A creator group "Rhizomaticics" which started with activities by three classmates in college era, mainly in architecture-born Saito Seiichi. Lizoma pursuing a new relationship between technology, art and entertainment, such as Nike RISE "House of Mamba" full-fledged LED basketball that was handed out in 2014 and "LIVE PERFORMANCE THEATER" in 2015 Milan International Expo (Expo Milan) Japanese pavilion It is the 10th year since foundation in this year. Their activities have reached one milestone, not only in the areas of art and commercials, but also in the fields of urban development, town planning, regional creation. In this key person, Mr. Seiichi Saito will be welcomed, I will review the activities of Raizoma in the past 10 years, and I will take a close look at the possibilities of 3D city data such as "1964 SHIBUYA VR Project" which will be working based in Shibuya from this autumn I got it.

From 9.11 to the artist from the architect

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After graduating from the graduate school in the United States, I worked at a Dutch architectural office, but I encountered 9/11 terrorist attacks in the United States. On that day, I was at the first subway station by express from the World Trade Center and the plane flew into the building the moment I climbed to the ground. It really looks like a movie. Returning to the office on that day, if you were watching the World Trading Center while listening to the radio on the rooftop, the second aircraft collided and collided ... .... Naturally, all the projects of architecture that I have been promoting to date are canceled. I can not help it because construction is influenced by politics and the economy, but witnessing it, my thought has shaken greatly, "Why are you building it?" What I particularly disliked was that as many people as those of terrorism passed away, the architects began to talk about something like "What next will be built?" Another reason is that the process of the building itself is too late, and inevitably did not suit my sex.

_ It seems to be calm, but is it quite impatient?

I guess it is. Recently, when you are watching the redevelopment in Shibuya it grows like a nyuki nike, it is too early to build a mess. If I am in the present era, I may be continuing an architect, but for several reasons such as these overlapped, I left architecture. However, since I was in the architectural office I was interested in the production process, including posters and models, including posters and models, and I was not sticking to the building as the final product. So, I decided to go to an advertising agency and changed job to Arnell, Omnicom group in the US. But what about advertisements that encourage everyone to consume? I thought about primitives and could make something. What I'm thinking can not be realized in either architecture or advertising, and eventually I arrived at art. Just around the time, Mr. Manabe (Mr.) who is a friend of the same university and his current partner has come to the US for a short-term study abroad and is made by Nori "Well, let's do the installation" then Riso Matrix . That is 2001.

_ "Rhizomaticics" was the name of the unit doing art.

That's right. However, I put a name Raizoma once, after returning to Japan I was working as a artist for a while for a while as an artist. But, in Japan there is no soil to support art, in order to continue art, you can only earn and express in a different place absolutely. So, I started to make something like a commercial by making a company with my classmate Manabe and Chiba (Hidenori).

_ We have accumulated achievements at major distributors, not independent. Have you been accepted immediately in the advertising industry?

Not at all. The first thing I was getting into with in various ways, such as web production. From one point of time I got such a suspicion that "Why do you have to make advertisements, why companies are not selling products in the first place?" Perhaps everyone thinks that, but I definitely will not say that.

I do not say (laugh).

Because I am such a personality, I'm going to tell my clients. If so, from a certain point of view, the range of work has begun to spread even to the product development and branding people. There are many companies surprisingly seeking such real intention. However, it is a problem that we do not have a business and our client service can not be done easily, but if we can provide good things, we do not have to be concerned with the shape. I think that is probably the era. The client also got literacy high, I caught various information and knows the methodology.

I think that drawing the world in the near future is also the work of a human being who makes things.

Do you have any occasions that triggered the company to make a big leap?

I had been doing various things with Nike since its inception, and one was in charge of the film of promotion of NIKE MUSIC SHOE (Nike music shoe). In order to tell the excellent flexibility of the Nike Free series and the point where Nike + chip can be mounted, when I bend or twist my shoes, I have created a music video that sounds like an instrument, and YouTube etc I got it. That is 2009. Another thing that I felt as a result was Intel's job, the campaign site "Facebook Museum of Me" campaign linked with Facebook announced in 2011. Thanks to this work, I got a lot of prizes and I think that I contributed to the leap of Lysomatics.

_ In addition, au's TV-CM "FULL CONTROL" which was on air on 2012 should not be forgotten as a representative work. At the Shibuya scramble intersection, the way the city changes with just one smart phone was very impressive.

We got permission from Tokyu Toyoko store and shot from the rooftop of the department store. However, all images flowing to Q 'S EYE (Shibuya QFRONT wall large-scale vision) are CG. Over there, the landscape regulations of outdoor advertisement and the road law are strict, so we do not get permission. For example, the movie "Resident Evil" uses scrambled intersections, but that is all waking up in 3D, right? In the head of everyone, it seems that the image of "Shibuya scramble intersection can also be used like this" has come true. It is said that trout power has gone down, but after all I think the power of television is amazing. I do not like the word "future" or "city" very much when thinking about what will flow out from the television, but I would like to show the future of the city in that CM It was. Security, law, road law, outdoor advertisement ... ..., Shibuya is a dramatically difficult place to use when viewed in the context of commercials. So, that CM is the one that drew CG with "I wonder what kind of city it would be fun" with the reason why I can not do it once.

Can you actually realize what is happening in _CM?

I am doing only what I can do. So, in the user participation event "FULL CONTROL TOKYO" that we did in Zojoji two months later, we are using all the technologies we tried in CM, such as controlling taxis and fountains from the smartphone application. It is not a faraway future, but in reality I am depicting a world that can actually happen tomorrow. To draw such a view of the world of the near future, whether it is an artist or a designer, I think that it is one of the people who make us a thing.

渋谷駅の地下空間を3D化したら、とても美しい軌跡が見えた。　

_ In addition, could you tell us about the work and projects you've done in Shibuya?

I am working on " Shibuya Hikarie ". A round brow space "URBAN CORE" extends from the third floor underground. Produce the contents of the circular digital signage installed there, or produce the main illumination by Hikarie's Christmas promotion. We also worked on the planning and production of the outdoor digital signage "AXYZ" in the SHIBUYA CAST which opened in April this year.

Recently, it seems that I made 3D data of the underground space at Shibuya station, please tell me in detail.

Shibuya is currently doing civil engineering work around there, but if you reconsider the topography of Shibuya, Shibuya River will flow or there will be valleys. However, I think that many people do not recognize "Shibuya = valley". Now, 2D is the main google map we are using, but in order to understand the town I actually thought that I had to watch it in 3D. Of course, it is true that it is required to convert 3D data and map data in various places, such as automatic driving, drone delivery, etc. However, as attacking from the safe and secure context, it is dramatically slow. Just as the Ministry of Economy, Trade and Industry is also considering making digital city infrastructure of 3D city data, we have acquired that business and we have "3D City Experience Lab." As we are thinking that it is better to attack from entertainment context a bit more. I started it. So, if it did anything, I was going to take a picture of the underground space of Shibuya station which is easiest to understand, but at first it was a thorny road. It is not an old pirate, but a lot of remnants of people who tried to climb appeared (laugh).

_ What do you mean by wreckage?

For example, if you talk to Autodesk, who is developing 3D design software, and Pasco, a surveying company, you have actually had a challenge before. But why not? In short, Shibuya does not know who to give permission. But when I was finalized, I met a person in charge of TOKYU CORPORATION , and my classmate was in the design department of Tokyo Metro Co.,Ltd. . So it was decided that we would like to walk underground together with the people involved. If you look around in various ways, from here is Metro, from here there is a place like the jurisdiction of Tokyu. The color of the tiles may be different, or the lighting may be different. So I walked with confirmation like "From here is Metro all right?" "From here is Tokyu all right?" In the end, it was understood that "if each company is OK".

_ I took permission from each party concerned one by one. Specifically, how did you measure the underground space?

The same as with ordinary civil engineering work, I shot it while spinning with a person with infrared and a normal camera attached to the head of the tripod, and scanned 3D the underground space of Shibuya Station. Then it is called point cloud data, and you can shoot everything that you can see. I will shoot while moving it. The maximum width is 36m, the length is 530m, and the average depth is about 30m at the home of the TOKYU TOYOKO LINE and Tokyo Metro Co.,Ltd. FUKU-TOSHIN LINE Shibuya Station and its surroundings. I think Japan is a country where forest conservation is well done despite the narrow land area, but once again looking at the underground space of Shibuya Station in 3D, I stop the Japanese civil engineering technology and trains for one day There is still a trail of bypass work and so on. I was moved to see the beautiful underground appearance.

_ When you can actually use 3D data, what kind of application can you use specifically?

In the cave it is the level of "I confirmed that people can pass". How to use this is from now. Of course I guess it can be used like entertainment, or try to use it in the game, I wonder if this world data can be made with this data .... Since the map is a map, it is a matter of multifunction with various open data, so that it is possible to know the value of the city, the liquidity of the city, the city where metabolism is active, how the people are staying, how new is born You can see how it is. I think that it is interesting data from a developer or a person using a city in Shibuya.

Along with complicated 3D data conversion of Shibuya station underground space, the station structure of "4 layers 5 inter-home 2 planes 4 tracks" which usually can not be confirmed with the naked eye emerges.Click here for details