Expanding "Upcycling" as an Alternative Approach to Environmental Solutions Through Technology × Tradition. Dentsu Lab Tokyo's "UP-CYCLING POSSIBILITY" Project (Part 1)

Dentsu Lab Tokyo, an R&D organization integrating creative research, planning, and development, is advancing "UP-CYCLING POSSIBILITY" as one of its diverse projects. By combining the traditional Japanese technique of kintsugi with technology, it creates upcycled products. This initiative embodies the desire for many people to embrace a new choice: not "discarding," but "reusing" by adding unprecedented new value.

From Tuesday, April 4, 2023, to Saturday, June 3, 2023, they held an exhibition showcasing the developed products. Details about the exhibition and the project's origins were covered in this article. This time, we interviewed the project members to delve deeper into the background of each product's development and their passion for the project. In Part 1, we spoke with three members: Kanako Nakanaka, Project Leader at Dentsu Lab Tokyo; Natsuki Tomoda, Art Director; and Takashi Mikuni, Product Designer.

Updating time-honored techniques to connect them to the future

Q. Ms. Tomoda and Mr. Mikuni, what kind of work do you typically do? Could you also share what led you to join this project?

Tomoda: As an art director, I design mass advertising materials, but I also work on diverse projects like events and exhibitions. Every job has its own appeal, but products differ from advertising in that they engage with people over a longer timeframe. You buy them, use them, and even when not in use, they remain beautiful. That broad, enduring connection with people—both experientially and visually—is the charm of products. Recently, I've been actively pursuing product design more.

Nakano: Tomoda-san joined us after being recommended by a member of Dentsu Lab Tokyo. They said, "There's this art director who does glass crafts and cactus grafting in their free time—wouldn't they be perfect for this R&D project?" I thought they were exactly the right person for this project.

Mikuni: I studied engineering as a student, so after joining the company, I've been involved in planning communication projects requiring technology and working in technical development areas. Personally, I enjoy creating hardware, so I found this project appealing and volunteered to participate.

Q. Tomoda-san, you're an art director—what role did you play?

Tomoda: To establish the project's overall feel, we started by designing the Visual Identity (VI), including the logo. The core idea was combining technology with kintsugi to repair broken ceramics and porcelain. But considering the broader concept of "repairing," we realized we could expand it to include things like stuffed animals and clothing. So, we developed a design that wasn't overly tied to the Japanese traditional aspect of kintsugi, aiming for something more broadly inclusive.

For example, with the typography, we consciously chose a font reminiscent of programming to evoke a cool, futuristic technology aesthetic. We tilted the letter "N" and connected the spaces between letters to express the concept of "joining."

Seeking the best balance between design and function

Q. Among the products developed this time, there's a unique one that "upcycles broken pottery or porcelain into new tableware that offers unprecedented changes in mouthfeel. Instead of restoring it to its pre-breakage form, it incorporates elements like Peltier devices that switch between hot and cold based on electrical current flow." How were you two involved in developing such a product?

Tomoda: I was responsible for the "TSU→GI CUP 'TEMP'" product, a vessel that changes the temperature at the rim. I decided the colors for the kintsugi-repaired sections and parts, and designed the "heat sink" component, which absorbs and dissipates heat. For this project, we created prototypes using three types of vessels: a rice bowl, a glass, and a cup. To raise or lower the temperature at the rim, it was necessary to install a heat sink inside the vessel.

Tomoda: Typically, heat sinks themselves have a rectangular, inorganic appearance. We thought that if one were inside a vessel, it might feel intrusive when drinking, so we finished it with a design-oriented look. The matcha bowl design evokes "waves," the glass "light," and the cup "wind." We considered what size would be best and what shape would suit each vessel appropriately.

Mikuni: My role, in consultation with Tomoda, was to consider the technical aspects: how complex a shape the heat sink could be machined into, how thin it could be made if using aluminum with high thermal conductivity, and whether it could be processed safely for use with beverages. We shaped it through repeated back-and-forth discussions: "This much is possible," "No, it's not," "Yes, it is," "No, it isn't"...

I was also responsible for shaping the "TSU→GI PLATE 'TEMP'". By joining stainless steel parts to a plate split into two pieces, you can serve hot and cold items simultaneously—for example, placing sashimi on the chilled stainless steel section and warm tempura on the other part. The process involved scanning the split parts, exporting them as digital data, 3D printing resin prototypes, making fine adjustments, then fabricating the stainless steel parts and repairing them using kintsugi.

Nakano: This time, we enlisted technical assistance from external partners and produced it through repeated, meticulous handwork. However, our future vision is a world where you scan a broken plate with your smartphone, digitize it, order replacement parts, and have them delivered right to your doorstep.

A world where "repairing" is the norm, not "making"

Q. You also held an exhibition showcasing these products to the public. What did you feel through the planning and production process?

Tomoda: While I've designed for "making" before, this was my first attempt at designing for "repairing," and I felt a newness different from anything I'd experienced. At the idea stage, it was just a world of sketches, but when it materialized as a product, it surpassed my imagination. I think I sensed the potential of "repairing."

I'm also pleased with how the exhibited pieces turned out—solid and stylish. Themes like upcycling often risk falling into the trap of "it's a good cause, so please forgive if it looks a bit tacky." But these pieces convey a refined impression as future technology. I'd be delighted if they helped many people view "repairing" in a positive light.

Mikuni: Whether it's the product itself or the exhibition fixtures, I find great significance in the consistent values we've maintained throughout—like insisting on using renewable materials—driven by the specific awareness that comes with being an upcycling project.

Nakano: While it might seem like a slightly edgy project, the worldview designed by Tomoda strikes a perfect balance without being excessive. I think it has the potential to expand as a neutral project. To make this a commonplace value, we need to be mindful of not overdoing it and proceed with that delicate touch.

Combining old things with new technology to create something unprecedented. In our modern world overflowing with excess material goods, this perspective becomes incredibly important when considering what we can do for the future.

In the second part, we spoke with two new members in addition to Mr. Nakano, asking them to reflect on the project from their respective perspectives.

• Expanding "Upcycling" as an Alternative Approach to Environmental Solutions Through Technology × Tradition. Dentsu Lab Tokyo's "UP-CYCLING POSSIBILITY" Project (Part 2)