Works#Digital Technology

This is Japan's first permanent museum specializing in infectious diseases. With the theme of "connecting the past and present of infectious diseases to the future," this facility conveys the knowledge and experience humans have built up from the past to the present, as well as steps toward the future. The COVID-19 pandemic has brought back memories of the struggle between humans and infectious diseases, and it is expected that infectious diseases will continue to pose a threat to us in the future. In this context, the Hideyo Noguchi Memorial Museum of Infectious Diseases is planned as a place where people can learn to "act correctly based on correct knowledge" regarding infectious diseases. The museum, which is a separate building from the Hideyo Noguchi Memorial Hall, was renovated and made use of the track record of the Hideyo Noguchi Memorial Foundation and the high level of expertise of the supervisors to differentiate it from the memorial hall. It consists of two displays rooms, and our company was involved in everything from architectural renovation to displays design and construction, as well as signage, content, and leaflet concept design.

The remains of the approximately 1.2 km runway in Uzurano-cho, Kasai City, were from an airfield built during the war, and many other war ruins are scattered around the area, remaining to this day. Kasai City's regional revitalization center facility, "Sora Kasai," serves as an exchange hub for touring these ruins, and the "Uzurano Museum" within it was built as the center of a field museum that conveys the historical facts of the war. The basic plan for the facility was awarded to a joint venture of the three companies, Ooba Co., Ltd., and Iruka Design Group Co., Ltd., who were involved in the design, and our company was mainly in charge of the museum displays. After that, we were independently awarded the order to create displays, and it took about six years from planning to completion. Towards completion, after going through a review committee, we worked with many people, including Kasai City, local war history researchers who had been conducting research for many years, preservation societies, supervisory teachers, and a full-scale airplane model production company, to create the facility. This museum, built on the runway, introduces the short but rich history of Uzurano Airfield, with two full-scale airplane models that are deeply connected to the area as displays. We aimed to create a museum unique to Uzurano, taking advantage of the story and local characteristics of the area. The mission of this museum is to weave the memories of this area, leave them in a tangible form, and pass them on, and we hope that it will become a place where people can think about peace and connect with each other.

Since opening as a whisky museum in 1998, the number of visitors has exceeded 600,000, due in part to the airing of TV dramas and the arrival of the highball boom. As the facility has deteriorated and the way displays are displayed has become outdated, the decision was made to renovate the former Whisky Museum in the first phase of the project while also reviewing the entire Yoichi Distillery tour facility. The Yoichi Distillery is an important point of contact where visitors can experience Nikka, and it is also a sacred place for whisky fans. However, the previous tour facility was not at a level commensurate with its importance, and the fact that it has not kept up with the changes and evolution of the world was a major issue in the current renovation. The main theme of the renovation is to create a story about the ideal whisky making of founder Masataka Taketsuru, or Yoichi as the origin of Nikka, and how it will move forward into the future, and to foster understanding and empathy for the Nikka brand. [Social issues / Customer issues / Requests] 1. The purpose of the renovation is to further improve the understanding and satisfaction of visitors, increase the number of Nikka fans, and strengthen the brand. ② With the growing popularity of whisky, we will renovate displays to meet the needs of the expanding user base and diversifying visitors. ③ We will reorganize the exhibits to accommodate the increasing number of foreign visitors. ④ We will target visitors who are interested in whisky. ⑤ We will displays everything from the basics, such as the manufacturing process, to the details and trivia, but we would like the exhibits to be intuitive and not comprehensive. These were the requests we received. [Solution] In planning and designing this exhibit, we made a major shift in our thinking from the general and comprehensive whisky information provided by the whisky museum, and tried a completely new approach to displays. Based on the concept of "Learn about the essence of Nikka Whisky through the brand stories of Nikka's four products," we focused on the four brands that represent Nikka and turned each brand story into an displays experience. We aimed to create an experience where visitors could learn about the essence of Nikka Whisky and basic knowledge of whisky while following the brand stories. displays include footage of various people working at the distillery giving talks and introducing the important role of the blender, and for the first time ever incorporate displays design that whisky fans have never seen before. displays commentary includes trivia information for the main target audience, and many displays also include content that reveals the secrets of the manufacturing process that gives shape to the individuality of the products. Regarding multilingualization, displays commentary will be written in Japanese and English as a base, and digital technology has been introduced that allows visitors to read translated commentary on their personal mobile phones to accommodate Chinese visitors, who make up the majority of the visitors. <Our project members> [Sales/Project Management] Matsubara Tadayuki [Creative Direction] Tamura Keiyu [concept design Direction] Suzuki Fujie [concept design Planning] Yamada Akira, Shirodo Kensaku [Planning] Yanagihara Tomoko, Iizuka Atsuro [Production] Iwasaki Tsukasa, Umemoto Ikushige

Fuji World Heritage Center, which preserves for the future the value of Mt. Fuji, inscribed on the World Heritage List as "an object of faith and a source of art," underwent renovation in the spring of 2022. The renovated facility offers a wealth of displays materials with easy-to-understand explanations, displays panels that make it more enjoyable to understand the attractions of Mt. Fuji is "an object of faith and a source of art" to visitors, including many foreigners, we have created a spatial experience that works with smartphones and tablets, and a displays guide system "Fuji Guide" with built-in multilingual (7 languages) commentary and voice commentary. displays guide by "Guide" was produced. The "World Heritage Mt. Fuji VR," which can be experienced through 360° images by wearing VR goggles, traces the path of faith walked by pilgrims in the past from the Misaka Pass, which has been depicted in ukiyoe woodblock prints, to the top of Mt. Fuji, which is usually unseen, from a dynamic viewpoint, and to make people want to visit the site. Social Issues/Customer Issues/Requests] Since its completion in 2016, displays has been lacking in materials and explanatory text for international visitors due to the fact that it is an interactive displays experience. SOLUTION: displays graphics were re-laid out to be easier to understand, explanatory text added missing information, and a gentle route was shown by placing panels in consideration of the displays route. displays In the guide system, all existing applications were converted to web browsers, and multilingual support was provided so that visitors with different cultural backgrounds can easily understand the explanations. In addition, 3D maps and 360-degree still image content were used to enhance the experience. In terms of operation, a simple-to-use CMS (content management system) was built, making it possible to easily respond to any modifications to the explanatory text. For the VR production, we used content that traces the path of the Fuji faith in VR, and adopted a simultaneous playback system that takes into account the realistic images shot by a drone and the operational aspects. ＜Sales and project management] Maria Uemura [Digital contents planning] Hiroki Mima, Aya Watanabe, Ayaki Kanehara, Sakaki Miyahara, Minori Hayashi [design, layout] Kaoru Akazawa [Production: construction] Akinobu Takahashi [System design: construction] Ayaki Kanehara, Minori Hayashi - Related Links - [NOMLAB] ・山梨県立富士山世界遺産センター Fuji World Heritage Center

As Tokyo Skytree celebrates its 10th anniversary in 2021, the 4th floor entrance floor has been renovated to prevent the spread of COVID-19 by creating an easy-to-understand entrance path for customers and reducing the number of face-to-face ticket sales counters. The existing ticket counter was relocated and a new exhibition area, "SKYTREE® ARCHIVES," was opened on July 1, 2021, which introduces the history of the surrounding area, including the Oshiage district where Tokyo Skytree is located, and the role of the displays tower in a chronological format through videos and photos. The "Sumida River Digital Picture Scroll," which was displays on the 1st floor group floor, has been relocated to this area. We were responsible for design, layout, and construction of the new ticket counter, "SKYTREE® ARCHIVES," and "Sumida River Digital Picture Scroll." We have also been supporting the creation of the space at Tokyo Skytree Town® (Tokyo Skytree, Tokyo Solamachi®) since its opening in 2012. [Social Issues / Customer Issues / Requests] ・The ticket counter is the first place visited by many people, both domestic and international. Therefore, we received requests for it to be easy for anyone to understand, to have affinity with environmental design, and to improve hospitality and service. ・For "SKYTREE® ARCHIVES," we received requests for concept design and displays method that would interest customers and be easy to understand, with large-scale images, a historical timeline, and actual displays in a limited space. [Solution] ・To clearly communicate the existence of the ticket counter, we placed it facing the 4th floor entrance and gave it a calm, traditional concept design that fits the environment. We also installed an easy-to-see sign at the top and lit the decorative material using cut glass on the back of the counter with indirect lighting, so that it can be intuitively understood even from a distance. ・For "SKYTREE® ARCHIVES," the relevant parties conducted on-site mockups to check the color and size of the graphics, the placement of displays, the lighting plan, etc., to verify the ideal form. It has become a place of learning for visitors to learn about Tokyo Skytree and the surrounding area, and to enjoy the view from Tokyo Skytree, which is built on that history. In addition, by arranging all the pictures in the "Sumida River Digital Picture Scroll" in a continuous manner, the continuity of the scroll is emphasized, and it has been reborn as a more powerful piece of content. The above synergistic effects have made the view from the observation deck even more appealing by smoothly guiding visitors from "SKYTREE® ARCHIVES" near the main entrance to the ticket counter and then to the departure gate (elevator platform to the observation deck) and creating a sense of exhilaration. <Our project members> [Sales/Project Management] Hashida Yukinori, Nekoda Hiroki [concept design] Hirata Wakako, Sato Tomoya [Production] Nara Shota, Oikawa Yasuhiko, Sakurai Ryota, Wada Kaoru

This creative museum opened in the Panasonic Center Tokyo as a successor to RiSuPia, which opened in 2006. It is a place where inquiry learning on themes such as SDGs is practiced based on STEAM education. As a place to cultivate children's intellectual curiosity and inspiration, it provides an environment where they can experience both learning and making things and events. The space was designed based on five themes to freely release curiosity and motivation for creativity: "Feeling that it's okay to get dirty," "Feeling that you can make it yourself," "Feeling that you can rearrange it," "Feeling that you're not confined to a framework," and "Feeling that you can concept design a session together." Furthermore, from the perspective of SDGs, the existing environment was effectively reused and updated while incorporating it as a concept design motif. The project team's desire to build on the history of the predecessor museum and to add new history to it is also expressed in the spatial concept design. <Our project members> [Sales/Project Management] Yamazaki Kei [Direction] Yamaguchi Akane [design, layout] Koga Sayaka, Tani Seiho, Sasai Ayumu, Nakade Mikiyuki [Production/ construction] Kumazawa Yuta, Asakura Yumi ~Related links~ [Release] ・ NOMURA 's social good activities: The case of AkeruE Creating a space that fosters children's intellectual curiosity and inspiration for a better recycling society in the future [nomlog] ・Until AkeruE was created. Talking about spatial concept design. (Part 1) ・Upcycling ideas, concept design you won't feel guilty about towards the earth (Part 2)

Aichi Prefecture and Nagoya City jointly opened this facility in the basement of the Life Science displays of the Nagoya City Science Museum, a registered museum, to deepen understanding of Nobel Prize winners with ties to Aichi and Nagoya through explanations of the research for which they received the award, items related to that research, and hands-on exhibits, as well as to convey their backgrounds, personalities, and messages to visitors. It is a hybrid space with movable unit displays, and when all the equipment is moved and stored and the roll-back chairs are deployed, it becomes a hall with approximately 200 seats. We were in charge of the basic concept and basic plan for this facility, as well as facility renovation, displays design, and displays production and installation work. (Production content included unit production, lighting and audio equipment, video software and hardware, models, sign graphics, etc.) Nagoya City Science Museum, Life Science Building: SRC structure, 6F above ground/2F B1, total floor area 6,816.13 m², displays area (total of 5 rooms) approx. 2,500 u (including approx. 300 u on B2F of the Memorial Room) [Social Issues/Customer Issues/Requests] 1. A "hybrid renovation design" that allows the different functions of the hall (auditorium) and displays room to be quickly converted. 2. "displays" of the personalities of the award winners and their passion for science, different from displays at universities and research facilities, and "experiential equipment" for the contents of the award-winning research as displays at the science museum. We received the above two requests. [Solution] Regarding 1.: We adopted wall-mounted seating (rollback chairs), secured a self-propelled displays booth and storage space, and adopted a scene dimming manager that can be used for a variety of purposes. Regarding ②: We have created experiences and games that incorporate playful elements from the content of real answers and information provided through direct interviews with the laureates, and thorough analysis of the contents of the prize-winning research. [Customer feedback] We received the following comments at the time of the opening. ・There are many Nobel Prize displays rooms all over Japan, but this displays gives the best understanding of the prize! (Professor Hiroshi Amano) ・As a Nobel Prize displays, it is packed with a variety of unique ideas, and children can have fun while learning about the laureates and their research. (Chief Curator of the Science Museum) <Our project members> [Sales/Project Management] Akihiko Suganuma, Maika Ueda [Creative Direction] Hideki Narita [Content Production Direction] Mao Horii [Research/Planning] Hajime Watanabe, Naoko Nakase, Mao Horii, Nozomi Fukao, Miwako Kiuchi [concept design] Mitsuyo Ashida, Yoichi Honda [Facility Renovation Design] Sakae Kirioka, Yoichi Kawakami [Production/ construction] Hironari Ota, Yoshiyuki Ando, Satoshi Iwama ~Related Links~ [Related Achievements] ・Nagoya City Science Museum

The Morinaga Angel Museum MORIUM was created as part of the Morinaga & Co. 120th anniversary project. We were responsible for the total production, including spatial concept design, displays planning and production, and the production of various content, including theater videos.

This museum conveys the history of the Suiheisha, which became the linchpin of the Buraku Liberation Movement, which aims to establish peace and human rights. The latest renovation is a commemorative project for the 100th anniversary of the founding of the Zenkoku Suiheisha, which marks a major milestone since March 3, 1922. In recent years, there has been an increasing tendency to emphasize human rights, such as the enactment of the Human Rights Protection Measures Promotion Act and the Ainu New Act, and the redefinition of museums by the SDGs and the International Council of Museums (ICOM). The Suiheisha Declaration, which was read out at the Zenkoku Suiheisha Founding Conference, was the first human rights declaration in Japan and the first human rights declaration in the world issued by a discriminated minority, stating, "Let there be passion in the human world, and light in humanity." When talking about human rights, the significance of the existence of the Suiheisha Museum, which was established in the birthplace of the Suiheisha and is a hub for disseminating human rights information, is very great. In the renovation, we have once again focused on the Suiheisha Declaration, which became the fundamental spirit of the movement. We have also collected famous quotes from famous people, people close to us, works of art, and works submitted by public entries, bringing inspiration and persuasiveness through the power of words. At the same time, the exhibition is also characterized by its high updateability, allowing comments from the general public to be added at any time. In addition, displays incorporates the idea of "accepting each other's differences" with an emphasis on diversity.

"CHOOSEBASE SHIBUYA" is the first media-type OMO store (※) opened by Sogo & Seibu Co., Ltd. in a department store format. The first floor of the parking building at Seibu Shibuya has been fully renovated, and the aim is to create a new retail business through collaboration with D2C brands that are popular with millennials and Gen Z. Customers who visit the store can enjoy a new shopping experience that combines online and offline in an immersive space on their smartphones. This time, an EC site will be opened at the same time as the real store, and new shopping services will be proposed, including a sales format where products purchased online can be picked up in the store. Using cutting-edge technology such as AI cameras, data that can be used for test marketing, product planning, and service improvement is also provided to store owners. *OMO store = a store format in which customer, product, and inventory information is unified between the store and EC This is a new business that was launched from the idea that creating a place where a new generation of customers can meet new brands is the new way of department stores. While it is a media-type OMO store that utilizes the latest technology to amplify the editing power unique to department stores with the power of technology, we aimed to create a world view with a margin based on the keyword "editing" unique to department stores, so that it can be a place where you can experience a human way of consumption that is not too dependent on technology. The entire store is composed of two thick lines crossing each other, and by slightly tapering from each entrance toward the crossroads, the sense of immersion is strengthened. Four areas called "BASE" are adjacent to the crossroads, and each area is given its own material personality within a common world view. Taking advantage of the existing characteristics of a semi-basement with a low ceiling, the blue painted floor, which is deliberately devoid of warmth, is an assortment of colors that give a sense of "slight discomfort" and a hint of the future in the world of a monochromatic color with no saturation. The two corridors are drawn with organically curved lines of light that draw you deeper, and the tin panels with a silver to blue gradation are reminiscent of a blue moment, providing a special experience while creating a mischievousness unique to the location.

Atsuta Shrine is a shrine that enshrines Kusanagi-no-mitsurugi, one of the three sacred treasures, and swords have been donated to the shrine throughout the ages. Kusanagikan, a treasure trove of swords, is a sword exhibition hall unique to Atsuta Shrine, housing approximately 450 swords that have been dedicated to the gods with prayer since ancient times, including swords designated as national treasures and important cultural properties. In addition to swords, you can also view paintings and historical documents related to swords. There is also displays corner where you can feel the weight of two large swords, the Shumei Sueno Aoe (Taro Tachi) and Chiyozuru Kuniyasu (Jiro Tachi), made to the actual length and weight. We were in charge of the graphics in the hall, explanations for the sword displays, and video production. The video was based on the theme of "Kusanagi-no-mitsurugi - the myth of its transmission," which is also the origin of the name Kusanagikan. The myth of the birth of Kusanagi Sword and the origin myth of the shrine it enshrines are presented in a graceful picture scroll style. The background music was also carefully considered, beginning with the melody of an ancient Japanese gagaku instrument and adding the sounds of an orchestra to convey the magnificent moment of the birth of the shrine. The explanatory monitor for the sword displays follows the theory of sword displays appreciation, but by using larger letters and more furigana, it is easier to read for a wider range of ages. <Our project members> [Sales] Yamamoto Izumiichiro, Watanabe Kyoko [Planning, graphic direction, video direction] Shimokuni Yuki [Fixture concept design] Miyake Dairo

A new normal illumination that fuses the real and the remote, sending a message of gratitude and encouragement from Tokyo to medical professionals, essential workers, and all those who are moving toward the new normal.

This facility, which reopened on the fourth floor of the entertainment complex "BOSS E ZO FUKUOKA" next to Fukuoka PayPay Dome, the home stadium of the Fukuoka SoftBank Hawks, is a sports museum that conveys the charm of "baseball player Oh Sadaharu" and places an emphasis on "enjoyment." The "Oh Sadaharu History Zone (displays)" expresses the greatness and turbulent journey of baseball player Oh Sadaharu using the latest displays techniques, while "89 Park (Interactive Attraction)" condenses Oh Sadaharu's passion for baseball, "I want people to enjoy baseball," into an interactive attraction where you can enjoy various challenges such as hitting, pitching, and catching.

In conjunction with the expansion of the international facilities at Tokyo International Airport (Haneda Airport), we were in charge of concept design and construction of the commercial area facing the departure lobby. Aiming for a symbolic concept design appropriate for the new gateway to Japan, we expressed the future "sky" of "Tokyo," which floats in the "sky" like "clouds" and "wind" and blends with each other, changing its appearance infinitely. Countless objects made with cutting-edge 3D modeling design technology create the silhouettes of streamlined "clouds" and "wind," and the shifting light and color gradations create the "sky" that changes its expression infinitely. For example, the generous and grand expression of the "clouds" and "wind" felt in the distance is composed of a fine geometric arrangement of approximately 5,500 strip-shaped parts when you get closer. In addition, the change of time of day and seasons is expressed with the soft and delicate light and color shading of approximately 1,800 proprietary lights. The dynamism of Japanese sensibility, which repeats meticulousness and generosity, and the "Japanese aesthetic sense" that appreciates the changes of the seasons, such as the flurry of cherry blossoms, the scenery of waves, the autumn winds and the winter skies. By fusing these two elements into the space with unprecedented new technology, we challenged the possibilities of future spaces. <Our project members> [Sales/Project Management] Kazuyoshi Hikota [design, layout] Shinjiro Kondo [Production/ construction] Yoshiyuki Nakamura, Sora Udagawa, Ryosuke Takada

Ishiya Seika Co., Ltd. is a Western confectionery manufacturer representing Hokkaido, famous for its Shiroi Koibito. In 1995, the company built the Ishiya Chocolate Factory, which is the headquarters and factory building, and opened the entire facility under the collective name Shiroi Koibito Park. Now, Shiroi Koibito Park, which has become a representative tourist attraction in Sapporo, is celebrating its 20th anniversary since its opening, with the number of visitors exceeding 700,000 per year. With an eye on 1 million visitors, a renewal plan was started with the theme of a facility that provides surprise and fun by utilizing the candy factory by improving customer service and adding new entertainment. NOMURA displays 's know-how, from the overall production of the park and production of video content, review of exhibition plans, spatial concept design, construction and construction (new cafe, renovation of lounge, expansion of experience corner, complete renovation of NOMURA store, review of sign plan), and produced the space. In addition, this time, we were involved in a wide range of creative production, including the facility logo concept design, character concept design and new character concept design, advertising concept design, and packaging concept design for limited-edition products accompanying the renewal. The facility has been reborn as a chocolate entertainment facility where visitors can see, learn, taste, and experience things, including the projection mapping tour "Chocotopia House" where visitors can explore the secrets of chocolate with the "professor who loved chocolate too much," the "Chocotopia Factory" where visitors can visit the "Shiroi Koibito" manufacturing line, cafes, and shops. [Customer's Issues/Requests] The basic premise was to inherit the antique concept design theme of the entire facility and to concept design and produce the facility while making use of the atmosphere of the existing facility. The first major issue was to resolve the chronic congestion caused by the number of visitors exceeding 700,000 per year. The other issue was to create new attractions, and we needed to proceed with the plan targeting not only tourists from outside Hokkaido, who had been the main tourists until now, but also tourists from within Hokkaido and overseas. [Solution] First, we clearly set a guiding production concept, and reviewed displays story and flow plan from the start of the attraction to the viewing route to the lounge and shop, with the aim of eliminating congestion on the customer's flow. We also aimed to reduce congestion by dispersing visitors' viewing points through the addition of new attractions, the establishment of a new cafe, the renovation of the lounge, the expansion of the experience facilities, and the expansion of the final destination, the shop. We also aimed to create new attractions by creating new characters and making full use of the latest production techniques, such as projection mapping and new diorama models, based on a new concept. <Our project members> [Sales and project management] Taku Wakita, Tadayuki Matsubara [Planning] Yuichi Saito, Tomoko Yanagihara, Moe Murakami [design, layout] Hiroyuki Tamura, Fujie Suzuki, Kentaro Yamada, Yuki Masuda, Akika Yamada, Shigeru Kato, Sari Suzuki, Mayu Toyoda [Production and construction] Takashi Sasatani, Ikuo Umemoto [Creative engineers] Akimitsu Takashi, Kenichi Kishikawa, Banji Kawai [Sign planning] Naoaki Mori (Nomura Products) [Promotional equipment and modeling construction cooperation] Mizuki Suzumura (Nomura Techno)