I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
This exhibition is more than a visual experience—it is a rare invitation to see how simplicity sparks imagination and helps us see the ordinary in extraordinary ways. If you want to experience the richness within minimalism firsthand, don’t miss your chance to visit.
給感官的一場洗禮
這次的展覽不僅是視覺的饗宴，更是一場關於「觀察方式」的練習。如果你也喜歡透過不同的角度看世界，或是對「如何用最少的形式表達最多的意涵」感到好奇，那麼這場展覽絕對值得你駐足。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
「坂本龍一 | 音を視る 時を聴く」東京都現代美術館、2024年坂本龍一+高谷史郎《LIFE–fluid, invisible, inaudible...》2007 年 ©2024 KAB Inc. 攝影：浅野豪
This exhibition is more than a visual experience—it is a rare invitation to see how simplicity sparks imagination and helps us see the ordinary in extraordinary ways. If you want to experience the richness within minimalism firsthand, don’t miss your chance to visit.
給感官的一場洗禮
這次的展覽不僅是視覺的饗宴，更是一場關於「觀察方式」的練習。如果你也喜歡透過不同的角度看世界，或是對「如何用最少的形式表達最多的意涵」感到好奇，那麼這場展覽絕對值得你駐足。
Photography : Rolen
Photography : Rolen
「坂本龍一 | 音を視る 時を聴く」東京都現代美術館、2024年 坂本龍一 + 高谷史郎《async–immersion tokyo》2024 年 ©2024 KAB Inc. 攝影：浅野豪
Based on Sakamoto's seminal album Async, this immersive installation brings his visionary music into the spatial realm. Visitors are surrounded by evolving soundscapes and abstract visual elements, creating a multisensory journey through themes of existence, death, and the beauty found in the ordinary. Async–Immersion Tokyo is a poignant exploration of how sound and space can evoke profound emotional connections.
Photography : Rolen
Photography : Rolen
This exhibition is more than a retrospective; it brings together famous artists and curators to build the exhibit ideally. It is a dialogue between past and future, honouring Ryuichi Sakamoto's genius and enduring impact. Seeing Sound, Hearing Time offers an unparalleled journey into the transformative power of sound, making it an essential experience for art and music enthusiasts alike.
Collaboration artists | Shiro Takatani, Daito Manabe, Carsten Nicolai, Apichatpong Weerasethakul, Zakkubalan, Toshio Iwai
Special collaboration | Fujiko Nakaya
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
View of JUNGLE JAP 1970 photography : Iwata Hiroyuki
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
This exhibition is more than a visual experience—it is a rare invitation to see how simplicity sparks imagination and helps us see the ordinary in extraordinary ways. If you want to experience the richness within minimalism firsthand, don’t miss your chance to visit.
給感官的一場洗禮
這次的展覽不僅是視覺的饗宴，更是一場關於「觀察方式」的練習。如果你也喜歡透過不同的角度看世界，或是對「如何用最少的形式表達最多的意涵」感到好奇，那麼這場展覽絕對值得你駐足。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
Photography : Rolen
Photography : Rolen
Photography : Rolen
This exhibition is more than a visual experience—it is a rare invitation to see how simplicity sparks imagination and helps us see the ordinary in extraordinary ways. If you want to experience the richness within minimalism firsthand, don’t miss your chance to visit.
給感官的一場洗禮
這次的展覽不僅是視覺的饗宴，更是一場關於「觀察方式」的練習。如果你也喜歡透過不同的角度看世界，或是對「如何用最少的形式表達最多的意涵」感到好奇，那麼這場展覽絕對值得你駐足。
I know Norio Nakamura well. I remember visiting the “Measuring Exhibition” (Unit Exhibition) at 21_21 DESIGN SIGHT, where the theme poster—focusing on units of measurement—impressed me. Nakamura-san uses simple, clear perspectival illustrations to transform abstract measurement concepts into a visual language anyone can understand.
In this exhibition, he once again displays his mastery of “simplifying the complex.” As the sources note, Nakamura specialises in minimalist artwork and eliminates everything unnecessary. He condenses messages to their essence and proves that “simple does not mean simplistic.”
從「單位展」出發：那份熟悉的精準與幽默
對我而言，中村至男的名字並不陌生。回想起曾在 21_21 DESIGN SIGHT 參訪過的「單位展」，當時那張以「單位」為主題的海報便深深刻在腦海中。中村先生擅長運用簡單明瞭的**插畫透視方式**，將抽象的測量概念轉化為視覺語言，讓人一眼就能輕易理解複雜的主題。
在這次的展覽中，這種「化繁為簡」的功力再次發揮到極致。來源提到，中村先生的作品特色在於「剔除所有不必要的元素」，以最精簡的設計傳達訊息的本質，完美詮釋了「簡單並不代表簡陋」的設計美學。
Photography : Rolen
As I walked through the gallery, moving between advertisements, music industry graphics, videos, and picture books, I realised Nakamura’s work held a certain magic. He uses a multifaceted perspective to guide us in re-examining daily objects we often take for granted.
In his commercial designs and illustrations, he employs unique techniques of deconstruction, reconstruction, and exaggeration, giving ordinary things a distinct vitality. For example:
I.Q (Intelligent Qube): The stunning visual world of this classic 1990s PlayStation game remains avant-garde to this day.
Pixel Zoo: This award-winning work uses minimalist, pixelated blocks to reconstruct animal forms, challenging the viewer’s imagination.
Maywa Denki Graphics: His collaborations with Nobumichi Tosa (President of Maywa Denki) result in “Radical Advertisements” that are both absurd and fascinating in their experimental mechanical style.
多維視角：重新審視日常的驚喜
展場中穿梭在廣告、音樂圖像、影片與繪本之間，我發現中村至男的作品具備一種魔力，能透過**多面性的視角**，引導我們重新觀察那些早已習以為常的日常事物。
特別是在商業設計與插畫作品上，他運用了**解體、重組與誇飾的手法，讓平凡的東西展現出獨特的生命力。例如：
《I.Q (Intelligent Qube)》：這款 90 年代經典的 PlayStation 遊戲，其驚人的視覺世界觀至今看來依舊前衛。
《Pixel Zoo》（方塊動物園）：這部獲得波隆那拉加茲獎（BolognaRagazzi Awards）的作品，用極簡的像素方塊重構動物形態，挑戰觀眾的想像邊界。
《明和電機》的視覺設計：與土佐信道合作的廣告作品，充滿了荒誕卻迷人的機械感與實驗性。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Nakamura-san intends his work to “rouse the imagination.” When I observed the concise lines and colours up close, I felt like a child again, discovering “hidden treasures” within the frames. I enjoyed the wonderful experience—static graphics that generate dynamic narratives with shifting perspectives, making me look again and again to discover new things.
From his early days at CBS/Sony to his career-defining wins of the Yusaku Kamekura Design Award and the Mainichi Design Award, the exhibition contrasts old and new works, showing how he consistently balances digital content with traditional graphic design.
尋找隱藏其中的「寶藏」
中村先生曾說，他的作品是為了「喚醒觀眾的想像力」。當我近距離觀察那些簡約的線條與色彩時，真的會像孩子般在畫面中發現隱藏的「寶藏」。這種體驗非常奇妙——明明是靜態的平面，卻因為視角的轉換而產生了動態的敘事感，讓人忍不住想反覆推敲背後的意涵。
從早期的CBS/Sony時期作品，到榮獲『龜倉雄策獎』與每日設計獎的巔峰之作，展場中新舊作品的對照，讓我們能看見他如何持續在數位內容與傳統平面中尋找平衡。
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
Photography : Rolen
This exhibition is more than a visual experience—it is a rare invitation to see how simplicity sparks imagination and helps us see the ordinary in extraordinary ways. If you want to experience the richness within minimalism firsthand, don’t miss your chance to visit.
給感官的一場洗禮
這次的展覽不僅是視覺的饗宴，更是一場關於「觀察方式」的練習。如果你也喜歡透過不同的角度看世界，或是對「如何用最少的形式表達最多的意涵」感到好奇，那麼這場展覽絕對值得你駐足。
