Caption for Exhibition  | Fragments of MMA  | 2024.1.20-28 at POST, Tokyo

Glass samples created for the Suntory Hakushu Distillery Tasting Lounge. In a location bathed in natural light from large windows, we experimented with blown glass workshop GGG to create objects that evoke the natural texture of glass and remind one of the waters of the Southern Alps. These are the results of the process of adjusting the colors and expressions of the glass.
Crystal found by the roadside during the annual pottery market in Hasami-cho, Nagasaki. It contained purple minerals, and I initially passed by it but later returned to purchase it. It would be beautiful if such a landscape existed in reality.

Samples for the store design of the leather bag brand IACUCCI. I pondered how to convey that the brand create products in Italy, and I enclosed natural materials picked up locally in acrylic. It was an experiment to ensure that they wouldn't burn or melt when pressed at high temperatures.
Works by Yoko Andersson Yamano. I purchased them at a solo exhibition held at the bookshop Utrecht. When light shines on them, the marks engraved in the glass appear as shadows.

A bottle I acquired but forgot where. It has been partially frosted to give an interesting contrast between transparency and opacity when filled with water.
Microscope glass found at the Tokyo Tomioka Hachimangu Shrine Antique Market. The magnification numbers are handwritten on the glass. Some parts have a frosted glass texture, which I used as a reference when working with glass.
Items given after a meeting at the blown glass workshop GGG in Osaka. The pieces that came out of the dismantled furnace had a beautiful contrast between melted glass and pottery textures. Glass and earth.
Works by Naoya Arakawa from the Seikosha Glass Workshop. I found them by chance in a gallery in Omotesando. I really like the sense of mass in the glass pieces.
Samples attempting to apply color gradients to glass. It proved challenging to achieve colors without painting, and it was discovered that painted surfaces tended to peel.
An experiment in creating a light source that is not visible. The goal was to extend the light further, but it unexpectedly did not. There is room for improvement. The shape was derived from #11 and #12. Incomplete.
When designing lighting, I became interested in making holes in something, so I started cutting holes in nearby pieces of paper.

A sketch related to #10 and #11.
現在<WHAT MUSEUM>で開催中の展覧会の為のスタディ。会場構成の一部に線材を使い空間を作った。その初期イメージ。
A study for the current exhibition at WHAT MUSEUM. Metal wire was used to create space as part of the venue layout. This represents the initial concept.

Glass samples created for the Suntory Hakushu Distillery Tasting Lounge. The glass lighting on the counter, commissioned to the blown glass workshop GGG, was designed to evoke the impression of Mount Kaikomagatake. We experimented with transparency and added gradients of white to create the impression of a mountain.
<REVIVE KITCHEN THREE HIBIYA>の為のペンダントライト試作品。<NEW LIGHT POTTERY>に制作してもらったもの。昼間は自然光を受けて蓄光した光が夜に発光するイメージを元に、光源をガラスの筒に入れず、反射光だけで光る照明を作った。
A pendant light prototype created for REVIVE KITCHEN THREE HIBIYA, produced by NEW LIGHT POTTERY. The idea was to capture daylight and use it to create glowing light at night without the need for a traditional light source inside the glass tube.

Conducting abrasion tests on acrylic to verify the concentration. Hand abrasion tends to create a coarser and more interesting texture.

Samples of Ryukyu glass created for a project in Okinawa during my time in the organizational design department. These were processed for use as partitions.
多治見のタイル会社<エクシィズ>に依頼し、現在製作中のタイル。勝手にクッキーと呼んでいる、生地が透けて見える程透明感がある釉薬とグラデーション。ずっとやりたかった釉薬のガラス質を最大限活かしたタイル。来年竣工予定の<CARPET LIFE BASE>に貼られる予定。
Tiles currently being produced by the tile company XS in Tajimi. I playfully call them "cookies" due to their transparent glaze and gradient that allows visibility through the material. These tiles maximize the glassy quality of the glaze, and they are scheduled to be used in the completion of CARPET LIFE BASE next year.

(Same as #18) Experimenting with glaze application methods, considering adding a bluish pattern.

『MMA fragments vol.2』でも取り上げたタイルの色サンプル。焼きむらを確認するために焼かれたもので、タイル自体のサンプルではない。インスピレーションの源はいつでもその辺りに転がっている。
Color samples of tiles featured in "MMA fragments vol.2." These were fired to check for glaze variations and aren't actual tiles. Inspiration can always be found in the random surroundings.

(Same as #18) Experimenting with glaze application methods, trying to figure out how to convey a gradient that is translucent at the bottom.
I wanted to create a long handle using copper wire, so I explored whether it could be made simply by bending it. Something I hope to realize someday.

<REVIVE KITCHEN THREE HIBIYA>の間仕切りガラスに何を挟んだら良いか悩んでいた時に色々買った中のひとつ、ステンレスメッシュ。結果ステンレスメッシュをガラスに挟む開発をしていたメーカーさんに制作して頂く。その後製品として発売。
When considering what to place between the glass dividers at REVIVE KITCHEN THREE HIBIYA, stainless steel mesh was one of the items purchased for experimentation. Eventually, the manufacturer who was working on developing glass with stainless steel mesh decided to produce it. The product has since been released.

Purchased to check the finish of aluminum at Tokyu Hands.
錫。現場で拾った端材。<THE WINE STORE DEAN & DELUCA>の天板に使用。京都から職人さんが来てくれて現場で貼ってくれた。柔らかく、伸びる錫。グラスを置く時も心地よい。
Tin pieces found on-site. Used for the tabletop of THE WINE STORE DEAN & DELUCA in Tokyo, where a craftsman from Kyoto came to install it. Tin is soft and flexible, making it pleasant to use. It feels nice to place a glass on top.

Fragments from when I worked on roofing with sheet metal during the construction of Professor Terunobu Fujimori's hut.

Samples for a project. Originally, brass was desired for partitions, but it turned out to be too soft, so steel was used and coated with a brass color. These samples were made to check the color and shape.
A box made by the artist Wataru Hatano. I hope to collaborate on a project together someday.

Works by Ryo Watanabe. Purchased at an exhibition at Daikokuya, a ryokan in Tochigi. These pieces contain small iron balls that produce a rattling sound when shaken. I appreciate the organic shapes and textures of these iron pieces.

An experiment to see if materials could be woven together to create a long aluminum handle.
A kind of my hand play.
A leaf-shaped dish purchased in India. I heard that it's a custom in India to drink chai before boarding trains and discard the cups by the tracks. In the past, the cups were made of natural materials and would naturally decompose, but now, with plastic cups, they accumulate by the tracks in large numbers.

Samples for stainless steel polishing experiments, exploring different techniques to see how they affect the appearance.

『MMA fragements vol.1』でも取り上げたRRRのピース。プロジェクトが始まる前に見せてもらった荒木宏介さんの作品。
Pieces from RRR, as featured in "MMA fragments vol.1." These were shown to me by the artist Kosuke Araki before the project began.
Lacquer samples from Shitsurindo, known as shiro in lacquer terminology. These will be used in the finishing of shelves for CARPET LIFE BASE, scheduled for completion next year.

<漆琳堂>の漆サンプル。この色味を漆では「シロ」と呼ぶ。来年竣工予定の<CARPET LIFE BASE>の棚板の仕上げに入る予定。
Lacquer samples from Shitsurindo. Lacquerware is usually seen in the form of vessels, but it takes on a different impression when applied to boards. These will be used in the finishing of shelves, desks, and pillars for CARPET LIFE BASE, scheduled for completion next year.

<滝製紙所>の和紙が貼られているノート。<CARPET LIFE BASE>で個室のカーテンの代わりに入れる障子の和紙を作ってもらっている。
A notebook with washi paper from Takiseishi attached. We are working with them to create shoji paper made for room curtains in CARPET LIFE BASE.
Materials given by Mr. Tokura, a plasterer, during a meeting at the workshop. Sands and stones used in plastering throughout Japan. The variation in natural colors was surprising and beautiful.

<大蔵山スタジオ>の伊達冠石。デザインスタジオ<Siun>のオフィスや<DÉPAREILLÉ 新宿NEWOMAN店>の床や石そのままの形で採用した石。初めて採石の場所に訪れた時の場所の強さ、美しさは衝撃的だった。
Daté Kan Stone from Okurayama Studio. These stones were used for the office of design studio Siun, the floor at DÉPAREILLÉ Shinjuku NEWOMAN , and in their natural form in various installations. The strength and beauty of the location where the stones were sourced during the initial visit was striking.

小学校時代に図工の授業で作ったもの。"ぐにゃぽこり" を作ろうという課題。石のそのままの様子が良いと元々あったスジを深く掘り直し3本のスジにして穴を開けただけにした。もっと加工をしなさいと言われた覚えがある。小さい時から大人を困らせていた。
An item I made during a art class in elementary school. It was part of a project called gunyari pokori (let's make something bendy and bumpy). I decided to carve three grooves into the original stone, which had some lines, and simply drill holes into it. I recall being told to do more with it, even at a young age. It seems I've been confounding adults since childhood.
<REVIVE KITCHEN THREE HIBIYA>の巨大な研ぎ出しカウンターに入れた石。<日本玉石>という日本唯一の玉石専門店で頼んだサンプル。研ぎ出しといえば鋭角な表情の大理石が多かったので、丸みのある玉石が良い!と思って使用してみたが、実際は不純物が多い玉石を研ぎ出すのはとても大変だそう。
A stone placed on the massive polished counter at REVIVE KITCHEN THREE HIBIYA. It's a sample obtained from Japan's only specialized gemstone store, Nihon Gyokuseki (Japanese Gemstone). While many polished stones have sharp angles, I wanted one with a rounded shape. However, it seems that polishing impure stones like this one is quite challenging.

Obtained while visiting the Kyorai store in Ginza to see pottery and clay figurines. Ancient tools that, when held, feel surprisingly fitting in terms of handle and blade size, suggesting that the hands of ancient people may not have been much different in size.

中村修平さんのエポキシのサンプル。<SIRI SIRI>や<大道芸術館>の床を作ってもらった時に制作頂いたもの。強度や表現のチェック用。
Epoxy samples by Shuhei Nakamura. These were produced when he was working on the floors of SIRI SIRI and Daido Geijutsukan (Museum of Roadside Art). Used for checking strength and expression.
These are samples given to me by Mr. Shuhei Nakamura, who is researching a method of pulverizing materials and waste to create thin original coatings. One of the samples consists of crushed tea that has been solidified, while the other features a thin coating made from soil from Okurayama.

Shell fragments that were discarded after pearls were harvested. I heard that shells like these are ground into powder and used in cosmetics. However, their natural beauty inspired me to cut and insert them into polished surfaces. These are test pieces and have not been realized as finished products.

The countertop of the restaurant RAMA in Shirogane. It was created using the polishing technique to achieve a reddish, weighty appearance. For the customer's side, we designed it to scatter parts of the logo, and a sample was made for verification.
These are boards dyed with sumi ink. I've been pondering how to showcase wood grain that resembles fur, and I thought using sumi ink might add a slight shimmer to bring out its texture.

Samples of mortar tinted with ink. When using gray or black colors, I usually use gunpowder charcoal, which creates variations in color. Mixing gunpowder charcoal with plaster can be seen in Western Japan on the walls of old houses and storehouses. I'm exploring how to use this traditional technique in a contemporary context.

SAKAN TOKURAのサンプル。サントリー白州蒸溜所テイスティングラウンジの大きな壁面に左官をしてもらった。黒土など自然の土で作ってもらい、色味も土そのもの。土は黙ると言うが静かで温かみのある空間となった。
Samples from SAKAN TOKURA. MMA asked them to plaster for the large walls at Suntory Hakushu Distillery Tasting Lounge. Made with black soil and the color of the soil itself. Soil may be silent, but it creates a quiet and warm atmosphere.
#42 and #44: Initial samples for the same project and using the same material.

こんなに世間が「研ぎ出し」と言っていなかった時に、石の粒手が見える自然な表現でものを作れないかと模索していた時のもの。2015年完成の<MORI ART MUSEUM CAFE & RESTAURANT / THE SUN & THE MOON>のカウンターに使われている。
Before the term togidashi (polishing) became this popular, I was exploring ways to create objects with a natural representation of the texture of stones. These were used for the counter of MORI ART MUSEUM CAFE & RESTAURANT / THE SUN & THE MOON, completed in 2015.

This is an early sample similar to the one in #54, although the wood type is different, which resulted in a slightly bluish color.
Wooden toys created through Yamanaka Kumiki Works in kumiki woodworking. The top one is designed by Sori Yanagi.

I came across this persimmon wood at a wood shop by chance. The two-tone color is quite beautiful, and I hope to find a use for it somewhere.
<川本家具製作所>が実験していた、お歯黒と同じ方法である鉄染色した木のサンプル。木のタンニンとの反応で色が黒く染まっていき、木目が綺麗に見えてくる。<DÉPAREILLÉ 新宿伊勢丹店>の什器に使われている。木は普段家具には使われない樫を使用。
These samples are wood dyed using the same method as traditional Japanese ohaguro (tooth-blackening) techniques, where a reaction with wood tannins results in a black coloration and enhances the wood grain's visibility. They are used in shelves at DÉPAREILLÉ Shinjuku ISETAN store and feature oak, a wood type not commonly used in furniture.

These are samples of cutting oak wood to bring out the beautiful wood grain pattern resembling peony flowers. They were created as samples for a table, which was eventually installed in a private residence.