama.

In the later sections of the film, we see a night scene with this toilet, representing a bright and safe urban space (Figure 16c). While Hirayama works, he searches for his special friend in the cubicles. However, when he fails to find him, the sadness he feels merges with the image of the tree branches reflected through the semi-transparent window, and he later walks away from the toilet with a sense of sadness.

3.2.8. Origata (Red) Toilet

The toilet in Higashi Sanchome was designed by Nao Tamura. Tamura emphasizes that the toilet is a place where we fulfill the universal physical needs of all humanity, regardless of age, gender identity, nationality, religion, or skin color. He considered that what provides a comfortable experience for each user is security, privacy, and urgency. With this in mind, he designed the toilet in three separate areas, redefining how a public toilet can create personal space. The design is inspired by Origata, a traditional Japanese decorative wrapping technique. This motif, symbolizing gift-giving, represents the spirit of hospitality towards Shibuya’s multinational visitors, carrying the vision of creating a safe space for all users [15].

The structure appears monochromatic from the exterior, but the three separate metal entrances add depth, creating reflections of colors and light (Figure 17a–c). This design represents hope for a society where people from all walks of life can feel secure and thrive. The toilet structure stands out in the backdrop of the railway and buildings with its red color. It contrasts with the sky. To meet the human need for the toilet to be easily noticed and to create a “sense of urgency”, the designer preferred a bright red metal shell [41].

3.2.9. The House Toilet

The toilet designed by NIGO^® in Jingumae is noted as a design inspired by a quiet old house in the corner of Harajuku, in contrast to Tokyo’s vertical architecture (Figure 18a). He states that he learned from the past and aimed for accessibility and ease of use. The toilet design, he points out, can be both nostalgic and new, depending on the age or generation. The toilet block is reminiscent of this housing culture with its blue-framed windows on white walls, chimneys on the roof used for ventilation, and a red roof. Its doors open inwards and provide constant natural ventilation with a railing system [43]. The interior of the three-space toilet features white colors, natural lighting, and ventilation. The windows form and arrangement on the facade, the gable roof resembling tiles, the white fence surrounding it, and the colors used in the joinery all provide a sense of home, comfort, and security (Figure 18b,c) [15].

3.2.10. White Toilet

The toilet designed by Kashiwa Sato at Ebisu Station, West Exit, is described as white, safe, and clean. Since it is located next to the police booth in front of the Ebisu Police Station, it is designed to be unobtrusive yet easy to access and use, with a bright and spacious, clean aesthetic [15]. Hirayama’s scene in the film shows him going to clean the building. The structure also stands out amid the crowded and busier surroundings during the day (Figure 19a) The structure is surrounded by an open corridor with white shutters, 2 cm apart, along three sides facing public spaces. With its elevated exterior walls, this corridor creates a sense of detachment from the ground. The flooring around the building is differentiated from the surrounding pavement, giving it a distinctive and exclusive appearance. During the day and night, the permeable corridor cladding allows the toilet to establish contact with its surroundings while marking its own boundaries. At night, it becomes distinguishable and easily accessible with its lighting (Figure 19b,c).

3.2.11. Hi Toilet

Kazoo Sato’s “Hi Toilet” in Nanago Dori Park, designed by Kubo Tsushima Architects with assistance from Birdman for the sound command, is designed around the idea of people avoiding surface contact in public toilets. The Hi Toilet features a completely voice-interactive design [15]. Within a white environment, the universal and men’s toilets are located inside a white hemisphere. The toilet doors are placed on the far side of the street. In order to provide the best ventilation, its round design with a ceiling reaching 4 m facilitates air circulation. Thus, it prevents the accumulation of odors. In addition, a ventilation system has been added to provide a mechanical air supply [45] (Figure 20a,b). Sound systems are integrated into the universal toilet on the left side. The interior is decorated with modern materials. In the scene related to this toilet, Hirayama is shown cleaning it and leaving in the evening. The toilet stands out with its illumination and spherical form in its location, visible through the shadows of trees and people (Figure 20c).

4. Discussion

The film Perfect Days offers a perspective in which simple and everyday moments of life carry profound meaning. The toilets in the film are not only functional spaces but also serve as microcosms that reflect the characters’ moods, loneliness, and social ties. When viewed from a phenomenological perspective, these spaces offer emotional experiences such as privacy, security, and comfort rather than just meeting the user’s physical needs.

The Squid Toilet has an organic design that directly interacts with nature. The light coming from the upper windows of the structure strengthens its interaction with the park while ensuring privacy is maintained. The smoothness of the white surfaces creates a spacious environment, while opaque materials add depth to the space. While the structure creates different perceptions of the effect of seasonal changes, it also establishes a strong connection with the public space and its social functionality. This way, users are physically connected to the structure and experience a safe public space.

The Public Toilet Village creates an atmosphere in harmony with nature using wooden materials, while the scale of the space is designed in a way that suits humans. Wooden surfaces allow users to establish a physical and emotional connection with nature. Natural elements such as gravel paths and cedar boards make the structure compatible with its surroundings. Seasonal changes ensure that the structure is in constant interaction with its surroundings. The toilet designed for children strengthens social ties and increases the public functionality of the space.

The Three Mushroom Toilet establishes an aesthetic and functional balance with its cylindrical form and dome-shaped roofs. This form, which provides natural ventilation to the space, also protects privacy. The structure’s scale offers the user appropriate comfort and provides an experience in harmony with its surroundings. The influence of seasonal changes and nature is strongly felt in the structure’s design.

The Glass Toilet effectively transitions with its surroundings with its transparent glass surfaces. The change of light in the space over time offers ritualized experiences to the user. The balance of privacy and public interaction creates a dynamic atmosphere. While technological aesthetics deepen the relationship with nature, the transparency of the structure, and the play of light give the space an intense atmosphere.

The Modern Kawaya Toilet emphasizes the interaction with nature with its sharp geometric form and wooden texture. Geometric structures provide aesthetic and functional depth to the space while using wooden surfaces to strengthen harmony with nature. Hard floors and geometric forms provide the aesthetic balance of the structure.

The Amayadorı Toilet is a minimalist structure that highlights the interaction with natural elements. While the light from the shutters creates calmness in the space, the circular structure offers privacy to the user. The atmosphere changes with seasonal changes, giving the space a dynamic feature. The connection with the local culture deepens the structure both culturally and aesthetically.

The Andon Toilet creates an atmosphere in harmony with nature by reflecting the environment with frosted glass surfaces. Frosted glass ensures privacy while making the structure a calm and peaceful space. The light conditions that change according to the time of day create a perception that changes over time in the space and offers the user a constantly changing environment.

The Origata (Red)Toilet combines aesthetics and functionality, working on social inclusiveness and hospitality themes. The red structural color and metallic surfaces are in aesthetic harmony with the environment. The structure has a design that meets human needs such as security, privacy, and urgency.

The House Toilet blends a nostalgic atmosphere with a modern design and offers a comfortable experience to the user. The white color and natural light create a calm atmosphere in the space. Traditional colors and materials warm the space, while contemporary design elements increase functionality.

The White Toilet has a simple design and harmonizes with its surroundings with white shutters. The design balances transparency and privacy and creates a sense of security and comfort in the space. The white color and natural light add a spacious and hygienic atmosphere to the space.

The Hi Toilet is a structure that combines modern technology and aesthetics. While the spherical form and light games add aesthetic depth to the space, the voice command system offers ease of use suitable for the needs of modern life. The interaction between technology, cleanliness, and security offers the user a hygienic and safe environment.

When each toilet structure is examined from a phenomenological perspective, it appears not only as a physical need area but also as spaces that strengthen emotional and social ties and offer the user a safe and comfortable experience. Beyond the sense of sight, the designs’ relationships with light, shadow, nature, and the environment, as well as the effects of sounds, cleanliness emphasis, and olfactory perception on people, are also observed. In this regard, the toilets featured in the film support the following table, which summarizes phenomenological approaches to space (

Table 1. Evaluation of toilets featured in film scenes through a phenomenological approach.

Structures	Perceptual Experience	Space and Felt Space	Time and Space Relationship	Emotional and Semantic Dimension	Environmental Context	Material and Structure	Authenticity	Social and Cultural Effects
Squid Toilet (Fumihiko Maki)	The interplay of light and shadow, white surfaces, and smoothness creates a sense of cleanliness in interaction with nature.	Organic design and openness in the upper cover engage with nature, offering privacy and human scale.	Seasonal changes and the impact of nature.	Comfort in park use, harmony with nature.	Surrounded by green spaces, interaction with nature.	Depth created by using opaque and translucent materials.	Physical connection and a safe public space.	Strong connection with the park and playground; socially functional, safe, comfortable.
Public Toilet Village (Kengo Kuma)	Harmony with nature through the use of wooden materials, isolation.	Organic arrangement, harmony with nature, privacy, human scale.	Seasonal changes and the impact of nature.	Strengthening social bonds through children’s toilet facilities.	Design in harmony with the natural environment, cedar planks, and gravel paths.	Use of wood and natural materials.	A space connecting people to nature.	Connecting with the natural environment; safe, comfortable.
Three Mushrooms (Toyo Ito)	Natural lighting and shadows blending with the environment.	Cylindrical forms and dome-like roofs offer natural ventilation, privacy, and human scale.	Seasonal changes and the sense of proximity to nature.	Connection with nature in user experience.	Design sensitive to the local environment.	Harmony with the environment through form, colors, and textures.	Spatial interaction and respect for nature.	Inspired by natural surroundings; safe, comfortable.
Glass Toilets (Shigeru Ban)	Transparency provides natural light and shadows.	Fluid transitions and harmony with the environment, privacy, human scale.	Seasonal changes and the impact of nature; changing light over time creates ritualistic experiences.	Transparent glass surfaces merge personal privacy with public interaction.	Environmentally compatible aesthetics and interaction with nature.	Transition between opacity and transparency.	Technological aesthetics and interaction with nature.	A blend of transparency and privacy; safe, comfortable.
Modern Kawaya Toilet (Masamichi Katayama)	Interaction with nature through wooden patterns and geometric forms.	Geometric structures in harmony with nature, privacy, human scale.	Interaction with seasonal changes.	Visual perception and natural reflections.	Reflection of wooden patterns, closeness to nature.	Hard surfaces softened by the wooden appearance of geometric forms.	Harmony with natural surroundings, aesthetic balance.	Reference to local culture; safe, comfortable.
Amayadori Toilet (Tadao Ando)	Interaction with nature through light passing through shutters.	Circular structure and interior layering provide privacy and human scale.	Seasonal changes and atmosphere varying with the time of day.	Spatial exploration and interaction with the environment.	Shutter system enables natural light and air flow.	Interaction with nature through metal shutters.	Aesthetic and cultural continuity.	Reference to local culture; safe, comfortable.
Andon Toilet (Takenosuke Sakakura)	Frosted glass reflections enhance interaction with nature.	Overlapping environments ensure privacy and human scale.	Atmosphere changes with the time of day.	Safe and peaceful environment in interaction with nature.	Frosted glass surfaces and natural reflections.	Interaction with nature through frosted glass.	Aesthetics and tranquility.	Harmony with the environment; safe, comfortable.
Origata (Red) Toilet (Nao Tamura)	Light and color play create a changing atmosphere.	Universal accessibility, secure spaces, privacy, human scale.	Atmosphere varying with the time of day.	Social hospitality and cultural inclusiveness.	Integration with the city fabric and harmony through color.	Red structural color and metallic surfaces.	Public inclusiveness.	Hospitality and social belonging; safe, comfortable.
The House Toilet (NIGO)	Nostalgic atmosphere with white color and natural light.	Simple and contemporary design evokes a sense of home, privacy, human scale.	Connection between user and environment.	Comfortable and calm atmosphere.	Nostalgic atmosphere combined with modern design.	Nostalgic colors and materials.	Simple and relaxing environment.	Connection with traditional culture; safe, comfortable.
White Toilet (Kashiwa Sato)	Harmony with the environment through white shutters.	Natural light and privacy, human scale.	Atmospheric transition between day and night.	Safe and clean environment.	Spacious and hygienic structure.	Simplicity through horizontal shutters and white color.	Functional and environmentally compatible.	Connection with urban culture; safe, comfortable.
Hi Toilet (Kazoo Sato)	Global form and interplay of light.	Touch-free use via voice command system, privacy, human scale.	Isolation from the outside world while harmonizing with the environment.	Cleanliness and safety through technology.	Interaction of technology with the environment.	White, spherical, minimalist single material.	Touch-free user experience.	Harmony of modern technology with the environment; safe, comfortable.

).

5. Conclusions

Wim Wenders’ Perfect Days film deepens the perception of spaces and the viewer’s spatial experience by approaching public toilets with various architectural characters from a unique perspective. Beyond being mere stops in the daily life flow of their users, the toilets featured in the film take on significance as workspaces for the protagonist, Hirayama. In this context, differences between how regular users of these spaces perceive the location and how individuals who spend much of their day there experience the space are emphasized.

In Perfect Days, eight toilets from the Tokyo Toilet Project are directly featured, while four are visually presented. Within these toilets, Hirayama’s experiences while working and interacting with people he meets take center stage in the narrative. As a result, public toilets evolve from merely functioning as background elements into narrative components that directly engage with the viewer. The architectural design and material used in the film are not limited to just a visual experience; through Hirayama’s interactions with nature and his sensory perception of space, they are revealed in a multifaceted way. By including the bodily and sensory experiences of individuals using toilets in daily life, the phenomenological perception of the spaces is strengthened.

The relationship of the toilets with their surrounding environment, the careful use of topography, designs directly related to nature, and the timeless interpretation of contemporary materials ensure that spatial elements such as light, shadow, and sound are distinctly felt. The designs are furnished to suit all ages and genders, emphasizing bodily experiences. Additionally, cultural connections and nostalgic designs are addressed with a modern approach while establishing a connection to societal culture.

Natural light and ventilation are highlighted to strengthen the sense of cleanliness and comfort in spatial experiences, creating an inviting space with dimensions suited to the human scale. Aesthetic needs are met through materials, colors, and textures, while privacy is carefully planned, reinforcing a sense of security. The sensations Hirayama experiences during his cleaning tasks in each toilet are powerfully conveyed to the viewer through the screen. This situation demonstrates that the renowned architects involved in the project have created phenomenological spaces inspired by nature, culture, and environment, using human-centered designs that are shaped according to the environmental conditions of each location, with a strong interaction with nature supported by technology, offering a public yet personal feeling.