Bronze 3D Printed Forms and Products Design · 2026
GT Experience Gaming Enclosure
- A' Design Award 2026 Bronze Winner in 3D Printed Forms and Products Design
- Awarded April 15, 2026
- Estimated Number of Design Views: 15,539
- Verification code 51AE2FC43A · Verify this award
About GT Experience Gaming Enclosure
GT Experience brings the thrill and tension of circuit driving into sim racing through an immersive spatial enclosure. A modular pair of large scale 3D printed side panels shapes peripheral vision to deepen focus while staying open for home play and esports venues. Its sculptural form transforms visible layer lines into premium surface language, turning a manufacturing limitation into design identity. Lightweight elastomer modules improve safety, quick assembly, transportability, and compact storage.
Kenichi Mizuno's GT Experience Gaming Enclosure emerges from the intersection of advanced additive manufacturing technology and motorsport spatial typologies, representing a compelling synthesis where functional gaming infrastructure achieves architectural monumentality through material and formal innovation. The work positions itself within contemporary design discourse around digital fabrication's expanding formal vocabularies, wherein the limitations and possibilities inherent to layer-by-layer polymer deposition become not constraints to be hidden but expressive opportunities to be celebrated, the visible striations across every surface functioning as a kind of material signature that announces the object's origins in computational design and robotic fabrication processes. The compositional achievement here resides in the designer's sophisticated manipulation of geometric relationships, establishing visual drama through the cantilevered monitor housings that appear to float impossibly despite their substantial mass, this structural audacity balanced by the grounded stability of the broad footprint and the anchoring presence of the central cockpit module, the overall configuration suggesting both protective enclosure and open framework, both intimate personal space and bold sculptural statement. The chromatic restraint to monochromatic carbon-black tonality proves strategically astute, eliminating chromatic distraction to foreground the play of light across geometric planes, the subtle tonal gradations that distinguish horizontal from vertical surfaces, and the textural richness of the fabrication striations that animate every face, this material consistency also suggesting the unified construction possible through three-dimensional printing where complex assemblages can be realized with remarkable formal continuity. The work engages productively with several design lineages: the ergonomic considerations and human-centered thinking that inform racing cockpit design translate here into careful attention to sightline geometry, reach distances, and postural support, while the architectural ambition evident in the scale and spatial drama suggests dialogue with installation art and environmental design practices that blur boundaries between furniture, architecture, and sculpture. The visible evidence of additive manufacturing methodology, far from representing technical imperfection, functions as integral aesthetic content, the linear grain creating visual rhythm and directional emphasis that guides the eye across surfaces while simultaneously documenting the temporal dimension of fabrication itself, each layer a record of the printer head's patient journey, the accumulated hours of mechanical deposition that transform digital specification into physical presence. One might observe how the work negotiates between industrial precision and handcraft sensibility, the parametric design enabling geometric complexity and structural optimization while the material expression retains warmth and texture that distinguish it from the cold perfection of injection-molded mass production, this balance suggesting possibilities for personalized manufacturing where functional objects can achieve both technical performance and individual character. The spatial experience promised by the enclosure seems to offer transformation of domestic space into immersive environment, the monitor towers framing the occupant's peripheral vision to create focused concentration while the substantial physical presence grounds virtual experience in material reality, this interplay between digital simulation and physical architecture reflecting broader cultural negotiations between virtual and actual, screen-based and embodied experience. How might this enclosure's bold materiality and geometric drama inspire broader reconsideration of how functional objects inhabit our spaces, not as apologetic furniture attempting invisibility but as confident architectural interventions that celebrate technological capability and design intelligence while serving human purposes with ergonomic grace and immersive potential?
Press Kit
- Unique Properties
- GT Experience is a modular pair of large-scale 3D-printed side panels that transforms a simulator frame or sofa into an immersive gaming enclosure for home use, esports venues, and staged events. Its sculptural form visualizes the build-up of motorsport tension through rising elements reminiscent of a tachometer graph and neural transmission. Instead of hiding the layer marks usually associated with additive manufacturing, the design turns them into a premium surface language. Soft elastomer improves impact safety, while lightweight segmented construction enables transport, quick assembly, and compact storage.
- Dimensions & Packaging
- Material: elastomer, matte black coating. Per side panel: 1800 x 1350 x 150 mm, weight 15 kg.
- Tags
- 3D Printing, Sim Racing, Immersive Space, Gaming Enclosure, Motorsport, Peripheral Vision, Layer Texture, Elastomer, Large Format Additive, DfAM
- Production Technology
- Produced in Japan using domestic large-format additive manufacturing and elastomer-based material, the project was conceived as both a design proposal and a real-scale validation of large-format 3D printing. The modules were designed for practical transport, assembly, disassembly, and storage while preserving the expressive value of printed layer marks with minimal finishing. Retired parts can be shredded and reused as feedstock in compatible recycling-oriented workflows, reducing waste and supporting broader additive manufacturing applications.
- Design Challenge
- The main challenge was to create a structure that felt visually powerful while remaining feasible for compact interiors and event use. It needed to be divided into lightweight printable modules that could pass through doors, be transported efficiently, assembled quickly, and stored compactly. Another challenge was to achieve a strong visual identity without relying on excessive finishing, allowing the manufacturing process itself to remain visible as part of the final expression.
- Project Duration
- The project started in Summer 2021 in Aichi and Tokyo, and the concept model was completed and announced in April 2022 in Japan.
- Operation Flow
- The printed modules are assembled into two side structures and placed around a simulator frame or seating. The panels create a tunnel-like atmosphere that supports concentration without fully enclosing the user. In homes, the system enhances immersion while remaining compact and open. In tournaments or exhibitions, it functions as a lightweight stage element that can quickly transform an ordinary play area into a dramatic experiential zone.
- Research
- This project is an applied design study on how spatial enclosure can support concentration in sim racing while validating large-format additive manufacturing at practical scale. The process included CAD development, mockups, full-scale printing, fit checks with simulator frames, transport tests, assembly trials, and safety review. The outcome demonstrated that large-format printed modules could function as both immersive spatial elements and feasible design components for real-world installation. The project may also have encouraged further experimentation by younger local creators who later encountered this fabrication environment.
- Inspiration
- GT Experience was inspired by the emotional state of circuit driving: rising tension, sharpened concentration, and the feeling that the driver's senses are directly connected to the machine. Rather than designing only a simulator frame, the project explored how this psychological intensity could be translated into space itself. The aim was to create an environment that makes sim racing feel more focused, dramatic, and physically engaging.
- Image Credits
- Image #1: Photographer Chikara Kitabatake, GT Experience, 2022.
Image #2: Photographer Chikara Kitabatake, GT Experience, 2022.
Image #3: Photographer Chikara Kitabatake, GT Experience, 2022.
Image #4: Photographer Chikara Kitabatake, GT Experience, 2022.
Image #5: Creator Kenichi Mizuno, GT Experience, 2022.
Colors of GT Experience Gaming Enclosure
Design Interview about GT Experience Gaming Enclosure
The main idea behind GT Experience is to bring the emotional tension of real motorsport into a gaming and simulation environment.
In racing, the driver is not only looking at a screen. The surrounding space, peripheral vision, body tension, and atmosphere all influence the feeling of speed and concentration. I wanted to create a physical enclosure that shapes the player’s field of view and makes the racing experience feel more immersive.
The inspiration came from motorsport tension, cockpit environments, aerodynamic forms, and the rising pulse of a race. Instead of adding only digital effects, I wanted to design a physical space that supports immersion through form.
In racing, the driver is not only looking at a screen. The surrounding space, peripheral vision, body tension, and atmosphere all influence the feeling of speed and concentration. I wanted to create a physical enclosure that shapes the player’s field of view and makes the racing experience feel more immersive.
The inspiration came from motorsport tension, cockpit environments, aerodynamic forms, and the rising pulse of a race. Instead of adding only digital effects, I wanted to design a physical space that supports immersion through form.
My main focus was to create immersion without fully closing the player inside a heavy cockpit.
GT Experience uses large side panels to influence peripheral vision while keeping the space open enough for home use, events, and esports venues. I wanted the player to feel surrounded by speed and tension, but not trapped.
I also wanted to turn the visible layer lines of 3D printing into a positive design feature. Instead of hiding them as a weakness, I treated them as a surface language that expresses manufacturing, motion, and accumulated tension.
GT Experience uses large side panels to influence peripheral vision while keeping the space open enough for home use, events, and esports venues. I wanted the player to feel surrounded by speed and tension, but not trapped.
I also wanted to turn the visible layer lines of 3D printing into a positive design feature. Instead of hiding them as a weakness, I treated them as a surface language that expresses manufacturing, motion, and accumulated tension.
GT Experience began as a concept, but I believe it has potential for event spaces, gaming venues, esports exhibitions, and home simulator environments.
In the future, I would like to refine the structure, materials, modularity, and installation method so that it can be used more easily in different locations. I am also interested in developing variations for different simulator sizes and event requirements.
The award gives this project stronger credibility, and I hope it can lead to opportunities for collaboration with companies in gaming, mobility, 3D printing, and experiential design.
In the future, I would like to refine the structure, materials, modularity, and installation method so that it can be used more easily in different locations. I am also interested in developing variations for different simulator sizes and event requirements.
The award gives this project stronger credibility, and I hope it can lead to opportunities for collaboration with companies in gaming, mobility, 3D printing, and experiential design.
The first concept appeared relatively quickly, because the emotional direction was clear from the beginning. I wanted to create a spatial device that could change the feeling of a racing simulator.
However, it took much longer to refine the form, size, rhythm, and modular structure. The side panels are large, so their proportion and presence are very important. I studied how the panels would look from the driver’s seat, from outside, and in an exhibition space.
The design process included concept development, 3D modeling, visual studies, and consideration of production by large-scale 3D printing.
However, it took much longer to refine the form, size, rhythm, and modular structure. The side panels are large, so their proportion and presence are very important. I studied how the panels would look from the driver’s seat, from outside, and in an exhibition space.
The design process included concept development, 3D modeling, visual studies, and consideration of production by large-scale 3D printing.
GT Experience was developed from my own inspiration and interest in motorsport, simulation, spatial experience, and 3D printing.
I have long been interested in cars and driving, not only as objects but as experiences. Sim racing can reproduce vehicle behavior, but the surrounding space often remains ordinary. I felt there was an opportunity to design the environment around the player, not just the seat, steering wheel, or screen.
This project was my attempt to design the atmosphere of racing as a physical product.
I have long been interested in cars and driving, not only as objects but as experiences. Sim racing can reproduce vehicle behavior, but the surrounding space often remains ordinary. I felt there was an opportunity to design the environment around the player, not just the seat, steering wheel, or screen.
This project was my attempt to design the atmosphere of racing as a physical product.
At this stage, GT Experience is a concept and prototype-oriented project. It is not currently mass-produced.
I am open to future collaboration with companies or organizations that have interest in gaming, esports, simulation, 3D printing, or event production. The concept could be developed as a product, event installation, or promotional experience.
Because the design is modular and based on large-scale 3D printing, it has flexibility for different production and installation methods.
I am open to future collaboration with companies or organizations that have interest in gaming, esports, simulation, 3D printing, or event production. The concept could be developed as a product, event installation, or promotional experience.
Because the design is modular and based on large-scale 3D printing, it has flexibility for different production and installation methods.
I designed this work because I wanted to connect product design, automotive emotion, gaming, and spatial experience.
Most simulator products focus on hardware: the seat, steering wheel, pedals, monitor, or frame. I wanted to focus on the surrounding space and the player’s peripheral vision. I thought there was still unexplored potential in designing the atmosphere around the simulator.
As a designer with an automotive background, I also wanted to express the feeling of speed, tension, and mechanical performance through spatial form.
Most simulator products focus on hardware: the seat, steering wheel, pedals, monitor, or frame. I wanted to focus on the surrounding space and the player’s peripheral vision. I thought there was still unexplored potential in designing the atmosphere around the simulator.
As a designer with an automotive background, I also wanted to express the feeling of speed, tension, and mechanical performance through spatial form.
This design was not directly influenced by a specific designer or product.
The influences came more from motorsport environments, racing cockpits, aerodynamic parts, race circuits, tachometers, airflow, and the visual rhythm of mechanical forms. I was also influenced by the expressive possibilities of 3D printing.
Rather than referencing another design, I wanted to create a form that feels like racing tension building up around the driver.
The influences came more from motorsport environments, racing cockpits, aerodynamic parts, race circuits, tachometers, airflow, and the visual rhythm of mechanical forms. I was also influenced by the expressive possibilities of 3D printing.
Rather than referencing another design, I wanted to create a form that feels like racing tension building up around the driver.
The target users include sim racing enthusiasts, gaming facilities, esports venues, automotive events, exhibition organizers, and brands that want to create immersive mobility-related experiences.
It can also appeal to companies that want to present motorsport, performance, or future mobility in a more physical and memorable way.
GT Experience is not only for hardcore gamers. It is also for people who want to turn simulation into a stronger experience for visitors, customers, and audiences.
It can also appeal to companies that want to present motorsport, performance, or future mobility in a more physical and memorable way.
GT Experience is not only for hardcore gamers. It is also for people who want to turn simulation into a stronger experience for visitors, customers, and audiences.
Many simulator environments focus on the seat and control devices. GT Experience focuses on the space around the player.
Its large modular side panels shape peripheral vision and create a stronger sense of immersion without completely enclosing the user. This makes it suitable for both play and presentation.
Another distinctive point is the use of 3D-printed layer lines as part of the design identity. Instead of hiding the production process, the design turns it into a premium surface expression that suggests motion, accumulation, and tension.
Its large modular side panels shape peripheral vision and create a stronger sense of immersion without completely enclosing the user. This makes it suitable for both play and presentation.
Another distinctive point is the use of 3D-printed layer lines as part of the design identity. Instead of hiding the production process, the design turns it into a premium surface expression that suggests motion, accumulation, and tension.
The name GT Experience comes from the idea of creating a grand touring or racing-inspired experience, rather than simply designing a gaming accessory.
“GT” suggests performance, motorsport, driving pleasure, and automotive culture. “Experience” expresses that the project is not only an object, but a surrounding environment that changes how the user feels.
The name was chosen to be simple, direct, and understandable internationally.
“GT” suggests performance, motorsport, driving pleasure, and automotive culture. “Experience” expresses that the project is not only an object, but a surrounding environment that changes how the user feels.
The name was chosen to be simple, direct, and understandable internationally.
I used sketches, 3D CAD, digital modeling, and rendering tools during the development process.
Because the design is large and spatial, 3D modeling was especially important. I needed to study the relationship between the user, simulator seat, screen direction, panel height, panel rhythm, and overall visual presence.
CG rendering was also useful for checking how the object would appear in different environments, such as home spaces, event venues, and exhibition settings.
Because the design is large and spatial, 3D modeling was especially important. I needed to study the relationship between the user, simulator seat, screen direction, panel height, panel rhythm, and overall visual presence.
CG rendering was also useful for checking how the object would appear in different environments, such as home spaces, event venues, and exhibition settings.
The most unique aspect is that GT Experience treats immersion as a physical spatial design, not only as a digital or screen-based experience.
The design uses side panels to control peripheral vision and create emotional tension around the driver. It gives the simulator a stronger presence and transforms the surrounding space.
Another unique point is that the visible characteristics of 3D printing are not hidden. The layer lines become part of the design language, giving the product a sense of manufactured energy and motion.
The design uses side panels to control peripheral vision and create emotional tension around the driver. It gives the simulator a stronger presence and transforms the surrounding space.
Another unique point is that the visible characteristics of 3D printing are not hidden. The layer lines become part of the design language, giving the product a sense of manufactured energy and motion.
This project required thinking across several fields: product design, automotive design, spatial design, 3D modeling, and 3D printing.
The concept and design direction were led by me, but realizing such a large-scale object requires collaboration with people who understand digital fabrication, material behavior, production size, and installation conditions.
For this kind of project, design is not only about form. It also requires technical understanding of how large printed parts can be made, transported, assembled, and used safely.
The concept and design direction were led by me, but realizing such a large-scale object requires collaboration with people who understand digital fabrication, material behavior, production size, and installation conditions.
For this kind of project, design is not only about form. It also requires technical understanding of how large printed parts can be made, transported, assembled, and used safely.
Technology plays a central role in GT Experience.
Large-scale 3D printing makes it possible to create forms that would be difficult to produce with conventional manufacturing methods, especially in small quantities or for experimental installations.
Digital modeling allows the shape to be controlled precisely, while 3D printing allows the design to become physical without requiring traditional molds. In this project, technology is not only a production method; it is part of the design identity.
Large-scale 3D printing makes it possible to create forms that would be difficult to produce with conventional manufacturing methods, especially in small quantities or for experimental installations.
Digital modeling allows the shape to be controlled precisely, while 3D printing allows the design to become physical without requiring traditional molds. In this project, technology is not only a production method; it is part of the design identity.
The design was not primarily driven by numerical data. It was driven by observation of racing experiences, simulator environments, player posture, peripheral vision, and spatial impression.
I considered how people feel when they sit in a racing simulator and how the surrounding environment affects concentration. I also studied the practical needs of event use, such as installation, portability, visibility, and safety.
The research was therefore more experiential and spatial than statistical.
I considered how people feel when they sit in a racing simulator and how the surrounding environment affects concentration. I also studied the practical needs of event use, such as installation, portability, visibility, and safety.
The research was therefore more experiential and spatial than statistical.
One of the main challenges was scale. The side panels needed to be large enough to create immersion, but not so large that they became impractical for transport, assembly, or use in different venues.
Another challenge was balancing impact and openness. If the enclosure is too strong, the user may feel trapped. If it is too weak, it loses its immersive effect.
I also needed to consider how to make 3D-printed surfaces feel intentional and premium, rather than unfinished.
Another challenge was balancing impact and openness. If the enclosure is too strong, the user may feel trapped. If it is too weak, it loses its immersive effect.
I also needed to consider how to make 3D-printed surfaces feel intentional and premium, rather than unfinished.
I decided to submit GT Experience because I felt it was a project that connected several contemporary design themes: gaming, mobility, digital fabrication, spatial experience, and 3D printing.
The project is not a conventional product, but I believed it had a clear idea and strong visual identity. I wanted to see how an international jury would evaluate this kind of experimental yet practical design.
Submitting it to an international design competition was also a way to test whether the concept could communicate beyond language and region.
The project is not a conventional product, but I believed it had a clear idea and strong visual identity. I wanted to see how an international jury would evaluate this kind of experimental yet practical design.
Submitting it to an international design competition was also a way to test whether the concept could communicate beyond language and region.
Through this project, I learned again that design can extend beyond the object itself and influence the surrounding experience.
GT Experience reminded me that even a simulator, which is often considered a technical or gaming product, can be transformed by spatial design and emotional storytelling.
I also learned that manufacturing limitations can become design identity. The 3D-printed layer lines, which are often seen as a weakness, became one of the strongest visual features of the work.
GT Experience reminded me that even a simulator, which is often considered a technical or gaming product, can be transformed by spatial design and emotional storytelling.
I also learned that manufacturing limitations can become design identity. The 3D-printed layer lines, which are often seen as a weakness, became one of the strongest visual features of the work.
GT Experience is a project that explores how physical design can enhance digital experience.
In an age where many experiences are becoming virtual, I believe the physical environment still has great power. The body, the eyes, peripheral vision, and surrounding atmosphere all influence how people feel.
This design is my attempt to bring automotive emotion, racing tension, and manufacturing expression into the world of gaming and simulation. I hope it can open new possibilities between mobility, digital entertainment, and spatial product design.
In an age where many experiences are becoming virtual, I believe the physical environment still has great power. The body, the eyes, peripheral vision, and surrounding atmosphere all influence how people feel.
This design is my attempt to bring automotive emotion, racing tension, and manufacturing expression into the world of gaming and simulation. I hope it can open new possibilities between mobility, digital entertainment, and spatial product design.
Grand Interview about GT Experience Gaming Enclosure
The decision to preserve the layer lines was not something that was determined from the beginning.In this project, the initial challenge was how to create a large enclosure that surrounds a gaming chair. I explored various methods such as FRP and wood, aiming to create something impactful and unlike anything that existed before. The concept came first, and 3D printing was discovered later as a possible means to realize it.At the beginning, based on my prior experience with 3D printing, I understood that layer lines would inevitably appear. Therefore, I initially considered using it as a master model, assuming that the surface would eventually be finished and refined, rather than preserving those marks.However, the moment I saw actual large-format 3D printed samples, that assumption completely changed. The surface possessed a unique glimmer and relief-like texture that went beyond a mere byproduct of the process. I recognized it as a distinctive expression that could only emerge from this method of fabrication.From that point, I shifted my approach. Instead of concealing the layer lines, I began redesigning the form under the premise that they would be intentionally preserved. The goal was not simply to expose the marks, but to integrate them into a coherent whole that could be perceived as a valuable and refined object.At the time, 3D printing was often perceived as a tool that could create anything. I felt a certain discomfort with that idea. Rather than treating it as a universal solution, I believed it was more meaningful to explore what only this process could uniquely offer.In that sense, this project was not about compensating for imperfections, but about transforming inherent characteristics into value.
The target users for this project were individuals with a deep passion for cars—people who actively enjoy driving and experiencing the sensation of controlling a vehicle. I myself have also had many opportunities to engage with real cars, including filming and actual driving, and through these experiences I have felt the tension, excitement, and non-ordinary sensations that come with real driving.While I also enjoy simulation games, I always felt that they remain confined within the domain of a “game.” With this project, I wanted to move beyond that boundary.Typically, realism is pursued through large-scale mechanical systems or motion-based simulators. However, in this case, I chose not to rely on such mechanisms. Instead, I explored how spatial design and form alone could recreate the sense of driving, including its tension and immersive qualities.One of the key approaches was to create a cockpit-like, tightly controlled space. By carefully designing the field of view—balancing what is visible and what is concealed—I aimed to enhance concentration while generating a unique sense of enclosure. This interplay between openness and restriction produces a subtle psychological state where anticipation and tension naturally emerge.In terms of form, I incorporated visual cues inspired by speedometers and tachometers, particularly the sensation of entering the red zone. At the same time, I referenced organic structures such as the human nervous system and skeletal form, introducing a sense of tension and dynamism into the geometry.As a result, the enclosure creates a feeling of motion and non-ordinary experience even when stationary, suggesting speed and intensity purely through its presence.
The use of elastomer as a material in this project was not something I was initially familiar with. Through close collaboration and experimentation with the manufacturing team, we gradually recognized that it was a suitable choice for this particular application.Elastomer has rubber-like flexibility and offers a high level of safety for users due to its softness. At the same time, its tendency to deform easily presents a structural challenge. Addressing this balance between flexibility and stability became a key aspect of the design process.In large-scale structures, weight and deformation are closely related issues. It was necessary to find a way to support the form without compromising the intended design. The solution we arrived at was a modular segmentation strategy.By dividing the structure into multiple parts, we were able to stack and assemble the enclosure efficiently. This also improved transportability and ease of installation. In addition, if a specific part becomes damaged, it can be individually reproduced and replaced, which is a significant advantage of this unit-based system.This modular approach also introduces adaptability. By altering only certain components, the design can evolve into new variations. In this sense, the product is not a fixed outcome but a continuously updatable system.Furthermore, the domestic large-format 3D printer used in this project includes a recycling capability, where used materials can be shredded and reprocessed into feedstock. This allows damaged or unnecessary parts to be reintroduced into production as new components.Through this project, my intention was not only to highlight the properties of elastomer, but also to demonstrate the broader potential of large-format 3D printing as a production method. The ability to recycle, reconstruct, and update a product continuously presents a new form of value that was difficult to achieve with conventional manufacturing.In this sense, the characteristics of 3D printing are not merely technical features, but are deeply integrated into the design philosophy of the work itself.
I am truly pleased to have received the Bronze recognition for this project.The GT Experience Gaming Enclosure was proposed within a relatively niche field, centered around motorsports and esports cockpit experiences. However, I believe it was able to demonstrate a broader potential beyond that specific domain.What was likely recognized was not only the form or material itself, but also the design process — the ability to approach the project from multiple perspectives and translate ideas into a coherent physical outcome. I believe the strength of design lies in its capacity to transform thought into tangible form, and this aspect was meaningfully evaluated.Through this project, I also feel that it contributed to a shift in perception toward both elastomer as a material and 3D printing as a manufacturing method. Even widely known technologies can generate new value depending on how they are applied. Presenting that possibility was an important part of this work.In particular, the fact that this piece exists as a complete object entirely produced through 3D printing — not merely as a component — is significant. When people realize this, they tend to experience both surprise and a sense of new potential.Manufacturing processes that might normally go unnoticed can gain attention when expressed through form and experience. If this project was able to create such a moment of recognition, I consider that to be one of its major achievements.This experience will certainly contribute to my future work, both as accumulated knowledge and as a foundation for further exploration. I believe it has already begun to lead toward the next stage of development beyond this project.
The dimensions of this enclosure were determined with a very specific intention.When considering typical Japanese living environments, space is generally limited compared to global standards. The size of this enclosure — approximately 1800 mm in length and 600 to 900 mm in width — closely corresponds to the dimensions of a traditional tatami mat, a fundamental unit in Japanese spatial design.A single tatami mat represents a space where a person can lie down comfortably, and it is often associated with a sense of calm and balance. I used this as a reference to define a scale that feels both compact and psychologically stable.Interestingly, feedback from viewers often reflected two opposing impressions: some felt it was more compact than expected, while others perceived it as larger than its actual dimensions. This contrast was intentional, resulting from the balance between physical size and visual volume.In Japan, there is also a cultural reference in capsule hotels, where minimal personal space is designed for resting. Despite the constrained dimensions, these spaces can feel surprisingly comfortable. This preference for slightly confined spaces aligns with Japanese spatial sensibilities.Additionally, in automotive design, especially in racing vehicles, the cockpit is intentionally tight. Rather than maximizing comfort, it prioritizes performance and focus. This constrained environment heightens tension and concentration.By integrating these cultural and experiential elements, I aimed to create a space that balances comfort and tension simultaneously.However, realizing this scale through large-format 3D printing presented several technical challenges. Initially, I aimed to produce the structure as a single large piece, but due to the properties of elastomer, deformation over time became a significant issue.To address this, I adopted a modular segmentation approach. This allowed for stable production of each component while preserving the overall form. It also made transportation, installation, and assembly much more practical.Furthermore, if any part becomes damaged, it can be replaced individually, improving maintainability.Ultimately, the segmented structure, which emerged from repeated trial and error, proved to be an effective solution both functionally and visually.Rather than a fundamental redesign, the project remained consistent with the original concept developed in the initial sketches. The realization of this form was made possible through the expertise and dedication of the engineering team, particularly the younger members who fully leveraged the capabilities of large-format 3D printing.
In developing the form, I first focused on the sensory experience unique to motorsports.For those who have driven a car, one of the most impactful visual elements during driving is the movement of the speedometer and tachometer. As the engine revs rise toward the red zone, a strong sense of tension and anticipation emerges. I see this moment as a symbolic expression of motorsports itself.I had long been interested in translating this sensation into form, and in this project, I approached it through two distinct axes.The vertical axis is derived from mechanical motion, particularly the behavior of a tachometer. It expresses rotation, acceleration, and the moment of exceeding limits. The form intentionally suggests a structure that cannot be fully contained, as if a component extends beyond its boundary, representing the intensity and instability of high-rev performance.In contrast, the horizontal axis represents the human body, specifically the transmission of sensation through the nervous system. The act of driving involves constant feedback—from the pedals, the steering wheel, and the vehicle itself—flowing through the body toward the brain. I translated this flow into carved grooves that run along the structure, resulting in a form reminiscent of a spine or neural pathway.By organizing the design around these two axes, the form becomes a convergence of machine and human. The vertical expresses mechanical force, while the horizontal expresses biological sensation.At the same time, I was careful to maintain a sense of unity. Despite its aggressive and dynamic expression, the object had to remain as a cohesive mass rather than a fragmented structure.Ultimately, the form is intended to embody the moment where machine performance and human perception intersect, capturing both the physical and psychological experience of driving within a single object.
I am very pleased that this project has been recognized as both a design proposal and a full-scale validation.I am also very interested to see how this project will evolve moving forward. In fact, some of the younger team members who operated the large-format 3D printer during development have since gone on to present their own works and have even received international recognition.I believe this project provided them with valuable experience — not only technically, but also in terms of developing their creative thinking and willingness to take on challenges. For me as well, the opportunity to collaborate with such a team through trial and error has been extremely meaningful.What I consider most important is not the technology itself, but how fully it is utilized. While 3D printing continues to evolve rapidly, it is equally important to explore how current technologies can be maximized and translated into real, tangible outcomes.Specifications and technical performance alone are often difficult to communicate. However, when these are embodied in a physical object, their value becomes immediately understandable. I see this project as fulfilling that role.I hope that people who encounter this work will feel inspired to try something new, leading to the creation of further designs and expressions.3D printing is already becoming established in certain fields, and it will likely continue to expand into many others. I hope that the GT Experience can serve as a catalyst for that transition, contributing to a future where such approaches become part of the standard toolkit for design.
This project exists at the intersection of product design, spatial design, and stage-like presentation.In many esports events, the experience is built around essential components such as a monitor, steering wheel, and seat. While this setup can be effective and engaging, I sometimes felt that something was missing.For professional racing drivers, an enclosure like this may not be necessary. In fact, it could even become an obstacle, as their performance depends purely on focus and skill. They are already fully immersed without additional elements.However, for general users, the situation is different. What matters is the experience itself — the desire to sit in that seat, to enter that space. It becomes similar to the appeal of an arcade, where the environment plays a key role in engagement.I designed this enclosure as an element of “staging.” It is meant to elevate the experience by creating a space that people want to enter, interact with, and be part of.I often compare this to serving food. The taste itself is important, but presentation also plays a significant role in how the experience is perceived. While professionals may focus solely on substance, most users value the overall experience.During actual event testing, this became very clear. Many children were particularly drawn to the enclosure, lining up not just to play, but to sit inside it, touch it, and take photos. This response demonstrated that the space itself had intrinsic value beyond performance.Through this, I realized how strongly design and presentation can attract people and generate interest.Looking forward, I believe such experiential elements will become increasingly important in esports events. For example, creating unique designs for each event or producing temporary, site-specific installations could further enhance engagement.The GT Experience serves as a starting point for this kind of approach, and I hope it will lead to new forms of expression and development in the future.
In designing this enclosure, I focused on balancing a sense of closure with openness.Personally, I find that I am more at ease in tighter spaces, but beyond that, I was strongly influenced by the structure of a racing car cockpit. In a race car, the driver’s body is firmly restrained within a compact space, while the forward view remains wide and open. This condition — where the body is constrained but the vision is open — creates a heightened sense of focus and tension.I aimed to recreate this spatial condition. The side areas are intentionally tight, creating a sense of physical containment, while the front is kept open to maintain a clear and expansive field of view. This contrast allows both compression and openness to coexist.Another important factor was the control of visibility from outside. When people are highly focused, they tend to prefer not to have their expressions observed. Therefore, the design subtly obscures the user's face from external viewpoints, while still allowing their presence to be perceived.At the same time, the user inside experiences a surprisingly open visual field, especially toward the front. This creates a deliberate contrast between how the object appears from outside and how it is experienced from within.Structurally, the side panels are separated, allowing for adjustments based on body size as well as the possibility of arranging multiple units side by side. This adds a level of flexibility in how the enclosure can be used.Ultimately, the space is designed to be compact yet easy to enter, allowing users to concentrate without being overly conscious of their surroundings. It is both an intimate and open experience, and achieving this balance was central to the design.
Digital fabrication, and 3D printing in particular, has attracted many enthusiasts, and I was certainly one of them, drawn to its potential from an early stage.At the same time, a persistent challenge has been how to deal with layer lines. They have often been treated as imperfections to be hidden — sanded down, filled, or removed entirely through finishing processes. I initially approached them in the same way, assuming that the final result should appear smooth and refined.However, I gradually began to question this approach. If we go through the effort of creating something with 3D printing, only to remove the very characteristics that define the process, then the meaning of using that method is diminished.This led me to consider whether those traces — the layer lines themselves — could be transformed into value, rather than concealed.In the GT Experience, the surface quality created by the layered structure naturally aligned with the design concept. The subtle glimmer of the surface, almost reminiscent of woven carbon fiber, complemented the sense of speed and mechanical intensity embedded in the form.That said, I do not believe that preserving layer lines is always the correct approach. What matters is understanding the characteristics inherent in the manufacturing process and deciding how they can be meaningfully incorporated into the design.For designers who are interested in this approach, my advice would be not to be overly driven by the method itself, but also not to ignore it. It is important to develop ideas freely, while consciously working to bring out the strengths of the process.Ultimately, design should not lean too far toward either technology or pure form, but instead aim to integrate both in a coherent way.Above all, the goal is to create something that captivates people. The ability to move and attract others is, in my view, at the core of design.