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"1-15-22 Apartment"

22 - 31 Oct. 2021
12:00 - 20:00
*Final day 12:00 - 17:00


24 Jul. - 1 Aug. 2021
13:00 - 18:00




2020年に武蔵野美術大学を卒業。 12歳よりアート・デザインを中等教育課程より専攻し修了する。 シリアスなアプローチの中にもユーモアをもったデザインを大切にしている。 現在はスイス・ECALにてプロダクトデザインを研究し活動を続ける。

Leo Koda is a Product Designer born in 1997 in Japan
Currently he is studying MA Product Design at ECAL, Switzerland.
BA at Musashino Art University in 2020.
He has been studying Art and Design since the age of 12, starting from secondary school.
His approach to design is serious, but always with a sense of humour.

“In fill out”は3Dプリントしたオブジェクトをお湯で茹でることによって膨らませ、形をデ ザインするプロジェクトです。

3Dプリンターをハイテクノロジーな機械だと捉えることをやめると、未来のクラフトにな るのだろうか。という疑問からプロジェクトは始まりました。 また、過去の偉大なデザイナーたちが今の時代に生まれて3Dプリンターと対峙したら、ど のように扱っただろうかという興味もありました。

3Dプリンターは魔法の機械のように思われますが、そんなことはありません。 基本的には重力の影響が大きく、ノズルから押し出されたプラスチックが落ちていくこと をどのように防ぐかを考えなければいけません。 そこで、3Dプリンティング特有のインフィルという充填方法に着目しました。 インフィルとは、オブジェクトの中身をどのように充填していくかの密度やパターンのこ とです。

その3Dプリントに必要不可欠なインフィルという構造が、茹でることによって熱で柔らか くなった表面に対して、内部の空気が膨張することで浮かび上がってきます。 表面にでてくる模様は装飾のようにも見えます。ですが、内部構造からくる必要美なので す。

素材にはPLAという、農産物(トウモロコシ、芋、サトウキビ、ビートなど)を原料とし て生産された生分解性プラスチックを使っています。

3Dプリンティングのハイテクと、茹でるというローテクが交わることによって新たな価値 が生まれました。



"In fill out" is a project in which 3D printed objects are inflated by boiling them in hot water to design their shape.

If we stop seeing the 3D printer as a high technology machine, will it become the craft of the future? This was the question that started the project.

Sometimes 3D printers seem to be magical machines, but they are not.
Basically, gravity is a big factor and we have to figure out how to prevent the plastic extruded from the nozzle from falling out.
This is why I focused on the filling method called infill, which is unique to 3D printing. The infill is the density or pattern of how the object is filled.

The infill structure, which is essential for the 3D printing process, appears when the surface is softened by the heat of boiling and the air inside expands.
The pattern that appears on the surface looks like decoration. But it is a necessary beauty that comes from the internal structure.

For the material, a biodegradable plastic called PLA, produced from agricultural products (corn, potato, sugar cane, beet, etc.), has been used.

The high-tech of 3D printing mixed with the low-tech of boiling has created a new value. It could be the first step towards 3D printing becoming the antique of the future. 




messagingleaving is an interdisciplinary creative practice established by Taiwanese designer Chialing Chang in 2021. It extracts distinct characteristics from each of us, embedding them as an integral part of the expression. With the versatile understanding of the structure and material, messagingleaving places importance on ideology, seeking multiple perspectives across art and design.



Sequence is an ongoing sculpture collection that researches the relationship between three primary materials: wood, stone, and metal. Following their nature while intervening with human will, the refined compositions unfold various presences of coexisting substances.


At "LOOK INTO THE CURVE," 6 patterns of sculptures are exhibited: 

Sequence 01: Cone

Sequence 03: Bow

Sequence 04: Swing

Sequence 05: Feather

Sequence 06: Twin

Sequence 07: Springboard


In these well-dimensioned structures, all parts collectively reach a dynamic balance without extra glue or pins but through their respective characteristics. Metal demonstrates its high elasticity and acquires different meanings in space under a polished or matte finish. Stone provides the hardness and serves as a counterweight. Wood has good supportive properties which allow it to counteract stress. The confrontation of three materials elicits energy within tension, dependence, friction, suspension, and other physical properties.


Initially developed for a diploma project at ECAL in 2020, the collection continues to evolve. Each piece is handcrafted at the studio in Taiwan.





The process begins by mixing flour and water by hand. After repeating the same process for several days, flour and water is added little by little, to make yeast. After kneading the dough and left to ferment, it will be modeled at the appropriate timing. As it ferments and expands, the shape of the baked product changes dramatically. The dough is first baked in the oven, and then baked over a fire in the garden. When they are dry and completely drained, the pan_objects are ready.


‘’Pan_object’’ means ‘’Bread_object’’. ’’Pan’’ is a word for bread in Japanese.











I want to create objects that can disappear. If I put this object on the ground, insects and birds will eat it, and if it rains, it will dissolve and soak into the soil.

When I was in elementary school, I liked to bake cookies and pound cakes for my family to eat. For my siblings' birthdays, I would whip up the cream and bake cakes. Eventually, I started to like the technique of surprising people by making a secret treat to catch them off guard.

Creation is important to me, and I think it's my own way of connecting with the world.

When I take the pan_object out of the oven, I feel as fidgety and buoyant as I do when I sneak into the kitchen to make a pastry.

The shape of the pan_object becomes uncontrollable as it goes through the fermentation/baking process. Most of the time, they puff up in unexpected ways, and when I bake them over an open flame, I am not very good at adjusting the heat and they either burn unexpectedly or burn completely. I usually like the unexpected shapes I get from the result.

Sometimes I don't like it. When the deformation doesn’t exceed my expectation, I scrap it and re-sculpt it with new dough. In some cases, I bake it repeatedly, adding more dough.

While I see enjoyment of those who come into contact with my work, I imagine the bread as if it had been a work of art, and then one day it breaks into pieces and is eaten by someone, or melts into the earth and disappears.

I am thinking about how I can place this little fun between you and me.






Born in Tokyo in 1993.

She finished MAU in 2021 and works as a visual artist based in Tokyo

Main works are three-dimensional works with natural cloths which is made by burying botanical cloths and decomposing it. I always think that nature, time, people, and viewer are gently linked together through the large circulation of life with flow of time on the world we live.(368字)






















The Ambiguous but close-knit relationship.

My creativity or artwork has something to do with this inspirational quote, which values on the large circulation of the life in the world.

That will in turn bring about the harmonious connection to the contemporary society settings.


Yet there sometimes is found sadness in our daily life with the unexpected and unnecessary changes, where someone feel a sense of isolation to his / her friend’s behavior. And almost all the daily items tend to be thrown away if they are turned out to lose their functions. We are likely to finish those relations, when those familiar situations have changed into the another which doesn’t have means anymore.


Nevertheless, there can be seen some potentials to have various perspectives if we observe closely with the different points of views, just before ending up with the relationship. Take the fixed ideas away and open your mind to accept vague aspects and expand our visions to review what happens in current world.


The works exhibited here just look like vessel, but they function well with the value in its more lightness than they look and the functionality is low so it’s vague.

The corroded cloths and the stone I put inside the vessel are in the process of changing in flow of time. Eventually the cloths may disappear first and then you will be able to find the stone inside.


Vanishment with changes on its shape exist in the same circulation and that can arise new harmonious relationship. One circumstance is part of whole units, and vice versa. The beginning is the end, and vice versa.





Born in Hokkaido, Japan, I studied metal and enamel at Musashino Art University. I aim to create a work that will allow people to realize the importance of our inherent senses and intuition, which are becoming duller in today’s information society as our lives and all kinds of technology continue to get enhanced.







My work focuses on the accidental color reaction between metals, mainly copper plates and cloisonne. Using a 0.3 mm thin copper plate as the canvas and enamel paint, I painted lines and dots that I thought of unconsciously. I felt an infinite number of possibilities in the natural colors obtained from oxidizing and reducing copper plates and in the vivid colors of enamel paint.


As we live in a world of mundane information and countless man-made structures, we are losing the astonishment, emotion, abundance of curiosity, and intuition for all kinds of things we had during our childhood. The feel and smell of soil we first touched and the fact that trees are big and warm—we should not forget to always bear a pure heart.






Born in Shizuoka in 1998.  Graduated from Yaizu Fisheries High School in 2014 and learned about preserved foods such as canned foods and the ocean.   He is currently enrolled in the Musashino Art University Crafts and Industrial Design Course.  He approaches the structure and context of the material and designs it to explore values that does not exist.





I think the birth of beautiful furniture such as Eames and Aalto has a causal relationship with the development of plywood.  riffle is a series of furniture created by exploring new possibilities for plywood.  We propose simple furniture while taking advantage of the characteristics of both "veneer" and "plywood" that are created by the presence or absence of glue.






Born in Nara, Japan. I am studying for a Master's degree at Musashino Art University.

I aim to create objects that are visually pleasing through their form and material expression.






The sensual connection between products and its user , is replicated by the combination of plaster and EPE foam net. By pouring plaster fluid on the shape covered with EPE foam net, a shelf emerges.  The surface texture changes in answer to the variation of then forms net’s color and mesh density, along with differences in hardness and fluid speed of the plaster during the manufacturing process. Like the manner as how we walk, run and dance freely under the effect of gravity, for this shelf , plaster-a material can turn from liquid to solid form , trying to reach its limit by the force of gravity .







Sera Yanagisawa

Interior Designer

Musashino Art University



・こんにゃくのバスケット  3点






A collection of objects based upon the study of Shimi Konnyaku and its

manufacturing methods, a tradition that has been handed down

generationally in the Ibaraki Prefecture. From mid-December to

February farmers spread the konjac onto straw covered rice fields. The

konjac freezes in cold air at night and is slowly thawed in sunlight

during the day. This process is repeated over the course of 20 days

until the water is gradually removed. Using domestic appliances such

as a refrigerator each basket and tray was frozen and thawed

repeatedly over time.






Formed by weaving together steel coils, JDM_Chair reimagines the

traditional Japanese entrance mat commonly used to remove dirt from







Secured by a single metal wedge, Kusabi can be deconstructed into each

individual part and reassembled once again through the intersection of

two wooden pieces slotted together.



・Cook The Light      2作品



Initially intending to create light bouncing off of a curved surface.

During production, I noticed that the technology for curved surfaces

was difficult to recreate resulting in the use of ready-made products.

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