Shizuka won the Bronze medal in one of the largest design competition for the category of entertainment by Japan Kukan Design 2022 for her design works on the opera Super Angels.

Japan space Desing Associattioin made interview about her works!

Haev a look.

Please describe your entry from a spatial design perspective.

The steel structure is made as thin as possible, aiming for a virtual reality space where reality and unreality intersect. The spatial performance unfolds lightly in front of the audience on the time axis of the music. As an android will perform, code technology is also used in the design process to create a spatial presentation of clarity and chaos in the space. A model was made, a lighting plan was drawn up, and 3D modelling was used to create the data for the video. The aim was to create a futuristic space where the video, lighting and stage equipment would be merged into one.

A compact and straightforward assembly and disassembly system were designed to ensure the stage equipment could be used smoothly in future re-performances. Structural calculations were commissioned by the structural engineer Mr Agehara, and all structural elements can be used in re-performances. The production was prepared as a sustainable product that can be stored after dismantling without taking up too much space.

I was in overall charge of the stage design and spent about two years working very hard on the visual effects in the Corona context. Specifically, I prepared a lot of imagery to ensure that the visible worldview was understood and shared by the director, musicians, writers, producers, performers, performers, production and production team. We also read the music timeline and libretto (narrative), created equipment change lists and lighting cue sheets for each scene, and visualised the lighting and visuals in 3D in advance and the interrelationships between the equipment and costumes.

While praying that the performance would not be cancelled, there was a lot of stress and worry about whether the corona would affect the children's chorus. Ultimately, we prepared visual diagrams for each area (apparatus, lighting, costumes, visuals) for the technical week so that all disciplines could understand the ideas in common. There were a lot of last-minute changes, such as equipment changes, and we had a lot to reflect on. With the support of many people in the team, and despite the limitations of the Corona Vortex, I believe that in a short time, we were able to offer a new operatic worldview in which reality and unreality cross paths and in which human and android friendship is portrayed.

New National Theatre, Tokyo (Top image: Shizuka Hariu)
Place: Shibuya-ku, Tokyo (New National Theatre)
Implementation start date: August 2021
Overall Producer, Conductor: Kazushi Ohno
Script: Masahiko Shimada
Composer: Keiichiro Shibuya
Production supervisor: Eriko Ogawa
Creative Direction: (set design, costumes, lighting and video supervision): Shizuka Hariu / SHSH Architecture +Scenography
Choreography: Tetsuo Kaikawa
Dance supervision: Eiko Ohara, Miyako Yoshida
Props production: Koyama Kosakusho, Toho Stage, Showtex HongKong
Stage set structural calculation: Shigeo Agehara + Structural NET
Client: Agency for Cultural Affairs, Japan Arts Council,
New National Theatre Foundation
Photography: Takashi Shikama

4 月 2023
SHSH - Japan Kukan Design AwardSHSH - Japan Kukan Design AwardSHSH - Japan Kukan Design AwardSHSH - Japan Kukan Design AwardSHSH - Japan Kukan Design Award