2005年畢業於武藏野美術大學工藝工業設計學科。曾任職於設計事務所nendo，2009年進入日本設計中心原設計研究所。2014年7月成立三澤設計研究室，獨立進行設計相關活動至今。從平面設計到產品設計，乃至於空間規畫，多領域從事設計工作。至今曾參與的企劃案有：2013年KITTE丸之內（日本郵政開設的第一個商業設施）的視覺識別（Visual Identity）與指標設計；竹尾TAKEO PAPER SHOW 2014「SUBTLE」展出兩件作品：〔紙之花〕與〔紙的飛行體〕；以及上野動物園的年度視覺識別「UENO PLANET」等等。
Haruka Misawa graduated from Musashino Art University’s Department of Industrial, Interior and Craft Design in 2005. She worked for the design office nendo, and then joined the Hara Design Institute, Nippon Design Center in 2009. She founded the Misawa Design Institute in July of 2014, and has since been devoted in doing independent design work, including endeavors in various disciplines such as graphic design, product design, and space planning. Some of the projects she has been involved in include: visual identity and entrance sign design for KITTE, which is Japan Post Co., Ltd.’s first commercial facility (2013); she also presented two of her works, Paper Flower and Paper Vehicles of Flight, at the Takeo Paper Show, Subtle, in 2014. Misawa is also the designer of Ueno Zoo’s annual visual identity, UENO PLANET.
美國加州大學University of California, Irvine美術系畢業，台灣大學Global MBA碩士。曾於表演藝術推廣與視覺展覽領域工作九年，目前為自由譯者，從事藝術類中英文筆譯工作。Email: anna.liao.tw@gmail.com
目錄
推薦序 | 原 研哉（Kenya Hara）
Waterscape | 三澤 遙（Haruka Misawa）
Waterscape
01 水中溫室・氣球型 Underwater Greenhous・Balloon-shaped
02 水中溫室・巨蛋型 Underwater Greenhouse・Dome-shaped
03 泡沫的區劃 Zoning with Foams
04 彷彿雲朵的塊體 Cloud-like Lump
05 階梯狀之木 Step-like Tree
06 有開口的境界皮膜 Membranes of Boundary with Openings
07 集光模樣的丘陵 A Mount Where Light Gathers
08 空氣的綿毛 Fluff in the Air
09 襯托出環境的四角護堤塊 Environment Enhancing Tetrapod
Haruka Misawa worked in my company for a period of about five years. I noticed her exceptional talent right from the beginning, but I, or even she for that matter, was not aware of what direction she will be heading towards and how she will shine in the future! Therefore, I then temporarily placed her in Hara Design Institute, assigning her to assist me in completing the designs that I wanted to do. I thought that was a pretty good arrangement for her at that time. So-called “designers” are often people that think they know themselves well but are time and again ever so oblivious. Their existence is very subjective and abstract, resembling jellyfish that floats in water. They often listen to their voice inside to tell them which way to go, and this way of existence is something that Misawa and I seem to share. As long as we are still alive, we will instinctively know which way we should go and where we will be able to let our abilities shine. We are propelled by a strong sense of desire that pushes us towards the direction that we should be heading.
Throughout these years, Misawa has always worked diligently and accommodated my insisting stubbornness, contributing generously all of her perceptual and technical skills to help with my endeavors. In just a few years, I’ve become quite depended on her. However, beyond a certain point, I have also begun to feel that I can’t ask her for help anymore. Just like in the animal kingdom, when an offspring has grown mature enough, it will leave its parents. Buried deep inside each creative soul is also the ability to foresee the time when it would be best for two people to “stop working together.”
Misawa started her own research studio inside Nippon Design Center in 2014, and also presented a solo exhibition at the Design Gallery in Ginza. Her initial intention was to present the works that she has created throughout the years, but I suggested that it was better to just showcase her newer pieces. Although the preparation time for the exhibition was quite short, and perhaps my suggestion was slightly nonchalant and irresponsible, I knew that she only needed me to slightly nudge her from the back for her to come up with something brilliant. Waterscape was a part of that exhibition, and I wasn’t surprised that she created something that is utterly amazing. I’ve also once again pushed her just a little bit to realize this solo exhibition in Taiwan. I wholeheartedly anticipate seeing Misawa striving forward towards the center of the world.
Underneath the surface of water is a unique environment that exudes an energy which is completely opposite from that which is surrounded by air.
The inner space of this fish tank is created by combining two simple elements of container and water, with an extraordinary world created that differs from the world with air.
Propelled by buoyancy, this is the result of an opposing gravity that is pushing upwards.
For example, when placed in midair, gravels and aquatic plants are bound to fall instantly to the ground, but when placed in water, the gravels would slowly sink to the bottom, and the aquatic plants would gently rise up to the water surface.
Moreover, delicate structures that are prone to damage caused by their own weight on land are able to maintain a stable state because of the relative force of gravity and buoyancy.
The interaction between gravity and buoyance is consciously controlled with this, seeking to explore from zero the ecology where aquatic beings dwell. The observations are then tangibly realized, transformed into the project, Waterscape.
The piece being presented here is still just a prototype, and the objective is for the viewers to see from it a brand new aquatic landscape that differs from what is perceived with conventional fish tanks, and for them to discover the endless possibilities hidden within.
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