Nomura’s latest exhibition, “Life Through Holes,” showcases her unusual artistic method at Hibiya OKUROJI for the 2022 edition of DESIGNART Tokyo. Consisting of a refrigerator, a dining table with four chairs, and an assortment of associated objects, the works obscure the seemingly rigid and artificial qualities of plastic, calling to mind sea creatures, spiderwebs, and other creations of nature. We often think of plastic as a manmade material that’s somehow separate from every other material on Earth, as if it crash-landed here from outer space. But Nomura’s works aim to remind us that it has the same origins as any other material we consider more desirable.

“I was fascinated by the way plastic products that seemed to be inorganic were given a new sense of life by harboring cells of light,” says Nomura. “Petroleum, the raw material of plastic, was born from ancient plankton carcasses under the heat and pressure of the Earth over many years. The act of making a hole is to reveal the origin of this material and reproduce it as a mental landscape.”

“Although the material called plastic is considered to be a disgusting material in terms of environmental problems, the brilliance of these cells of light illuminates the value hidden in our modern lives. What is the true value of materials and where is the true richness of the relationship between things and people in the present age where things are overflowing? As if to keep asking myself that question, I can’t help but keep drilling holes today.”

To create these objects, Nomura works with a soldering iron and an air filter mask, transforming ordinary objects like appliances and household furniture. Everything from disposable utensils to yogurt cups seem like entirely new objects once she’s done with them.

“Life Through Holes” doesn’t change the fact that plastic breaks down into tiny particles that end up in the furthest reaches of our planet, from our own digestive systems to those of creatures lurking in the deepest, darkest corners of the oceans. But it does prompt us to ponder whether we could change how we use this material, and thus, its impact. Are there potential reuses we just haven’t thought of yet? Could the new plastic-digesting bacteria currently under development help plastic re-enter a more natural life cycle?

Nina Nomura was born in Tokyo in 1993 and graduated from the Space Design Program at the Kuwasawa Design School in 2021. She received the MIKIKO award at SICF22 Spiral Aoyama that same year. You can follow her work on her website and on Instagram @_ninanomura.

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The existing layout of “404 Apartment” stretches from the front to the back of the building, with windows and balconies on the north and south ends. The common spaces like the living room, dining area, and kitchen are arranged along one side, with the private bedrooms and bathrooms on the other side. There was no way to physically enlarge the apartment, so optical illusions had to suffice.

Color plays an important role in this kind of expansion. The architects painted both the floor and ceiling a medium shade of gray and used cherry blossom pink for the walls on either side. “By visually lowering the ceiling, the aspect ratio of the perceived space is crushed horizontally to 16:9, further emphasizing the lateral expansion of the space,” they explain. “The aspect ratio of 16:9 is used for movie screens and television monitors, and is a familiar frame image for most people.”

Since we don’t view the real world through angle-limiting frames, the architects applied the 16:9 ratio view of the space from just one end of the room. The placement of all elements, including furniture, counters, and doors, is optimized so there’s more to look at horizontally than vertically, with the gray ceiling “crushing” the interiors. Nearly every piece of furniture is built in, with just a narrow table and bench along the center.

The pink wall panels are another visual trick. Some of these panels are actual doors to the bedrooms, bathrooms, cabinets, or closets, while others are just in place to make it seem like there’s more to the space than there really is, kind of like a movie set. The pink shimmers and catches the light, further guiding the eye along that horizontal line.

The team adds that “each of the cherry-red walls lies about its own role. They are not only walls, but also fixtures, wall decorations, and furniture. In short, a single component has multiple roles, but since they are all composed of the same details, finishes, and modules, it is sometimes difficult to tell which is a wall and which is a fixture. If we recognize it as a piece of furniture, we feel that even a mere wall is somehow intimate.”

If the space feels a little bit futuristic or reminiscent of a sci-fi movie, that’s also intentional. “This room, with its slight eeriness and discomfort in the midst of everyday life, is perceived as more expansive than reality,” they say.

Sugurufukuda’s 16:9 aspect ratio follows common advice to use eye-catching, reflective materials in the center of the space and darker contrasting colors above and below to change how narrow or wide the space is perceived. If you have plenty of horizontal space but the ceiling is lower than you’d like, just flip those colors, with the lighter, more reflective shade on the ceiling. It’ll catch the light coming in through the windows and make the whole area brighter.

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The entrance is purposefully mysterious, finished in black steel with no apparent function. The intention is to raise expectations for the interior space, taking inspiration from the entrances of traditional Japanese shrines. Carving the new retail space right into the thick concrete walls and leaving their unfinished contours in place, the architects create the sense of penetrating into a deep, dark cave or bunker. Seeing all the watches lined up on their pristine white and steel shelving, one wonders if they’ll find the Batmobile around the next corner.

The architects intentionally chose materials that would be in conflict with the rough nature of the concrete to create a visual tension. Shallow beds of gravel make the transition between the original surfaces and the new tile flooring. Most fascinating of all, perhaps, is the choice to subtly highlight the brokenness of the concrete in some areas with gold powder in the spirit of “kintsugi,” the Japanese art of repairing broken vessels with gold to highlight the beauty of their imperfections.

“By laying gravel between these spaces, we express a sense of calmness and beauty reminiscent of a Japanese garden,” say the architects. “The floor was finished by old lumber and floated in the space as a stage for encountering rare products. The stainless steel showcase makes a sensation of an otherworldly bank vault and the rarity of the product stand out more. The display stand of the watch uses natural stone as it is, and by contrasting it with the natural beauty of the stone, it enhances the attractiveness of the artificial beauty of the wristwatch, which can be said to be the crystallization of advanced craftsmanship.”

The firm adds that “you can bring your favorite products to the negotiation booth and carefully examine them. The booth is a neutral space finished with white steel and plastic and surface emission from the ceiling makes [it so] you can concentrate on the detail of the product. The strong contrast of various materials makes each space stand out independently. And through those ‘space’ experiences, you can feel the connection with the concept of ‘time.’”

There’s a certain poetry to Kenta Nagai Studio’s approach to this project, especially given the history of Shinjuku City. Now known as Tokyo’s major commercial center, home to the busiest railway station in the world and most of the city’s skyscrapers, Shinjuku was almost 90 percent destroyed during the Tokyo air raids in 1945. Only its roads and rails remained, preserving its pre-war form for post-war reconstruction. In this sense, those roads and rails are almost like the gold lines of kintsugi passing through the city, knitting together old and new.

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The new “Gallery COMMON” in the Harajuku district of Tokyo will be able to do just that, thanks to the ingenious imagination of Fukoka-based architects CASE-REAL. Known for their transformative minimalist designs that often bear undertones of cleverness, slyness, and even subliminal messaging (see their Aesop store design in Shinjuku), the architects/chameleons have once again subverted expectations with their design concept for this new Tokyo exhibition space.

Like many of CASE-REAL’s past projects, Gallery COMMON is based in an existing structure. A basement room with sky-high ceilings and an abundance of natural light due to its glazed perimeter, the space offered a great palette for the architects’ vision but still needed some minor refinement. As they recently explained, “This feature [the glazed areas around the rectangular space] was appealing as a project space, yet as a gallery, these many glass surfaces were a hindrance to exhibitions.”

Too much light is not normally a problem, but in an art gallery, it may not be ideal (depending on the exhibition). In this instance, the architects decided to concentrate the sunlight on one side, then recreate stark, white walls throughout the rest of the area’s open space. Placing white walls that both work in tandem with and filter out the overabundance of light created an environment with enough space to display the gallery’s many works.

Of course, the use of light is not the only distinctive feature of Gallery COMMON. Perhaps the most interesting thing about the space is its movable walls. Yet another CASE-REAL innovation, the four movable walls inside are attached to H-shaped beams that were already part of the existing ceiling. Easy to store and integrate into the rotating exhibition system, these walls work as foils to their solid, immovable counterparts. This creative touch allows the gallery to not only curate new exhibitions with ease, but also opens the possibility of changing the layout mid-exhibition, an effect that takes interpretive art to the next level.

The natural light also comes into play here. Depending on the display, pieces can be shown in the “spotlight,” the center of the space’s distinctive natural light, or can be shrouded in shadows, mysterious and obscure but no less dynamic.

Despite the seemingly complex inclusion of moveable walls and customizable light, the gallery’s minimalistic touches like a grid-patterned stone floor only serve to enhance the overall simplicity of the basement space. According to the architects, it’s all meant to evoke both rigidity and softness.

Located in the Harajuku area of Tokyo, the new Gallery COMMON is the latest installment of architectural brilliance from the Fukoka-based CASE-REAL. Continuing their tradition of revamping existing spaces into new and exciting forms, the space features movable walls meant to make the gallery experience fluid, immersive, and undeniably distinctive. Once again, CASE-REAL has created something amazing with their movable art space in Tokyo, giving a whole new meaning to the phrase “if these walls could talk.” Only this time, they move.

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