Field of Art and Design for Spatial Experience
Joshibi University of Art and Design
Faculty Interview
The two faculty members will talk about their thoughts on education in the Field of Art and Design for Spatial Experience, as well as its various features and attractions.
What is the Spatial Experience?
The Vision Behind the Field of Art and Design for Spatial Experience
Field of Art and Design for
Spatial Experience
GOTO Kosuke Professor
Field of Art and Design for
Spatial Experience
NISHIDA Hidemi Full-Time Lecturer
NISHIDA When you hear “Spatial Design = Spatial Expression,” most people likely think of a place to study architecture or interior design. However, our approach is distinct. We delve into space by deeply understanding fundamental human senses and desires rather than confining ourselves to specialized fields like architecture, interior design, or urban planning. For example, the origin of architecture lies in creating shelters where humans can live safely. Over time, comfort was added, decoration appeared, and the field of architecture evolved significantly. At the same time, architecture became highly specialized, breaking down into areas such as architectural design, structural engineering, historical analysis, and legal regulations. This specialization shifted the focus more toward the techniques and knowledge needed to create structures. While this technology-driven approach can produce high-quality outcomes, it also makes it harder to engage with human sensory experiences directly. Given this background, the Field of Art and Design for Spatial Experience aims to cultivate individuals who can understand the essence of space from its very roots, starting with the question, “What is space, really?” We aim to nurture individuals who can reevaluate space itself from a primal perspective. Our goal is to create a place where students can return to the basics of space and learn to value the human senses. This vision led to the establishment of the Field of Art and Design for Spatial Experience.
GOTO Additionally, we need to think about the current societal context. When I entered the professional world, there was a shortage of products and designs, and many things needed to be made with people in mind. But today, society has matured, and you can easily get your hands on whatever you want. Almost everything around us is “designed.” We have seen numerous innovations in interior design and architecture, achieving remarkable levels of accomplishment. On the other hand, new trends like the metaverse, informational spaces, and cyber spaces are gaining attention. New forms of spatial art, such as those by teamLab, are emerging, and the concept of space is continuously expanding. Moreover, AI technologies, making significant strides in fields like text, painting, and illustration, will inevitably enter the realm of spatial design soon. In this context, we must remember that space is ultimately for humans. We need to nurture individuals who can value human senses and make the right choices amidst the diverse solutions provided by AI. We are in a time where the nature of space and our world is undergoing significant changes. We must consider what we should envision and create for the future of society. Nurturing individuals who can accurately determine “what is necessary” in the coming world is also the goal of the Field of Art and Design for Spatial Experience.
Curriculum
Learning in the Field of Art and Design for Spatial Experience
NISHIDA Our curriculum in the Field of Art and Design for Spatial Experience is unique because we explore space through three main concepts. The first is “Primitive Space.” This starts with understanding the essence of space. What is that moment when space first emerges? What defines it? We dive into these fundamental questions that are essential to human existence. The second concept is “Temporary Space.” This refers to spaces that are transient or momentary. For example, how light enters a room, the arrangement of chairs, or the activities taking place can dramatically transform the space. We study these instantaneous changes in space. The third concept is “Immersive Space,” which might be the most distinctive part of our program. Here, we leverage cutting-edge technologies like VR, the metaverse, theater, and film to create spaces that fully immerse the senses. We explore these powerful, sometimes overwhelming experiences that deeply engage human senses and connect closely with the realm of art. What unifies all these concepts is our unwavering focus on “human senses.” We believe it is vital to consider human sensory experience in everything we do. That is why our curriculum places a strong emphasis on hands-on learning through practical exercises and workshops, helping students discover and refine their own sensory perceptions.
The Three Core Concepts of Learning
01 Primitive Space
What is “space” at its core? From sunlit clearings in the forest to the hidden corners behind curtains, we explore the beginnings of space.
02 Temporary Space
Does a space feel the same when objects are arranged vertically versus horizontally? We examine the subtle expressions of space found in everyday settings.
03 Immersive Space
Where is the boundary between the ordinary and the extraordinary? We delve into the potential of immersive spaces that stimulate perception and add more color to everyday life.
GOTO The approach through the three concepts introduced by NISHIDA allows us to handle both analog and digital spaces, a defining feature of the Field of Art and Design for Spatial Experience. Additionally, since this field is part of the Department of Cross-Disciplinary Art and Design, we offer numerous opportunities to collaborate with other fields within the department, such as Media Art and Design, Art and Design for Healing, Art and Design for Fashion, Art and Design for Creative Produce and Museum Studies. We also recognize that nature is vital alongside artificial structures like architecture and interior design. Therefore, we plan to collaborate with our nature-rich Sagamihara campus. We are also exploring the theme of outer space in terms of expanding space. Working on projects related to the zero-gravity environment of outer space helps train students to think beyond conventional boundaries. With space travel becoming a reality, we also consider how space can be utilized in outer space. As NISHIDA mentioned, our curriculum includes many practical exercises and workshops. Through these experiences, we want students to develop unique perspectives, their own criteria, and a wealth of creative ideas. Life after university is long, and societal change is accelerating. We hope our students will discover their own enduring principles and passions for designing and thinking about space and carry them forward into their professional lives.
Outline
Basic Knowledge and Concepts
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1st Year
- Spatial Creation: Foundation I (Ergonomics)
- Spatial Creation: Foundation II (Drawing)
- Spatial Creation: Foundation III (Modeling)
- Spatial Creation: Foundation IV (Virtual Modeling)
- Primitive Space I
- Temporary Space I
- Immersive Space I
Mastering the Basics of Spatial Expression and Thought
In the first year, students learn foundational techniques essential for spatial expression, including ergonomics, technical drawing, scale modeling, and 3D graphics. Additionally, as a new framework for understanding space, students will gain hands-on experience with the three core concepts: “Primitive Space,” “Temporary Space,” and “Immersive Space.”
Conceptual Exercises
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2nd Year
- Primitive Space II
- Temporary Space II
- Immersive Space II
- Primitive Space III
- Temporary Space III
- Immersive Space III
- Human Space I
Integrating Knowledge and Skills to Explore Expertise
Building on the foundations learned in the first year, students will delve deeper through exercises and projects, advancing their creativity and understanding. In the first semester, they will explore a range of spatial experiences, from primitive spaces essential for survival to community spaces, as well as immersive environments such as theater, games, film, and VR. In the second semester, students will integrate these experiences to explore and define their areas of expertise.
Advanced Exercises
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3rd Year
- Human Space II
- Human Space III
- Project Production (Workshop)
- Third-Year Seminars
Deepening Unique Creativity and Expertise through Practical Projects
Our students in the third year embark on a unique learning journey, engaging in collaborative projects both within and outside the university. This journey is designed to help them understand how their creativity intertwines with society. They delve into various spatial theories, gaining a deeper perspective on spatial concepts. In the second semester, they join seminars focused on art, design, or theory, honing their expertise in “space” in preparation for their graduation projects.
Deepening and Expression
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4th Year
- Fourth Year Seminars
- Project Production II (Workshop)
- Graduation Projects
Deepening Expertise and Communicating to Society
In the fourth year, students further pursue their expertise through seminars and project-based learning. The culmination of their four years of study is the graduation project, where students present their work to society as innovative creators and producers. Through various approaches such as installation art, stage design, film art, community design, entertainment design, and VR, they convey their creativity and contributions to enrich society.
Future
Qualities Sought in Students and Their Future Paths
NISHIDA The key phrase for this field is "gaining a profound understanding of the world." Rather than focusing on operating efficiently within established systems, the emphasis is on knowing the fundamental desires of humans and experiencing the texture of the world before us. Why do we feel drawn to gather around an open fire? Why do we feel comfortable behind a curtain? This field appeals to those who want to explore these deep-seated feelings and experiences of the world.
GOTO Ultimately, it is about liking people. Space is the stage where people live and go about their lives. If you enjoy thinking about what makes a space comfortable for people, you are welcome here. If you have the interest, that is enough. Feel free to jump in even if you are not confident in your drawing skills or are new to studying art seriously. The necessary techniques to express space can be learned after you enroll. As for future careers, graduates are envisioned to become designers, artists, and professionals in existing spatial fields. Additionally, there is a focus on cultivating individuals who can enhance the quality of spaces in areas like public town planning or social welfare, considering "human comfort." The aim is to send out individuals who can finely tune their senses to what makes people comfortable and thoughtfully create places in society.
Profile
GOTO Kosuke (Professor / Left)
After graduating from the Department of Industrial Design, Faculty of Art and Design at Kyushu Institute of Design, Professor GOTO joined GK Design Group Inc., where he worked on product design, signage, and interior design. At the Department of Socio-Cultural Environment Studies under the Graduate School of Frontier Sciences at the University of Tokyo, he later pursued research on the physical environment and human behavior outdoors. Some of his significant projects during his tenure include the design of the furniture and signage at the Marugame Genichiro-Inokuma Museum of Contemporary Art and Marugame City Central Library, the project for developing a new design of the postal box, and the project for improved pedestrian signage in Sendai City.
NISHIDA Hidemi (Lecturer / Right)
NISHIDA earned his Master's degree from the Faculty of Fine Art at the Bergen Academy of Art and Design (now the Faculty of Fine Art, Music and Design at the University of Bergen) in Norway. He has exhibited his works at various international venues, including the Gwangju Biennale (2014, Gwangju, South Korea) and the Sapporo International Art Festival (2014, Sapporo). After spending time in London and Taiwan as an artist, he stayed in Moscow from 2018 to 2019 as a fellow of the Pola Art Foundation's Overseas Research Program. NISHIDA is known for his environmental installations that create dialogues between landscapes and people. Additionally, he is involved in stage design, spatial design, installation art, and performance art.
Inquiries
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Joshibi University of Art and Design
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