Works#Digital Technology

CHOOSEBASE SHIBUYA

CHOOSEBASE SHIBUYA

"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 where 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 new generations 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. <Our project members> [Sales and project management] Hironari Sakimoto [concept design and basic planning] No. 10: Nao Kameda, Shohei Suzuki, Jun Watanabe [schematic design, working drawings, and interior administration] No. 10: Nao Kameda, Shohei Suzuki, Jun Watanabe [Production and construction] Yasushi Watamoto, Katsuhiko Kurokawa

#Urban & Retail
Atsuta Shrine - A treasure trove of swords, Kusanagi-kan

Atsuta Shrine - A treasure trove of swords, Kusanagi-kan

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 displays 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 an experience 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, starting 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

#public
Tokyo Michi Terrace 2020

Tokyo Michi Terrace 2020

This new normal illumination combines real and remote events to send a message of gratitude and encouragement from Tokyo to medical professionals, essential workers, and all those who are moving towards a new normal. [Social Issues/Customer Issues/Requests] We received a request for an illumination that can be enjoyed safely and securely during the COVID-19 pandemic, and an event to send a message to society. [Solution] We decentralized the venue to avoid crowding, and in addition to viewing displays, we created and distributed an AR experience that can be enjoyed safely at home, as well as five movies that can be viewed on the website. [Customer Feedback] As a result of sending out messages through displays at the venue and the official website, we believe that visitors and site visitors understood the purpose based on reactions on social media. As a measure to prevent the spread of COVID-19, we made displays at the venue smaller, extended the event period by about 10 days from the usual time, and extended the lighting hours, which allowed us to disperse visitors. (During the event, at the request of the Tokyo Metropolitan Government, the lights were turned on for shorter hours, until 10pm on December 18th and 8pm on December 21st.) In addition, by providing AR content, the event was enjoyable not only at night but also during the day. Consideration was given to avoiding crowding and the spread of infection, allowing visitors to enjoy themselves safely. <Our project members> [Sales/Project Management] Kumagai Ken [Planning/ design, layout /Scriptwriting/Video Production/Lighting Production/AR Direction/Web concept design] Tsuyama Ryuji [AR Production Management] Nishikawa Masahiro [Fitting Production/ construction Management] Maeda Kazuo

#entertainment
Oh Sadaharu Baseball Museum Supported by Lipovitan D

Oh Sadaharu Baseball Museum Supported by Lipovitan D

Located on the 4th floor of the "BOSS E-ZO FUKUOKA" entertainment complex next to the Fukuoka PayPay Dome, home of the Fukuoka SoftBank Hawks, the new facility is a sports museum focused on "having fun" while conveying the appeal of "baseball man Sadaharu Oh". The museum is a sports museum focusing on "fun" as well as conveying the appeal of "baseball man Sadaharu Oh. In the "Sadaharu Oh History Zone (displays)," the great baseball man Sadaharu Oh's greatness and tumultuous path are presented using the latest displays techniques. The attraction offers a variety of challenges, including hitting, throwing, and catching. The customer's challenge/request] The customer wanted to keep the existing concept of "a future-oriented sports museum that emphasizes communication and enjoyment with the appeal of Sadaharu Oh, a baseball player, at its core," while enriching the content and creating a space with a sense of innovation appropriate for a renewal. SOLUTION: While maintaining the concept of the facility, we aimed to create a museum that would be loved and adored by many people by conveying, through a multifaceted and progressive approach, the opportunity to become familiar with sports and the fun of the game, using the great footsteps of Sadaharu Oh, the baseball man, and the appeal of baseball as a starting point, and providing enjoyment that will energize many people. We were also in charge of digital measures to make the facility more enjoyable, such as voice guidance through a dedicated smartphone app, AR contents, photo frames, and 360-degree videos that can only be seen here. We produced a comprehensive space including planning, production, construction, digital communication, and maintenance management. By integrating real and digital experiences, we created a museum experience that is adaptable to the new normal. The company's depth and breadth of experience, including backup members, was impressive. Although the project did not result in the bizarre ideas we had at the start of the project, we believe that such creativity is important, so we were able to take advantage of the ideas while also taking the practical aspects of the project into proper consideration. In the end, we were able to keep the project within budget while still being creative. <Our project members> [Sales and project management] Tadahiko Koga [Digital contents planning] Hiroki Mima, Soichi Yoshitake [displays Structure] Koichi Ido [design, layout] Akira Imai, Riho Sawada, Atsuko Okamoto [Production construction] Ryo Hashiguchi, Tomoaki Morita [maintenance management] Takatoshi Nakamura, Nomura Techno Corporation [Operation planning] Ai Ichikawa

#public
Tokyo International Airport Terminal 2 International Flight Facility &quot;TOKYO AIR&quot;

Tokyo International Airport Terminal 2 International Flight Facility "TOKYO AIR"

In conjunction with the expansion of the international facilities at Tokyo International Airport (Haneda Airport), we were in charge of concept design and construction the environmental fixtures in 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 viewed up close. 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

#public
Shiroi Koibito Park

Shiroi Koibito Park

Ishiya Corporation, a leading confectionery manufacturer in Hokkaido known for its famous Shiroi Koibito sweets, built the Ishiya Chocolate Factory, the headquarters factory building, and opened the entire facility, collectively called Shiroi Koibito Park, in 1995. Shiroi Koibito Park has now become one of Sapporo's most popular tourist attractions, with more than 700,000 visitors a year since its 20th anniversary. With an eye on attracting 1 million visitors, a renewal plan was launched to improve customer service and add new entertainment features with the theme of a facility that offers surprises and fun by making the most of a candy factory. NOMURA The "K" Line Group was engaged in the overall direction of the park, production of visual content, displays review of the plan, space concept design, production and construction (new café, renovation of the lounge, expansion of the experience corner, complete renovation of the factory store, review of signage plan), NOMURA planning and design construction covering the entire range of the Group's know-how and produced the space in a single operation. We produced the space. We also produced a wide range of creative work, including the facility logo concept design, character re concept design and new character concept design, advertising concept design, and limited edition product packaging concept design for the renewal. The Chocotopia House, a projection mapping tour to explore the secrets of chocolate with "Dr. Chocolate", the Chocotopia Factory, a tour of the Shiroi Koibito production line, a café, a store, and other facilities to see, learn, taste, and experience chocolate. The main theme of the facility concept design is to maintain the antique style, which is the basic tone of the entire facility, and to make the most of the atmosphere of the existing facility concept design ・The main premise of the project is to produce a production that will allow visitors to see, learn, taste, and experience chocolate. The first major issue was to eliminate the chronic congestion of over 700,000 annual visitors. Another issue was to create new attractions, and the plan needed to target both domestic and foreign tourists, in addition to the main tourists who had been coming from outside of Hokkaido. The first step was to clearly establish a guiding production concept and review the displays storyline and route planning, starting from the start of the attraction, through the tour route to the lounge and stores, with the aim of eliminating congestion on the visitor route. We also aimed to relieve congestion by adding more attractions, a new café, renovating the lounge, expanding the experience facilities, and expanding the concession stand at the end of the tour to distribute the points of interest to visitors. We also aimed to create a new attraction by creating a new character for content creation and utilizing the latest production technologies such as projection mapping and a new diorama model based on a new concept. <Our project members】 [Sales/Project Management] Taku Wakita, Tadayuki Matsubara [Planning] Yuichi Saito, Tomoko Yanagihara, Moe Murakami [design, layout] Keiu Tamura, Fujie Suzuki, Kentaro Yamada, Yuki Masuda, Akika Yamada, Shifumi Kato, Sari Suzuki, Mayu Toyoda [Production, construction] Takashi Sasatani, Ikushige Umemoto [Creative Engineers] Akira Takashi, Mitsuru Kishikawa, Kenichi Kishikawa, Kenichi Kawamoto Mitsuru Kishi, Kenichi Kishikawa, Banji Kawai [Sign Planning] Naoaki Mamoru (Nomura Products) [Production Equipment and Modeling construction Cooperation] Mizuki Suzumura (Nomura Techno)

#entertainment
Moominvalley Park

Moominvalley Park

Moomin Valley Park opened in Hanno City, Saitama Prefecture on March 16, 2019. Our company was in charge of the entire park planning, design, production planning, and construction. [Customer's challenge/theme] As this is the world's first permanent Moomin theme park, there was no precedent, so it was necessary to literally get approval from the publisher, Moomin Characters, from scratch on what kind of facility it should be and what kind of attractions would be good. In addition, since the scope of responsibility was wide, a large, well-coordinated team was required. [Solution] The deep understanding of the original work by the promotion members and repeated careful confirmation work with the publisher ultimately led to very high praise from the publisher, leading to smooth approval. In addition, by assigning a promotion team consisting of the entire NOMURA group, we created a situation where communication was always possible in all areas. [Customer's voice] The promotion members had a deep understanding of the Moomin characters and story, and approached content creation with love, which earned the licensor's trust and made the approval process go smoothly. It has been highly praised by guests as a facility where you can feel the love for characters. <Our project members> [Sales and project management] Shingo Terasaki, Tomohito Kawashima, Mirai Suzuki, Morifumi Nihei, Junichi Manabe, Haruhiko Kako [Planning and design] Masaki Kawahara, Kyosuke Horie, Asafumi Sasa, Sakae Kirioka, Kentaro Yamada, Yoko Suzuki, Masahiro Sugihara, Yuki Handa, Manami Nagao, Eri Isoyama, Satoshi Nakagawa, Hi Oikawa, Noriko Osaki, Kazumi Shimada, Hiroki Toyoda, Rina Saito, Ryosuke Naga [Graphic concept design] Minori Kaneno, Misao Kaneko, Ayaka Hagiya, Mayu Toyoda, Fujie Suzuki [Production and construction] Shunsaku Kimura, Tetsuji Inoue, Chuzo Seki, Kunihiko Hashimoto Nomura Products: Kiyohiko Hoshi, Naoaki Mori, Takeshi Niimi, Naoyuki Kiyomi, Wataru Yoshida [System Engineering] Kenji Suzuki, Isao Yokota Nomura Techno: Katsuji Oguchi, Masahiro Takano [Structural Calculation Work] Kiichi Fujihira

#entertainment
Shiseido Global Innovation Center S/PARK

Shiseido Global Innovation Center S/PARK

This is a project for a lively facility opened on the first and second floors of Shiseido Global Innovation Center (known as S/PARK), Shiseido's cutting-edge research facility. On the first floor, there is S/PARK Cafe, where you can enjoy meals created in collaboration with Shiseido Parlour, S/PARK Beauty Bar, where you can purchase personalized cosmetics, S/PARK Studio, where you can experience original programs based on a unique method, and S/PARK Museum, an experiential museum, on the second floor. It is a beauty complex that anyone can freely visit. The large SONY 16K crystal LED screen in the atrium and the large spiral staircase that connects the first and second floors are distinctive features. In addition, an extra-large motif was installed on the ceiling of the open atrium structure to give visitors the image of "inspiration taking flight." The overall production was handled by Kundo Koyama (ORANGE AND PARTNERS), the spatial concept design was handled by nendo+onndo, and our company was mainly responsible for the design and construction of the facility's interiors. <Our project members> [Sales and project management] Takamori Masahiro, Nekoda Hiroki [Planning] Yanagihara Tomoko, Fujii Kayoko, Hirota Kohei, Amane Mayo, Okazaki Hiroko [concept design and basic planning] Aono Keita (onndo), Matsui Shingo (onndo) [schematic design, working drawings and interior administration] Hayashi Kohei, Tamura Noriaki, Nitta Makiko, Yato Seika [Graphic concept design] Suzuki Fujie [Production and construction] Yamada Soichiro, Hirowatari Ryoka [Technical direction] Takashi Akimitsu, Oku Haruki

#corporate
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