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Appreciation towards Ryosuke Fukusada for providing the following description:

Experimental Creations是在东京设计周期间举行的一个介绍日本年轻创作力量的国际创意交流展览，7个被精心选择的设计师都创造性的制作或者运用材料。

“Experimental Creations”, held during Tokyo Design Week 2013 as a part of AO-Fes. This is a very first exhibition organized by International

Creative Exchange Programme whose mission is to promote young Japanese creative excellence to the worldwide market. Seven creative designers are carefully selected for this occasion to show innovative and flexible approach toward material applications.

During the exhibition, designers are to demonstrate their capabilities by presenting the techniques, methods and processes they employed upon conducting material experimentations for this project. The most important goal of Experimental Creations Project is to show the future business partners for designers such as manufacturers “what designers can do for them”.

Design Exhibitions in Japan have evolved and expanded after its first introduction in late 90s. Similarly, the word design became more common and more people became involved in design industry. However, only a fraction of those engaged in design can prosper. In attempt to change this reality, ICEP is organizing a platform of where designers can express their creativity freely without using their products or prototypes as a form of media. Here, they can present what they’re about and what they can do, instead of what they have done in the past.

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3-1 design将硬朗的金属以细纤维的形式表示出来，展现出金属柔软灵活的特性。转换角度去思考材料表面以下的特性，得到一个超越性的结果。

3-1 design：Metal is a kind of material known to show colorful expressions but their descriptions usually rotate around its tough image such as hard, sharp and cold. To undo the stubborn molecular binding of metal, we restructured it into a state of soft bonding by compressing the decomposed version which was turned into thin fiber. Made by metal but is flexible like felt and reveals soft expressions.We wanted to observe the material from the angle deeper than its surface,to bring out the new expression by technique that goes beyond surface treatment and decorations. This is a creation facilitated without adding on to its visible features but by revealing what ha d been hidden.

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bounce：将被丢弃的麻布口袋回收并探索其全部的潜力，分解后的袋子具有特别的天然有机触感，染色后用途从灯具到桌上容器，装饰品十分广泛。

bounce：The burlap bag used in importing fertilizer and feed are discarded after reaching its destination. Hemp is an environmentally friendly natural resource which has incredibly versatile possibilities. We are here to communicate the value of this material by bringing out the full potential in process of developing its advanced recycling model. New bus messes derived from the search of r ecycling projects should be scrutinized further as the case in material exploration. The output followed the series of experiments is conceived by restructing the material wit h dye and plastic after dismantling the burlap bag and decoloration of its fibers, to add a modern touch to its unique organic texture.

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Daisuke Motogi: 在廉价的木材粒/屑压缩板上外加纹理和色彩伪装其机理，改变其形象

Daisuke Motogi: There is a popular and inexpensive precision engineered board called 058, typically used in wall sheathing appli cations. Because this board is formed by compressing wood particles,the each layer has unique cha ractenstics and becoming widely utilized as a decorative element. OSB+ is the implemented version which gives the boards a plaid look with final clear coat or a feel of camouflage by adding colored wood and other particles before compressing. It is my attempt to provoke revolution with ammimum alteration without undermining its original strength, in hopes to trigger a change in the mindset toward ordinary material which may extend to alter the total image of the overview.

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Kenji Fukushima: 柔性亚克力，能有多种组合方法和灵活的卷曲，作为灯罩和遮阳材料有无限的可能性。

Kenji Fukushima： “Flexible acryl” is an innovative material with tremendous possibilities discovered by applying fine incisions in solid acrylic sheets. After engaging in numerous experiments and examination sinvolving various types,thickness and forms of acrylic sheets as well as patterns and spacing of Incis ions and diverse courses of laser illumination, I was able to create adjustable flexibility ranging up to 180° depending on the combinations of methods and patterns. This material can be best applied to products such as lamp shade or sunshade in embracing the diffuse reflection of light shining through the incisions on the surface of acrylic sheets. With its adjustable and flexible quality, this material provides limitless possibilities.

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one tenth: 在织物表面覆盖不均匀的金属膜，创造出独特的光学视觉效果。

one tenth: lntroducing the extraordinarily transpa rent fabric developed by applying metallic membrane to the thinist fabric in the world. The light fixture created employing this material will blend illimitably to the air while the light is turned off and expose complex expression derived from its unique polarization when the light is turned on. The fabric used in this project was discovered with the endorsement from an optical factory in Tochigi prefecture. Together we conducted an intensive verification process to create the maximum uneveness of fabric surface with metallic membrane, in order to highlight the distinctive visual effect of this matenal.

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Ryosuke Fukusada: 将日常中常见的一些认为制造的纹理加以提炼运用在工业产品上。比如泡泡包装袋，软木，混凝土，饼干的纹理。

Ryosuke Fukusada ： Initiated this project to introduce the fascinating features of surface textures. Observed surface textures found in our everyday lives and featured the captivating surfaces that came about artificially but unintentionally.

Attributes of textures become more prominent when the geometry of items such as concrete, compressed cork, carved stone, styrene foam, bubble wrap and crackers are applied over clay. They become more comparable and touchable, therefore easily examined and appreciated for its value.

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STUDIO BYCOLOR: 木材是一种有生命的材料，将木材的这一特点发扬，用从木材中提取出的粘合剂创建出有趣的极具吸湿性和吸音性的纹理。

STUDIO BYCOLOR： For this project, I selected the material that we all have a close relationship with, the wood. Questioning the demand for wood which seeks for easier fa brication and maintenance in the result of increased usage of inorganic material, I introduce this project of surface treatment to capture the act of breathing by wood. This project “MW: WW” communicates the message that the wood is a living material, by exposing pores in between growth rings. Removing the adhesive element from the main composition of wood creates interesting texture as well as hygroscopicity and sound absorbency. I further explored the roughness of the surface with the traditional coloring method called kakishibu and aizome used in Japanese architecture to protect wood.

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