Works#Digital Technology

MIRAI-Bit is a website that allows users to experience some of the content related to the permanent displays at the National Museum of Emerging Science and Innovation (Miraikan), which reopened in November 2023. This includes "Aging Park," where anyone can experience a simulated aging process; "Nanairo Quest," which focuses on a future where robots and humans live together; and "Planetary Crisis," which deals with the global environment. MIRAI-Bit is also being toured to various locations so that science museums and other institutions across Japan can experience it. Our company was responsible for content creation and the design and construction of displays fixtures for the tour.

Based on the concept of "co-creation," the TOTO Technical Center Tokyo, a place that collaborates with business users to create the bathroom spaces of the future, reopened in April 2024 after renovations. The concept for this renovation is "Fine & Flow," expressing "the free, delicate, and beautiful behavior of water and its seamless transitions." The aim was not only to convey the dedication of bathroom professionals and TOTO's reliable quality, but also to create a facility and atmosphere befitting co-creation, and a proposal facility that is appropriate for the digital age. Our company was in charge of the overall design, construction, and system development.

Nissan Motor Co., Ltd. has established a new concept design presentation hall at its Global concept design Center in Atsugi City, Kanagawa Prefecture, which integrates the real and digital worlds. This hall is equipped with a curved 24K LED screen, a full-color ceiling screen, remote lighting technology, and a 7.1ch sound system, making it possible to accurately reproduce various environments in which customers actually use cars around the world. The aim is to develop products that meet diverse needs in a more timely manner by digitizing concept design process. Our company was in charge of the design, structural calculations, interiors construction, and the full-color ceiling screen. The hall can reproduce changes in light over time, weather, and natural elements in real time with a high degree of realism and immersion, and it is possible to verify and confirm digitally created models in various market environments.

This facility is Japan's first 3D-printed housing construction technology, and the first commercially available 3D-printed store for general sale. Its purpose is to provide relaxation through advanced training and extraordinary experiences. The operating company is Cascade Tokyo, which develops medical and nursing care services, and it utilizes the development technology of its partner, Selendisc, which was the first in Japan to realize 3D-printed housing and commercialization. For this project, our company is in charge of creative production utilizing technology, from research, planning, and consulting to concept design, exhibit execution. We aimed to create a treatment space that combines advanced technology and concept design, with the hope that it will be a stepping stone for the development of future treatment centers.

Recently, a new geological layer showing evidence of Jomon people mining obsidian has been discovered at the Takayama displays Site and Hoshikuso Pass Obsidian Mine, a nationally designated historical site. A museum called "Hoshikuso-kan" has opened, allowing visitors to see the excavated layer and experience the lives of the Jomon people. The building's exterior walls have changed color due to age-related rust, conveying a message of preserving and passing on the memory of obsidian. Inside displays, geological layers exceeding 20 meters in length and 5 meters in height rise along both walls of the passageway, recreating their appearance exactly as they were discovered during the excavation. The layers have stepped, uneven surfaces, formed by the soil dug by the Jomon people in search of obsidian. Projection mapping is applied along the lines of these layers, recreating the lives of the Jomon people through video. Through immersive visuals and breathtaking geological formations, you can experience the passion of the Jomon people who, for generations, dedicated themselves to mining the precious obsidian, which was found in only a limited number of locations.

We have created an application that allows you to learn more about the past and present of Tsumagoi Village. You can have experiences displays materials from the time of the eruption. —Learning about Tsumagoi Village's past—By holding a tablet over the current Mt. Asama and playing AR content, you can experience the great eruption of Mt. Asama that occurred in 1783 and the changes in the ridgeline of Mt. Asama caused by volcanic activity, and learn more detailed information through explanations using illustrations. —Learning about Tsumagoi Village's present—You can also see explanations of the traces of the eruption that are currently being excavated, as well as the four seasons of Tsumagoi Village and its specialty products. By using 360-degree images, we can allow users to enjoy the scenery of the rhododendron garden in spring and the starry summer sky as if they were actually there.

This is a renovation project for the Niigata Prefectural Museum of Natural Science, commissioned by the Japan Foundation for Science and Technology Communications. Approximately 40 years after its opening in 1981, the museum renovated the second floor's "Beech Forest Environment and Organisms" and "Experience the Power of Wind," and the third floor's "Mysterious Moving Room," into "Symphony of Forest" and "Scale Adventure," respectively. We proceeded with the consideration and production of video spaces, content, video systems, and graphics to realize the image of displays basic plan presented by the client.

As the main platform for the "RED°" brand, Japan's largest esports park has been created inside Tokyo Tower, an icon of Tokyo/Japan. This entertainment facility aims to be the forefront stage for the evolution of esports into a national culture, offering an "otherworldly entertainment experience" packed with fun in every aspect, from playing the latest game titles to enjoying tournaments and events in a stadium equipped with the world's most advanced XR technology. While making the most of the building's age, the design avoids making the overall space too polished, preserving the character and texture of the materials that come with age, and creating concept design that makes you aware that it is an interior space of Tokyo Tower. The strength created by showcasing the texture of metal and mortar and the structure itself makes the space seem as if it is encroaching on Tokyo Tower. Anticipating collaborations with companies and manufacturers, a versatile yet edgy neutral color is used as the base, and the brand color "TOKYO RED," which is also the name of the facility, is effectively incorporated into the space, making a strong impression of the RED° brand. By combining it with video effects, we have created a new, futuristic space.

This project involved the rebuilding of Kyushu Mitsubishi Motors Sales Co., Ltd.'s showroom and office. The building is an eight-story steel-frame structure, and our company was responsible for interiors design and construction of the café/restaurant on the first floor and the showroom on the second floor. As a new landmark in Yakuin, Fukuoka City, we aimed to create a space that connects with people and the city (region) based on the concept of a "sash" or "belt." The café/restaurant was concept design as an inviting, open space, integrated with the showroom as a communication space. Large digital signage, a turntable symbolically displays automobiles, and a luminous ceiling were also incorporated, incorporating elements to naturally pique the interest of café patrons in cars. The second-floor showroom incorporates an organic design with many curved surfaces symbolizing the "sash," and the ceiling features a concept design pattern that is a stylized version of Mitsubishi's three-diamond logo. Furthermore, the showroom is based on Mitsubishi's brand colors of black, white, and gray, resulting in a simple yet dignified showroom that is distinctly "Mitsubishi Motors." In addition, the space was designed to further update the functionality of the traditional showroom space by including a kids' corner where children can play and have fun when visiting with their families, a corner to promote V2H technology, and a dedicated corner for important business negotiations. construction: PS Mitsubishi/Mitsubishi Heavy Industries Transportation Construction Engineering Joint Venture [Social Issues/Customer Issues/Requests] In addition to existing customers, the customer requested a space that would attract a wide range of new customer segments that had not been fully reached before, such as young families and young people who are not particularly interested in cars. [Solution] The cafe restaurant on the first floor facing the main street was designed with openable sash windows to create a borderless space between the terrace seating and the interior, allowing for the display of signage videos and various events on the street, aiming to create a space that can attract a diverse range of customers. The symbolic spiral staircase and atrium leading to the second-floor showroom, along with the unified use of materials, seamlessly integrate the two floors, naturally guiding customers using the cafe restaurant into the showroom. There, they can experience Mitsubishi Motors' V2H technology and the latest advancements, creating an iconic environment where people can feel the potential of automobiles to bring sustainable prosperity and happiness. A kids' corner is placed in the center of the showroom, allowing staff to keep an eye on their children while conducting business, demonstrating a customer-centric approach to planning. Furthermore, consideration for reducing environmental impact has been given to incorporating V2H linked to solar power generation on the building's rooftop, as well as motion sensors and an automatic dimming system for lighting control. <Our Project Members> [Sales/Project Management] Naoki Goto [concept design] Kazuyoshi Takao, Riho Sawada [Production/ construction] Keiji Nakano

This is Japan's first permanent museum dedicated to infectious diseases. With the theme of "Connecting the Past and Present of Infectious Diseases to the Future," it is a facility that conveys the knowledge and experience that humanity has built up from the past to the present, and the steps we are taking towards the future. The COVID-19 pandemic has brought to light memories of humanity's past struggles against infectious diseases, and it is anticipated that infectious diseases will continue to be a threat to us. In this context, the Hideyo Noguchi Memorial Museum of Infectious Diseases aims to provide a place where people can acquire "correct knowledge and correct actions" regarding infectious diseases. By renovating an existing facility, an annex of the Hideyo Noguchi Memorial Museum, and leveraging the achievements of the Hideyo Noguchi Memorial Foundation and the high level of expertise of the supervisors, the museum, which differentiates itself from the memorial museum, consists of two displays rooms. Our company consistently handled everything from architectural renovation to displays design and construction, signage, content, and leaflet concept design.

The approximately 1.2km-long runway remains in Uzurano-cho, Kasai City, are the remains of an airfield built during the war, and many other war relics are scattered around the area, remaining to this day. The Kasai City Regional Revitalization Center "sora Kasai" serves as an exchange hub for touring these relics, and the "Uzurano Museum" within it was created as the centerpiece 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 three companies, with Ohba Co., Ltd. and Iruka Design Group Co., Ltd. joining from the design stage, and our company was mainly in charge of the museum displays. Subsequently, we were awarded the contract to produce displays independently, and the period from planning to completion spanned approximately six years. Towards completion, after going through a review committee, we created it together with many people, including Kasai City, local war history researchers who had conducted research for many years, preservation societies, supervising professors, and a company that produced full-scale airplane models. This museum, built on the runway, centers around displays two full-scale airplane models deeply connected to this area, while also introducing the short but rich history of Unono Airfield. We aimed to create a museum unique to Unono, one that makes the most of the story and unique location of this place. The mission of this museum is to weave together the memories of this place, preserve them in tangible form, and pass them on to future generations. We hope it will become a place to reflect on peace and connect people.

Since opening as a whisky museum in 1998, the number of visitors has exceeded 600,000, partly due to the airing of dramas and the arrival of the highball boom. However, due to the aging of the facilities and the fact that the way displays are presented is no longer in line with the times, a review of the entire Yoichi Distillery visitor facilities has been undertaken, and as the first phase of the plan, the old whisky hall of the facility will be renovated. The Yoichi Distillery is an important point of contact where visitors can experience Nikka, and it can be said to be a sacred place for whisky fans. However, the previous visitor facilities were not at a level commensurate with its importance, and the fact that they had not kept up with the changes and evolution of the world was a major challenge for this 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 started here and is moving towards the future, thereby fostering understanding and empathy for the Nikka brand. [Social Issues/Customer Issues/Requests] ① The purpose of the renovation is to further improve the level of understanding and satisfaction of visitors, increase the number of Nikka fans, and strengthen the brand. 2) In line with the growing popularity of whiskey, displays will be renovated to accommodate the expanding user base and diversifying visitor needs. 3) Multilingual support will be reorganized to accommodate the increase in foreign visitors. 4) The main target audience will be customers who are interested in whiskey. 5) displays everything from basic aspects such as the manufacturing process to details and trivia, but will not be comprehensive; the key points should be intuitively understandable. These were the requests. [Solution] In designing this project, we made a major shift in thinking from the previous whiskey museum, which was a general and comprehensive place for providing information about whiskey, and tried a completely new displays approach. Based on the concept of "Discovering the essence of Nikka Whisky through the brand stories of Nikka's four products," we focused on four brands that represent Nikka and created an displays experience based on each brand story. The aim was to create an experience where visitors could learn about the essence of Nikka Whisky and basic whiskey knowledge while following the brand stories. displays incorporates, for the first time, highly anticipated displays for whiskey fans, including video interviews with various people working at the distillery and an introduction to the important role of blenders. displays explanations include trivia information for the main target audience, as well as numerous displays that delve into the secrets of the manufacturing process that shape the individuality of the products. For multilingual support, displays explanations are primarily in Japanese and English, and to accommodate the largest group of visitors from China, we have introduced digital technology that allows them to read translated explanations on their personal mobile phones. <Our Project Members> [Sales/Project Management] Tadayuki Matsubara [Creative Direction] Keiyu Tamura [concept design Direction] Fujie Suzuki [concept design Planning] Akika Yamada, Kensaku Shiroto [Planning] Tomoko Yanagihara, Atsuro Iizuka [Production] Tsukasa Iwasaki, Ikumo Umemoto

The Mt. Fuji World Heritage Center, which preserves the value of Mt. Fuji, registered as a World Cultural Heritage site as "an object of worship and a source of artistic inspiration," for future generations, underwent renovations in the spring of 2022. The renovated facility offers panel displays and interactive content that clearly explain the abundant displays and make the charm of Mt. Fuji more enjoyable to understand. To effectively convey to visitors, including many foreigners, that Mt. Fuji is "an object of worship and a source of artistic inspiration," our company created displays guide system called "Fuji Guide" that features a spatial experience linked to smartphones and tablets, as well as multilingual (7 languages) and displays commentary. In "World Heritage Mt. Fuji VR," which can be experienced with VR goggles in 360° video, visitors can trace the path of faith walked by pilgrims in the past, from Misaka Pass, which has been depicted in ukiyo-e prints, to the summit of Mt. Fuji. We aimed to create content that would allow visitors to learn more about Mt. Fuji through dynamic perspectives that are not usually seen, and to make them want to visit the site. [Social Issues/Customer Issues/Requests] Since its completion in 2016, displays has faced challenges due to its experiential nature, resulting in a lack of displays materials and insufficient explanatory text for international visitors. The request for this renewal was to make the exhibit easier to understand and more appealing. [Solution] displays graphics have been rearranged for greater clarity, missing information has been added to the explanatory text, and the displays placement has been adjusted to guide visitors along a smoother route. In displays guide system, all existing apps have been converted to web browsers and multilingual support has been implemented to ensure that the explanatory content is easily understood regardless of cultural background. In addition, 3D maps and 360-degree still image content have been adopted to create a more immersive experience. From an operational standpoint, a user-friendly CMS (Content Management System) has been built, making it easy to respond to any revisions to the explanatory text. For VR production, content has been created that allows visitors to trace the path of Fuji worship in VR, employing immersive footage shot by drones and a simultaneous playback system designed with operational considerations in mind. <Our Project Members> [Sales & Project Management] Maria Uemura [Digital Content Planning] Hironori Mima, Aya Watanabe, Saki Kanehara, Saki Miyahara, Minori Hayashi [design, layout] Kaori Akazawa [Production & construction] Akinobu Takahashi [System Design & construction] Saki Kanehara, Minori Hayashi ~Related Links~ [NOMLAB] ・Yamanashi Prefectural Mt. Fuji World Heritage Center

To commemorate its 10th anniversary in 2021, Tokyo Skytree underwent a renovation of its 4th-floor entrance area. The renovation aimed to create a more user-friendly entrance route for visitors and to reduce the number of face-to-face ticket sales counters in order to help prevent the spread of COVID-19. The renovation included relocating the existing ticket counters and opening a new displays area, "SKYTREE® ARCHIVES," on July 1, 2021. This area showcases the history of the Oshiage district where Tokyo Skytree stands, as well as the role of the radio tower, in a timeline format using videos and photographs. The "Sumida River Digital Scroll," previously displays on the 1st-floor group area, has also been moved to this area. Our company was responsible for design, layout, construction of the new ticket counters, "SKYTREE® ARCHIVES," and the "Sumida River Digital Scroll." Furthermore, our company has been supporting the creation of spaces within Tokyo Skytree Town® (Tokyo Skytree, Tokyo Solamachi®) since its opening in 2012. [Social Issues/Customer Issues/Requests] - The ticket counter is the first place many people visit, both domestically and internationally. Therefore, we received requests for a design that is easy for anyone to understand, harmonious with environmental design, and improved hospitality and service. - For "SKYTREE® ARCHIVES," we received requests for a concept design and displays method that would allow customers to view and understand large-scale video, a historical timeline, and actual displays in a limited space, and that would be interesting for customers. [Solutions] - To make the presence of the ticket counter easily understandable, we positioned it facing the entrance on the 4th floor and adopted a calm, traditional concept design that blends with the environment. In addition, we installed easily visible signage above and used cut glass decorative material on the back of the counter, illuminating it with indirect lighting so that it can be intuitively understood even from a distance. - For "SKYTREE® ARCHIVES," we conducted on-site mock-up checks with stakeholders regarding graphic colors and sizes, displays placement, and lighting plan to verify and get closer to the ideal form. The exhibition has been transformed into a more impactful piece of content, emphasizing the continuity of the "Sumida River Digital Scroll" by arranging all the images in a continuous sequence. This synergistic effect ensures smooth guidance from "SKYTREE® ARCHIVES" near the main entrance to the ticket counter and departure gate (elevator to the observation deck), creating a sense of excitement and making the view from the observation deck even more appealing. <Our Project Members> [Sales & Project Management] Yukinori Hashida, Hiroki Nekota [concept design] Wakako Hirata, Tomoya Sato [Production] Shota Nara, Yasuhiko Oikawa, Ryota Sakurai, Kaoru Wada

The Creative Museum opened in 2006 as the successor to RiSuPia, which was established within the Panasonic Center Tokyo. Based on STEAM education, it is a place to practice inquiry-based learning with themes such as SDGs. As a place to nurture children's intellectual curiosity and creativity, it provides an environment where they can experience both learning and creating things. The space is designed around five pillars to freely unleash curiosity and motivation to create: "a feeling that it's okay to make a mess," "a feeling that you can make it yourself," "a feeling that you can rearrange things," "a feeling that you can't be confined to a box," and "a feeling of concept design session." Furthermore, from an SDGs perspective, the existing environment was cleverly reused and updated by incorporating it as a concept design motif. The project team's desire to add a new history to the history of the predecessor museum is also expressed in the spatial concept design. <Our Project Members> [Sales & Project Management] Kei Yamazaki [Direction] Akane Yamaguchi [design, layout] Sayaka Koga, Kiyoho Tani, Ayumi Sasai, Mirai Nakade [Production & construction] Yuta Kumazawa, Yumi Asakura ~Related Links~ [Press Release] ・ NOMURA Co.,Ltd. 's Social Good Activities: The Case of AkeruE Creating a space that nurtures children's intellectual curiosity and creativity for a better circular society in the future [nomlog] ・How AkeruE came to be. Talking about spatial concept design. (Part 1) ・ concept design that you don't feel guilty about to the Earth with an upcycling concept (Part 2)