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Adaption - Kyne Exhibition

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The exhibition design for "ADAPTATION – KYNE," the first large-scale solo exhibition in Japan by KYNE, an artist based in Fukuoka. - Hiroshi Mizusaki
While making use of the fundamental qualities of a museum space, the design was planned with an awareness of incorporating the "live" energy of street art and the "spontaneity" that emerges within the space. - Hiroshi Mizusaki
KYNE's past works housed in the museum's glass cases. - Hiroshi Mizusaki
The exhibition design for "ADAPTATION – KYNE," the first large-scale solo exhibition in Japan by KYNE, an artist based in Fukuoka. - Hiroshi Mizusaki

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Comments
Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Exhibition
8.33
8.42
8.17
8.50
8.35
Paolo Torri
Paolo Torri Exhibition Design Manager at Pedrali
8.5
7.5
8
7.5
7.88
Peter Greenberg
Peter Greenberg Partner at Ester Bruzkus Architekten
This design addresses one of the en...
9.5
9.5
9.5
9.5
9.5
Ina Nikolova
Ina Nikolova Partner & Senior Project Manager at Kinzo Architekten
9.5
9.5
9
9
9.25
Alexandra Cantacuzene
Alexandra Cantacuzene Director of Interior Design at Al Futtaim Real Estate Group
8
8.5
7.5
9
8.25
Ethan Yao
Ethan Yao China Resources Land at Deputy General Manager and Chief Architect of Design Management
7.5
7
7.5
7.5
7.38
Ray Chou
Ray Chou Founder and Creative Director at Vermilion Zhou Design Group
7
8.5
7.5
8.5
7.88
Designer
Client
The Executive Committee of Kyne Exhibition
Floor area
1173 ㎡
Completion
2024
Social Media
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The solo exhibition in Fukuoka, “ADAPTATION – KYNE”

The "ADAPTATION – KYNE" exhibition, KYNE's first large-scale solo show in Japan, spans 1,200 square meters and features 200 works, including paintings, sculptures, drawings, and a 12-meter-long mural. KYNE is an artist with a hybrid sensibility blends graffiti with Nihonga. For this reason, we aimed to design an exhibition space that, while utilizing the fundamental qualities of a museum setting, also evokes the "live" feeling and sense of "spontaneity" inherent to street art.

The innovation of this project lies in blending the spontaneity of street art with the museum's institutional space. For example, canvas works are displayed in glass cases, revealing their backs and brushwork, the usually overlooked backs of the artworks and traces of brushwork are revealed, thereby expanding the viewer’s experience. Additionally, the project intentionally utilizes spaces typically used for storage and wall surfaces bearing remnants of previous exhibitions, giving existing architectural elements new value.

On the other hand, the project’s creativity lies in its reflection of the hybrid nature of KYNE’s work―blending Nihonga and street culture―through zoning that enhances the museum experience. Zoning was planned to emphasize the museum experience, utilizing existing showcases, while unfinished wall surfaces with exposed substrates were deliberately used to introduce a sense of incompleteness and open space into an otherwise orderly environment. The design also aimed to break free from the constraints of the conventional white cube by embracing a more open, flexible layout.

In terms of functionality, the design focused primarily on enhancing the visitor’s experience within the museum. The circulation plan was carefully crafted to guide the viewer’s gaze, encouraging natural pauses and optimal viewing distances in relation to the artworks. Particular attention was given to areas in front of the mural and around large-scale works, where the spatial configuration encourages visitors to stop and engage in a dialogue with the pieces.

From an eco-social impact perspective, this project also introduced pioneering practices. For example, repurposing wall materials from previous exhibitions into new structures with integrated benches, reducing construction waste. By allowing the artist to intervene directly on these reused materials, the project imbued them with unique artistic value, turning recycled resources into one-of-a-kind works.

This approach―combining material regeneration with the creation of artistic value―proposes a new model for sustainable operations within museums. Furthermore, the exhibition structure, which bridges the worlds of street culture and institutional art, resonated with audiences from diverse backgrounds, fostering an inclusive cultural environment. The spatial design responds to social diversity, offering insights into the evolving role of exhibition spaces in contemporary society.