releaf

2025

Table lamp

releaf

2025

Table lamp

This light is created by combining leaf and paper using the same process as papermaking. The green surface is made from paper, while the structure is formed by the leaf itself. It captures the final moment of a leaf—paused in time— supported by paper that was once part of a tree.

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releaf

2024

Frames

Nature as a concept was simultaneously imported to Japan by translating the word nature from the West 100 years ago. Until then, the Japanese language — and by extension, Japanese culture — did not distinguish between nature and humanity. The Japanese concept of "Jinen" (自然) represents the gradually fading relationship between the Japanese people and nature from that time. Jinen means nature is not just something untouched by humans but is an attitude that views everything on Earth as a single organism, without comparisons, rigid definitions or classifications. This attitude forms the theoretical foundation of the project. All materials were treated as valuable for a specific time in Japanese history. However, current classifications create a hierarchy denigratinginstead of celebrating different materials. The project challenges this way of relating to matter by combining found local materials with delicate skeleton leaves. Merging these fragile, often ignored materials invites reconsidering the hierarchy of values imposed on different materials.

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Chandelier

releaf DM / bookmark

October, 2024

LOST IN TRANSLATION

June, 2024

Nature as a concept was simultaneously imported to Japan by translating the word nature from the West 100 years ago. Until then, the Japanese language — and by extension culture — did not distinguish the natural from the human. The Japanese culture held a belief that humans and nature coexist in the same world and are inseparable. For this reason, the word nature did not exist in Japan.

This thesis aims to explore the impact of the import of the concept of 自然 (nature) in Japan over the past century, and how it has influenced the Japanese culture and perception of the nature by examining a range of conscious, behavioral, and physical perspectives. In particular, focused on the transformation of the usage of the term 自然 in dictionaries.

44 pages
150 x 210 x 5 (mm)

In Fill Out
Tokyo design week 2023

October, 2023

Window display design for Leo Koda. Typeface designed by Sam Fagnart

G RAIN

February, 2023

This project visualizes and archives the global acid rain situation through hats and colors.
- On going project -

Photo of exhibition / Daniel Elkayam
Model/ Zuzana Pabi

THIS IS AN AWARD SHOW

April, 2023

Logo, Identity and Invitation design for Research Symposyum hosted by MA Social design, Design Academy Eindhoven

Growing monument

November, 2022

The project was started from how Japan's post-disaster reconstruction efforts, which focus on building massive concrete walls and channels with little regard for the ecosystem these days, might be rethought. On Miyatojima Island in Miyagi Prefecture, a small stone monument that has stood for 800 years has continued to convey the horror of a tsunami and saved 1,000 lives in 2011 off the Pacific coast of Tohoku Earthquake. Inspired by this story, I created an object designed to record and warn people of the tsunami 1,400 years into the future, incorporating four perspectives: language, form, tradition, materials, and environmental issues.

The original monument marks the point of a previous tsunami, but rising sea levels mean future tsunami could be even higher. The current monument doesn't clearly communicate this increased risk. Therefore, I designed the new object with layers representing the expected height of future tsunami, accounting for sea level rise. The shape of the object changes according to the rate of temperature rise throughout the four seasons and the rate of seawater temperature increase. Visualizing these data makes the risks more tangible. As years pass and memories fade, the object will grow taller and wider, becoming a more prominent reminder. The damage caused by tsunami has both immediate and long-lasting impacts. Once a year, villagers will inscribe a record of the damage and revive of the year on the layers of the object, creating a record for people 1,400 years from now.

IN FILL OUT

May, 2022

Roppongi ku-so- market

November, 2021

Identity graphic design and website for Roppongi Ku-so- Market in Tokyo hosted by studio Hakkotai.

Methodlogy : Sun print

Hibi to Zure

January, 2021

I design this paper for Hanshin Awaji earth quake which happened in1995. Due to the influence of Corona, we distributed data and asked readers to print it at convenience stores. To ensure that as many people as possible would be able to print the paper, and to express the author’s uncertain feelings, I use the moiré as a motif that appears only when the paper is exposed to a little light.Twenty-six years have passed since the Great Hanshin-Awaji Earthquake. Three people who were born or were in the womb in the year of the disaster have written about their distance from the disaster.

C8H10N4O2

October, 2019

C8H10N4O2 is a pop-up café themed on a laboratory created at the Musashino Art University Art Festival. The meaning is caffeine. We sold drinks that mainly contained caffeine, like coffee, tea and energy drinks etc. This year, the consumption of alcohol was banned. Therefore, many people thought that the festival would not be as exciting as it should be. So we decided to sell caffeine instead of alcohol. It was an attempt to liven up the festival by taking in caffeine.

Name card

October, 2020

Name card for make up artist who do not change people with makeup. In order to bring out the true quality of the person, she focuses on the care of the skin and minimizes the use of makeup.

Fixture

2024-2025
Coding

Blanche Market

2020-2021
Coding & Design