Ubique – Hiroto Yoshizoe | Interviews

Art of Concealment

Hiroto Yoshizoe first came across ARAKAWA GRIP when he strolled through the in-house ibrary as a new employee at a firm. He recalls, "Anyone who has set foot in the spatial design field is no stranger to ARAKAWA GRIP. When I were asked to work on this project, I saw it as a way to return the favor for the support I have received."
While developing the installation, he toured the factory in Tokorozawa, Saitama, Japan. He found the simple structure of gripping wires to be fascinating. He listened to the sound of metal being machined and observed the hands of the craftsmen assembling the parts, and he knew he could approach the heart of their product.
Using a solid brass bar he spotted at the factory as the centerpiece, he created an LED light fixture with a grip function. He explained, "The brass bar is the foundation of many products and has a rough patterned knurling surface. When I saw many of them propped up on the factory walls, I realized that the metal itself had become an integral part of the products. Because ARAKAWA GRIP has an unobtrusive presence, as seen in the handrails used in the TIERS GALLERY, designers treasured them. They are architectural components tailored to a diverse range of designs."

Artistry of Functionality and Presence

He explained, "I intended to make the entire space part of the exhibition celebrating the 50th anniversary, in keeping with the TIERS GALLERY's architectural ambiance. Making the utmost use of the products, their parts, and the space, I concentrated on the lighting plan and exhibition layout. Furthermore, in pursuing ways to stretch and grip wires, the
ARAKAWA GRIP was found to stand as a remarkable construction device that can be utilized anywhere. Some ideas involved lots of hanging, yet I felt I could express xomething compelling simply by focusing on aspects that were not typically evident."
Kaori Akiyama, director of the exhibition, said, "Hiroto decided on the exhibition concept at an early stage, and I was struck by his desire to emphasize only the grips." Hajime Arakawa, the event's host, continued, "I don't think there have ever been so few exhibits in this gallery before. However, the space was filled with the ambiance that Hiroto had created.

Beyond the Realm of Design

Hiroto works in urban planning, hotel development, and special effect modeling, but he also carries out projects under his name, as seen in this case. For example, the portable light "hymn" was presented as a prototype at Salone Satellite and commercialized by lighting manufacturer Ambientec. The graphic design for this installation was led by Junya Maejima, who has known Hiroto since they studied together at Musashino Art
University and was also responsible for the logo design for "hymn."
Junya commented, "Graphic design work often precedes actual projects, and I had heard about this project from an early stage." He added, "Even when nothing had been decided, I heard about their idea of using light as a theme. I was thrilled to hear about such details in advance because I believe it is important to have a collaborative mindset, regardless of whether it is with the client or among creators." The two engaged in dialogues, discussing the quality of the materials that Hiroto came across at the factory. Junya explained, "When working on the graphics, my priority is to capture the concept of the work to be featured while also emphasizing how the images would appear in the exhibition space. In the past, I have worked on graphics that involved
an entire island. I always think that graphic work is not limited to two dimensions because structures, spaces, and environments exist in addition to the graphics." Hiroto appreciated such an approach by saying, "Junya understood the characteristics of my work thoroughly and proposed graphics that dignify the space." He added, "I feel that his intuitive vitality enhanced the spatial definition in the process of intensive focus on the concept." Kaori describes their relationship, "I remember how they transcended the scope of graphic design, discussing in detail about where to place pamphlets, fine-tuning the position of banners, and so on... I felt envied seeing their close communication over the four days of exhibition set-up.

Codesigning the Unimaginable

Ahead of the opening day, all employees, including staff from regional offices and branches, gathered for the unveiling. Hajime explained, "It was a rare opportunity for the members responsible for manufacturing to see an intriguing demonstration using their product, and it became an important opportunity for us as a company. He continued, "Even those who usually perform the cutting, assembly, and other manufacturing tasks with the mindset of being behind the scenes could experience their
products being presented meaningfully. We had a lively conversation with one another, making it an invaluable time for us all."
Hiroto commented, "The same goes for any work. Tasks to complete space are far from a one-person job. I am grateful to everyone involved, including those who helped set up the installation. I hope that the installation inspires those who are not familiar with ARAKAWA GRIP to want to try using them for themselves." Hjime concludes, "I believe this event embodied our corporate philosophy, 'Together we create a world that has never existed.' To create something innovative, there must be a demand for it, which can only be met when collaborators take the time to explore the possibilities together. I am
pleased that this installation has become a space that embodies the mindset of 'co-creation' that the company foresees as its vision."