NATURE – Constellations de Metz 2022

24.06.22

Client / Projection Mapping / Projects

NTURE

Role
Music, concept, art direction , design and animation

Credits
Lighting Program support : Reiko Seike
Lighting Programer : Mikael Trochu
3Dmodeling(Cathedral):Madoka Itani
Event organizer : Constellations de Metz 2022 TEAM
Main Event place : Metz Cathedral
Animation inspired from : Phil Max Schöll (Weltraumgrafik)

Constellations de Metz 2022 

I began to remote-work often at home just like many others after the diffusion of Covid 19.  At first, I felt at ease and liberated, but with the passage of time, it began to tell on my body, and lastly I got in the blues.
“One day I flew out of my house and boogied on to the beach.  There lay indescribable beauty spreading in crisp breeze as far as the eye could see,” said one of our team members.  Every one of us could share the visceral longing with him.
Our artwork this time, “NATURE”, was created based on this primal power to move us to nature.  Nature can rock our five senses to their foundations even in our fast-moving IT world, and this can tell us there is still a tangible sanctuary in the midst of it.
We would like to make our few minutes’ artwork be the story of describing the moving encounter with nature.  The beginning is cast with a gloomy pall, the time we are hemmed in, and then the subsequent dialogue with nature is expanded.  We used the natural sound picked up from nature, while reducing the digital sound to a minimum.
Our stage, La cathédrale Saint-Étienne de Metz, has the greatest amount of stained glass in France.  It invites natural light and harmonizes effortlessly with the surroundings. We hope our artwork will jibe with the cathedral as if it is part of nature. 

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新型コロナウィルスが蔓延して以降、多くの人がそうであるように私も家で仕事をすることが増えた。最初は快適に思われたが、時間が経つにつれて身体に不調が表れはじめ、精神的にも塞ぎ込むようになっていった。私はある日家を飛び出して海岸に向かった。そこは信じられないくらい美しい景色で風は澄んでいた。

これは我々のチームの一人の体験だが、誰もが彼の感動を身近に感じた。

今回の作品”NATURE”は、このような自然への原始的な感動に基づいて制作されている。自然はデジタル化が進む現代に生きる人間の五感を揺さぶり、理想郷がまさにその中にあることを教えてくれる。我々はこの数分間の作品を、自然に出会う感動を描いた物語にする。始まりは暗く、閉鎖的な時間を描き、その後に自然との対話を描く。音楽には自然の音を取り入れ、極力デジタルを使わない表現にする。
舞台となるメッス サンテチエンヌ大聖堂はフランスで最も多くのステンドグラスを持ち、それらは自然の光を取り込み美しく調和している。我々の作品もまた自然の一部であるかのように、この大聖堂と調和するものでありたい。

DEAR PLASTICS – Milan Design Week 2022

06.06.22

Client / Experiment / movie / Projects

DEAR PLASTICS

Role
Music, concept, art direction , animation

Credits
Design : STUDIO BYCOLOR
Movie & Sound : FLIGHTGRAF
Movie Simulation : Akira Kondo
LAMPTopology Simulation : Atsuo Nakajima

Mitsubishi Engineering – Plastics Corporation

Milan Design Week 2022

Mitsubishi Engineering-Plastics Corporation exhibited a collection featuring a new material of sophisticated polycarbonate resin developed by the company at Milan Design Week 2022 from June 6 (Mon) to 12 (Sun). The exhibition showcased a material table KONOHA (*1), a wearable material sample GEKKA, and a color sample KIHANA (*2), designed by STUDIO BYCOLOR, whose work draws out the authenticity of colors and the essence of materials. This innovative material can retain its durability while applying colors, such as pearl, lamé, and other luminous elements, to the base material through exclusive technology. FLIGHTGRAF took part in creating the animation footage used in this exhibition.

This collection is a communication tool developed to communicate the fascination of the material to everyone engaged in the design industry. Furthermore, it is a material with futuristic potential for reducing CO2 and VOC emissions by eliminating the painting process that is conventionally required. It has received numerous design awards and is drawing attention from worldwide audiences as an outstanding commodity. The installation ‘FOR / PRO / DUCT’ examines the future of manufacturing and designing from the foundation (=materials) at Gallery Rossana Orlandi, home of the “Guilt-less Plastic” activity at Milan Design Week. We hope that you will experience a sense of innovative technology designed to address future directions in the long history of design through this installation.

※１　MATERIAL TABLE is a collective name for material samples for which STUDIO BYCOLOR has applied for a trademark in Japan.
※２　KONOHA, GEKKA and KIHANA are trademarks applied for by Mitsubishi Engineering-Plastics Corporation throughout Europe, the U.S., China and Japan.

230 Millionen + 1 – Future21

27.03.22

Client / Experiment / Projection Mapping / Projects

230 Millionen + 1

Role
Music, concept, art direction , design and animation

Credits
Event organizer : Future21 TEAM
Main Event place : Mueller Cloth Mill Industrial Museum

Future21

230,000,000.
This number tells the story of “NEW” clothes discarded from apparel stores in Germany.  At this very moment, an incredible number of textiles are overproduced and discarded.  To make T-shirts, we need synthetic fibers, most of which are made from petroleum.  In other words, when we are wearing a T-shirt, we are, in a sense, wearing petroleum. And it is said that the petroleum our dear earth holds within will be depleted in 50 years’ time from now.  We are guzzling and losing natural resources of the world in our mass production and mass consumption.
But can we so easily criticize mass production?  Because of it, we can enjoy dressing up on the cheap, and there are people who are making their living out of buying and selling fabrics.  Superficial argument will not lead us anywhere, but then, what are we supposed to do?  To begin with, let’s take up mass consumption first.  With your +1 suggestion, our world may have a fresh new turn.

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2億3千万。
これは毎年、ドイツのアパレルショップから捨てられる「新しい」洋服の数です。今この瞬間も、信じられないほどの織物が過剰に生産され、破棄されています。
Tシャツを作るには化学繊維が必要で、化学繊維は石油から作られます。Tシャツを着ることは、言い換えれば石油を着ることと言えるかもしれません。そして、地球に埋蔵されている石油はあと50年で枯渇すると言われています。
大量生産と大量消費によって、私たちは地球の天然資源を失いつつあります。
しかし、大量生産は本当に避難されるべきでしょうか？大量生産によって私たちはおしゃれを格安に楽しむことができ、また生地を売って生計を立てている人もいるのです。
表面的な議論は何にもつながりません。では、私たちは何をすべきでしょうか？
大量消費について今日から考えてみましょう。あなたの+1のアイデアで、この世界が変わるかもしれません。