Works#2021

This project is the culmination of the "A brand that occupies over 100m2 of land in central Tokyo, is particular about location and property value, and provides essential living through renovation." R100 TOKYO, which is being developed by Libita. our company provided construction support for the renovation of Opus Arisugawa, a representative residence in Tokyo with a property area of approximately 198m2, which was developed by OEO Studio, a Danish concept design company in concept design. Based on the concepts of "CROSS-CULTURAL" and "COMPELLING MINIMALISM," this is a living space in concept design that incorporates new proposals based on the sensibilities common to Scandinavia and Japan. By using natural materials such as solid wood, which become more attractive the more you use them, the new units will bring more blessings to your life the longer you live with them. The goal of R100 TOKYO is to create a "valuable home 100 years into the future.". [Social Issues/Customer Issues/Requests] In the recent high-class residential market in central Tokyo, there is a growing demand for housing with unique value that is not limited to conventional values such as real estate prices and housing functions. Among the Livita projects that aim to "We will continue to create the next common sense in order to restore the value of Japanese housing and real estate and leave it to the future." the challenge for this project, which emphasizes natural materials and traditional construction methods, was whether it would be feasible as a housing performance. [Solution] Various types of stone, plasterer, solid wood, plate construction, ceramic tiles, etc., were discussed and promoted so that natural materials and crafts could be utilized in the living space considering the housing performance. A solid wood kitchen from the Danish kitchen workshop Garde Hvalsøe (pronounced Garde Wells), the first of its kind in Japan to be installed in an ordinary house, has a significant presence in the living space. As there is no solid wood kitchen that can replace it, our company's Global Division imported it from Denmark. [Customer feedback] Thanks to their high level of technology and management, such as proposing a solution to the difficult construction, fitting details accurately, and adhering to the construction schedule, we were able to proceed with the overall schedule without any delay, and we were able to create a wonderful space that reflected the designer's intention. < our company Project Members > [Project Management] Masahiro Harada [Product Direction] Mikiya Fujitaka [Global Supply] Hiroyuki Nakagome

This project involved the reopening of the south zone on the first floor of the main building of S-PAL Koriyama, adjacent to JR Koriyama Station. The aim was to enhance the flow of daily use, catering to diverse customer needs and offering numerous shops for lifestyle coordination. The proposed environmental design concept is "RAMBLING STATION TOWN." Based on the theme of "an urban shopping center where people gather at the station and enjoy a pleasant time, like strolling through a town," the entire space was enveloped in a fashionable yet gentle atmosphere. Specifically, the facility's facade features a "rhythm line border" bathed in indirect light, reminiscent of Koriyama City in Fukushima Prefecture—a "city of music" known for its vibrant musical scene. This border extends to envelop the station concourse, creating a new patio for passersby and S-PAL Koriyama. Furthermore, within the facility, a coffered ceiling composed of wood and white rhythm lines, using "musical scores" as a concept design element, was strategically placed in conjunction with the Nakajima tenant environment. This rhythmic guidance draws people deeper into the facility. S-PAL Koriyama aims to be a place supported by customers of all ages as an urban shopping center. [Social Issues/Customer Issues/Requests] - As the project was being promoted at the same time as the COVID-19 pandemic in the fall of 2020, the way in which commercial businesses attract customers was questioned. - Due to the earthquake in the spring of 2021, safety design was strongly required. - There was a need to upcycle the environment by utilizing the existing lease lines without changing the main flow of people. [Solution] While the lines of the circulating flow remained the same, the floor material was renewed to resemble cobblestones, and wooden material was incorporated in some parts to connect the entire facility, creating a street that allows visitors to enjoy strolling around town. In the atrium environment that serves as the axis of vertical circulation within the facility, the "Rhythmical Line Gate," which is reminiscent of "Rakuto" (city of music), was added to the existing design, and the "New Center Court" was renovated to become a concept design symbol for the entire facility, providing visitors with a natural and symbolic park environment that combines "things x events x moments". A new stage has been created for people passing through town and for S-PAL Koriyama. <Our Project Members> [Planners] Hiroko Okazaki, Yuri Watamoto [Sales & Project Management] Hiroyuki Uesugi [design, layout] Kenichi Suzuki, Makio Miura [Production & construction] Johei Saito

The area around Tokyo Station is a diverse city where "history," "future," and "culture" coexist. In this area, the year-end light event has been a regular winter tradition since the "Tokyo Millenario" was held in 1999. In 2021, which was marked by various hardships, the theme was "The Scene of Dawn," and the Tokyo Station Marunouchi Building, Tokyo Station Marunouchi Central Plaza, and Gyoko-dori were illuminated with gentle light, creating an atmosphere that would allow visitors to feel the dawn of a new era. [Social Issues/Customer Issues/Requests] We received a request to send a positive message to society and reduce carbon dioxide emissions through a special light-up of the Tokyo Station Marunouchi Building, a historic building that can be called the face of Tokyo. [Solution] From the Tokyo Station Marunouchi Building to the station plaza and Gyoko-dori, a color light-up was carried out with colors that evoke the "dawn sky." For the tree lighting design, we chose to use rental lighting equipment instead of string lights as a method that minimizes industrial waste, has little impact on tree growth, and reduces costs. <Our Project Members> [Sales/Project Management] Ken Kumagai [Planning/ concept design /Direction] CIC: Ryuji Tsuyama [Product Direction] Ken Kobayashi, Takahiro Chiba

A proposal competition was held for the complete renewal of SEPPAL SENDAI II in June 2020, 13 years after its opening in 2008, and we were selected. The environmental design concept we proposed for the renewal is [MORI TERRACE], to refine Tohoku's highest level of sensitivity and transform it into a new select store zone that offers customers proposals that are one step ahead of their lifestyles. Under the themes of "cozier than anywhere else" and "inspiration for everyday life," the entire space was composed based on organic lines and earth colors, enveloping the entire area in a mode and gentle atmosphere. Specifically, "big awnings and greenery" were deployed in the exterior plaza to create a new nexus between the facility and the people on the street. In addition, a light court on the ceiling, which is an element of "sunlight filtering through the trees" (concept design), is placed inside the facility in conjunction with the corridor environment, drawing people to the back of the facility through the sunlight. The light court is linked to the passageway environment, leading people to the back of the facility through the trees. The building aims to be a place that will be supported by customers of all ages with next-generation values by providing a sense of "relaxation and a sense of fun" with a sophisticated sensitivity. The project started in August 2020, when the Corona Disaster was to be promoted, and it was a development project that was questioned as to how to attract customers to commercial facilities. While negotiations with tenants were difficult, the project required an upcycling of the environment, with 90% of the main traffic lines using the existing lines. In addition to attracting customers, the project was also required to create a "new nexus between people on the street and S-PAR Sendai," and to attract and spread people further into the facility. SOLUTION: We installed "the most comfortable big awning and greenery" and "LED vision that provides inspiration for daily life" in the external plaza as a nodal point for people on the street, and as an information transmission plaza for this facility located at the northernmost point of S-PAL Sendai, we are providing information about events and tenants to the people on the street. It is a plaza that transmits information about events and tenants to people on the street. The LED Vision also provides hints for future content development, with a view to developing into a media medium from an interactive perspective between the facility and its customers, and creates a connection between the people on the street and the S-PAL. The goal was to create a place where people could "feel, touch, and communicate" from a passing facility. ＜Our project members＞ [Sales and project management] Hiroyuki Uesugi [Planning] Chihiro Watakai, Mayu Nakamura [design, layout] Kenichi Suzuki [Structural design] Taizo Komatsu [Production, construction] Tatsuo Sato

Carelitz & Partners Co., Ltd. is a rapidly growing company in the elderly care business, primarily focusing on home care, utilizing IT technology. For their expansion project, which involved relocating Head Office head office from the 8th to the 15th floor of Shinjuku Miraina Tower, we concept design the entrance and conference rooms, which will serve as the company's face. [Social Issues/Client Issues/Requests] Because many job interviews are conducted there, they requested an entrance that would allow job applicants to relax during interviews and that would reflect the company's growth. [Solution] Since the corporate color is green, we placed live plants within a lattice, symbolizing "growth without constraints" as the plants grow and extend beyond the frame. Furthermore, by dividing the meeting rooms with glass partitions, we created a sense of spaciousness and achieved an open space that takes advantage of the surrounding scenery. Because the color green has a relaxing effect visually, we laid wood and green carpets on the floors of the meeting rooms. In addition, in response to the increase in web-based meetings, we prepared teleconferencing booths for 1-2 people and meeting rooms that can accommodate 4 to 20 people, allowing for flexible use depending on the number of participants. Because many training sessions are held within the company, we designed the entrances to be separate for visitors and employees participating in training, taking into consideration the flow of movement. <Our Project Members> [Development] Nobutoshi Okawa [Sales/Project Management] Ai Mukuo [design, layout] Shigemi Shimizu, Sayaka Koga, Mitsutaka Hagiwara [Production construction] Kota Shimizu, Keita Odajima

This is a concept shop for "Okomebran," a rice bran specialty store brand created by Shinmei Group, one of Japan's largest and oldest rice wholesalers. Okomebran is a rice bran specialty store brand with the vision of "organizing everyday life," and this store aims to be a new type of urban store composed of three spaces: "FACTORY SHOP," "EAT IN CAFÉ," and "KITCHEN LAB." All of Okomebran's products are made with meticulous attention to detail, from the manufacturing process to the transportation process. In order to convey the appeal of these products to the fullest, we have devised a "FACTORY SHOP" that adds displays function to the conventional retail and cafe functions. It has displays function that clearly explains the manufacturing process, and a function that allows customers to pick up and learn about brown rice, rice hulls, white rice, rice bran, and scenery of the production area for each brand. In addition, we have attached a "KITCHEN LAB" that visualizes the kitchen and office, and will hold workshops, as well as concept design a space that will show the product development process that is not usually seen by the public. Our company has been involved since the opening of the first Okomeburan store (LUCUA Osaka) in February 2021. In addition to store design and construction, we have provided comprehensive support, including rebranding to set the brand name and vision, logo and packaging concept design, and supervision of product and cafe menu development.

This project was implemented based on machine tools collected and utilized by Sankyo Seisakusho Co., Ltd., with the aim of cultural preservation and educational use, and to leave them as a valuable asset for future generations. It will be Japan's premier displays space for machine tools, bringing together numerous historical machine tools that embody the history of modern industry. Visitors can deepen their understanding of the transformations and achievements of machine tools, which were the leading runners of their time that brought about industrial change, organized by system and era, and can actually touch the machines and mechanisms to make new discoveries and learn. In addition, the lighting symbolically enhances the machine tools, which are the heart of displays. Our company participated from the research stage and, under the supervision of the director, was in charge of space concept design, lighting design, graphic concept design concept design and production construction. [Customer's voice] The graphic concept design, color scheme, and especially the balance of the lighting were well done and created an antique atmosphere. <Our project members> [Sales] Takayuki Tsujii [Research] Shuta Fukahori, Takayuki Tsujii [design, layout] Shuta Fukahori [Production and construction] Kazuo Maeda, Yurina Nishizono

This is a newly established tourist information center located within the public passageway of JR Kokura Station, the gateway to Kitakyushu City. With the aim of improving the satisfaction of tourists, including the increasing number of foreign visitors, and promoting sightseeing around the city, the existing information center, which was approximately 15 years old, was closed and relocated within the same station premises, and an expanded and newly constructed center was built. [Social Issues/Customer Issues/Requests] The requests included creating a user-friendly and comfortable space for travelers, equipping the center with hardware and software for a digital signage system with updatable content so that travelers can search for tourist information themselves, setting up the center with consideration for foreign visitors, such as installing foreign currency exchange machines, and ensuring that the center meets the highest standard "Category 3" *2 certified by JNTO (Japan National Tourism Organization) *1. [Solution] In addition to meeting the above requests, the plan and proposal aimed to create an information center that would be effective even in the post-COVID-19 era. Based on the concept of "the gateway to Kyushu where you can experience Japan," the design reflects the progressive nature of Kitakyushu City, a mecca for craftsmanship, while also incorporating traditional concept design of the castle town of Kokura. Carefully selected interiors materials ensure a safe and clean space. Functionally, concept design includes a contactless face-to-face system using monitors, a system that allows travelers to upload and share travel information via social media, and a setup where the entire exterior glass wall becomes a digital signage displaying the charms of Kitakyushu City at night. concept design is innovative and characteristic of Kitakyushu City, unified in clean white, and features a bright, open, and inviting atmosphere with its all-glass facade. While harmonizing with the modern station interior based on gray, concept design also asserts its role as an information center by incorporating concept design inspired by Kokura weaving and other lively elements. Located at JR Kokura Station, the gateway to Kitakyushu City, this symbolic concept design conveys the charms of Kitakyushu City to both domestic and international visitors, raising expectations for their journey. [Customer Feedback] concept design of the tourist information center reflected the space our city envisioned creating, including the services it would provide, resulting in a tourist information center befitting the "gateway to Kitakyushu City." Despite the many constraints of being located within a train station, their rich imagination and high technical skills allowed them to overcome numerous challenges. We expect this facility to be used even more by the many tourists visiting our city. *1. About the JNTO Certified Foreign Tourist Information Center Certification System: Based on the "Guidelines for the Establishment and Operation of Foreign Tourist Information Centers (established January 2012, revised April 2018)" set by the Japan Tourism Agency, JNTO has been operating a certification system for foreign tourist information centers since fiscal year 2012. This certification system divides information centers into three categories and partner facilities based on their location, function, etc., and certifies them accordingly. Certification is renewed every three years, and JNTO aims to improve the functionality and quality of JNTO-certified foreign tourist information centers nationwide by providing support services such as interpretation services and training sessions. *2. What is the highest standard "Category 3"? English support is available at all times. In addition, a system is in place to provide information in two or more languages other than English at all times. Nationwide level tourist information is provided. Generally open all year round. Wi-Fi is available. Located in a gateway or a location with many foreign visitors. <From the Japan National Tourism Organization website> <Our project members> [Development] Satoru Soeda [Sales and project management] Satoru Soeda [Planning, design, layout] Chieri Nishimura [Production and construction] Kazuya Hijikuro

As a hotel that introduces "Kyoto Toji Temple" in an easy-to-understand manner that cannot be fully enjoyed in a one-time sightseeing trip, the little-known Buddha statue mandala is illustrated, and you can walk around the city freely opening and closing while comparing the old and the modern. In the lobby, we installed a map, a large table where you can copy sutras with sand, and a wall artwork of Buddha smiling with a motion sensor. In addition, the full-size pillar with a motif of a five-storied pagoda was used as a bookshelf to impart wisdom because the actual central pillar itself is a mandala.

A former professional soccer player (Tim Brown) and a biotechnology expert (Joey Zwillinger) conducted extensive research and successfully developed innovative and sustainable shoes using natural materials such as merino wool, eucalyptus, and sugarcane, giving birth to the lifestyle brand "Allbirds." Founded in San Francisco in 2016, Allbirds landed in Japan in 2020, and following the Harajuku store, its second store in Japan, the Marunouchi store, opened in June 2021. Our company supported Allbirds from the design stage as their local architect. By securing a space for two stores, sunlight streams in through the wide, glass-fronted facade, and the interior is visible from Marunouchi Nakadori, creating a bright, open space that is inviting to customers. There are two entrances, with unique door handles shaped like large wooden feet, and in the center of the store, you'll find a lineup of T-shirts, loungewear, and performance wear made from natural materials that are gentle on the skin. The shoes are displayed by type according to material and function, and cloud-shaped mirrors are placed on the floor and walls. The interior is simple yet playful, with features such as tilted solid wood chairs to make it easier to try on shoes. [Social Issues/Client Issues/Requests] The client requested that we faithfully recreate the worldview of the global brand, which has about 35 stores worldwide, maintain close communication with the person in charge in San Francisco, the home country, and handle all aspects of the project from schematic design stage to completion in-house. [Solutions] We handled comprehensive management, including resolving legal issues related to the design, negotiating with the developer, working drawings, construction, schedule and cost management, and coordinating the import of sound and video systems and fixtures. In response to the client's desire to expand their reach from Japan to the world, we are considering interiors materials and spatial configurations that resonate with Allbirds' concept design philosophy of "sustainability," which values nature and the environment, for future store openings. <Our Project Members> [Sales & Project Management] Yoshiki Yamada [Design] Yoko Kurose [Production & construction] Shuhei Tatsuta [Coordination] Atsuko Shimura

Established in April 2021 in Ginza, Tokyo, by the Tokio Marine Group as a base for "agile development," which involves repeated testing and improvement in short periods, this facility brings together engineers and designers from Tokio Marine & Nichido Systems and serves as a workplace aimed at developing insurance and services utilizing digital technology. The facility is a renovated version of four floors of an existing building. The first floor is an entrance gallery with an attached user interview room. The third and fourth floors are office spaces for Tokio Marine & Nichido Systems. The fifth floor is configured as a co-working space to promote collaboration both inside and outside the company. It is concept design not as an office to work in, but as a communication-centered space where a chain of creative activities is born—a "social hub for creativity." With the Tokio Marine Group's message that "insurance is born from adventure and exists to support people's challenges" as the central theme of the facility, the selection of materials and artwork was based on the themes of ① adventure, ② challenge, and ③ diversity, and concept design aims to exude an attitude of challenging anything without fear of failure. Named G/D Lab., this facility aims to accelerate the integration of insurance and digital technologies, and we hope it will become a place that supports new adventures for the future. [Social Issues/Client Issues/Requests] The client had adopted "diversity" as a keyword to express the concept of a "creative social space" where various people gather, so the goal was to design an environment that is comfortable and flexible for anyone who gathers there. [Solution] From the perspective of creating a comfortable environment, the lighting plan for the work area incorporates the concept of circadian rhythms, and fixtures that allow for timer settings of color temperature and illuminance from morning to evening are used. In addition, most of the furniture is movable to flexibly accommodate diverse working styles. Some of the furniture materials use "Kami-Poli Board," a recycled board upcycled from waste paper and waste plastic, making it an environmentally conscious design. <Our Project Members> [Sales & Project Management] Yasuhiro Urashima [Planning] Ryusuke Nomura, Yuya Okamoto [design, layout] Manabu Yamanobe, Shunta Nakamura, Shunsuke Ami [Production & construction] Kentaro Hirano, Katsumi Chikada, Kazuki Misawa

Kids Garden Minami-Aoyama is a 2,200m2 facility that is one of the largest facilities in Tokyo for children from 1 to 9 years old. It is a 4 minute walk from Gaienmae Station and is equipped with a heated indoor pool. From infancy to childhood, when brain development is most active, children can receive detailed and authentic instruction tailored to each child, including an original early childhood education program developed jointly with Montessori and Shinmekai, and gymnastics and swimming programs supervised by special teams that support Olympians and top athletes. This facility is a place where you can encounter a wide variety of educational programs both at home and abroad, and the location of Aoyama is a place where various values, races and cultures come and go. We chose "CROSS" as a keyword because of the facility and location, and incorporated the intersection as a symbolic motif into concept design. In addition, it incorporates a mixed Japanese and Western taste to express CROSS. The Japanese elements, in particular, reflect the owner's desire to "Because we live in a globalized world, I want children to continue to have the good points and identity of Japan even after they grow up." and create a space where children can naturally come into contact with Japanese culture. We have created a space that is both safe and stylish by making full use of our company's know-how, which has been cultivated at many construction nursery schools. [Social Issues/Customer Issues/Requests] As a new private facility for child-rearing support, there was a request that we would like to achieve both safety and design, and that we would like to set the theme of the facility as "Japanese-cultural culture" with the assumption that foreign nationals would use the facility and observe it due to its location. Solution: As the essence of Japanese culture, we incorporated noren, traditional patterns, and traditional Japanese colors into the spatial concept design to create opportunities to experience Japanese culture on a daily basis. In order to contribute to child-rearing support, in order to differentiate itself from the typical concept design space for children, we created a unique concept design with the concept of "Japanese culture" and created a contact point with Japanese culture from childhood. [Customer feedback] This is the largest facility in the history of our company, but I think we were able to express a unified concept with high quality concept design. We were able to proceed to the opening without any problems thanks to flexible correction and compliance with the construction schedule. < our company Project Members > [Sales/Project Management] Kazuya Takada [design, layout] Mari Matsumoto, Ayako Hiruta [Signature/Graphic Design] Ayako Hiruta, Aki Haga [Production/construction] Ken Kogure, Takehiro Ichijo

"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.

Sumitomo Life's "Vitality" product combines features such as variable premiums and benefits (rewards) to support customers' efforts and continuation of health promotion activities. To allow more customers to experience its advanced features and value, we have developed walk-in stores. Our company was in charge of the following stores: ・Sumitomo Life "Vitality" Plaza Yurakucho Store (Opened April 2020) ・Sumitomo Life "Vitality" Plaza Shinjuku Store (Opened November 2019) [Social Issues / Customer Issues / Requests] While addressing three issues—increasing awareness of "Sumitomo Life "Vitality"", acquiring new customers, and improving policyholder loyalty—there was a need to utilize "digital" to create new experiential value rooted in "people". By developing stores in the heart of Ginza, one of Japan's leading commercial districts, and disseminating information, we promoted the project to contribute to Sumitomo Life's vision of "Each individual living a better life = well-being". [Solution] We created a space where customers can experience the world of Vitality by visualizing the features of Sumitomo Life's "Vitality" health program—"understanding your health status," "improving your health status," and "enjoying benefits (rewards)"—through benefit displays and videos. We created a flexible space that can be used to hold various events and seminars to support health promotion activities, and a meeting room where face-to-face support can be provided to existing policyholders, resulting in a plan that emphasizes value rooted in "people." Interactive content that makes health initiatives personal has been introduced in the entrance, providing a new "digital" experience with Ginza as the backdrop. We hope that this store will become one that supports the "daily lives" of each individual through the space in the heart of Ginza and contributes to the realization of a healthy and long-lived society. [Customer Feedback] Many design companies in the same industry visit our store because they are interested in design, layout of your company. Customers have said things like, "The wall concept design is wonderful," "It's a stylish space," "The smart partitions are cool," and "It's a space that makes you want to sign a contract," and some have been impressed by the monolith (a large touch-panel monitor). <Our Project Members> ・Sumitomo Life "Vitality" Plaza Ginza Flagship Store [Development] Mizuki Ogura [Sales/Project Management] Keita Shima [Planning] Yuki Noda, Hiroshi Matsushita [Digital Content Planning] Aya Watanabe [Leasing] Aya Nishimoto, Tomoko Shirasaki [design, layout] Yasushi Machida, Megumi Yatsuka, Mariko Yamagiwa [Production/ construction] Tomokuni Hasegawa [System Design/ construction] Keisuke Taneda, Yuki Kuga ・Sumitomo Life "Vitality" Plaza Yurakucho Store [Development] Mizuki Ogura [Sales/Project Management] Keita Shima [Planning] Yuki Noda [design, layout] Yasushi Machida [Production/ construction] Kazuki Misawa ・Sumitomo Life "Vitality" Plaza Shinjuku Store [Development] Mizuki Ogura [Sales/Project Management] Keita Shima [Planning] Koji Nakazato, Yuki Noda [design, layout] Yasushi Machida [Production and construction] Kazuki Misawa

Atsuta Shrine is home to the Kusanagi-no-Tsurugi, one of the Three Sacred Treasures of Japan, and has a long tradition of offering swords to the shrine throughout history. The Kusanagi-kan, a treasure trove of swords, is a unique sword-specialized displays hall at Atsuta Shrine, housing approximately 450 swords, including national treasures and important cultural properties, as well as swords that have been offered to the gods with prayers since ancient times. In addition to swords, visitors can admire paintings and historical documents related to swords, and there is an interactive corner where visitors can experience the weight of actual Japanese swords (katana and wakizashi) and two large tachi swords, the Shumei Sueno Aoe (Tarotachi) and Chiyozuru Kuniyasu (Jirotachi), which have been recreated to their actual length and weight. Our company was in charge of the museum's graphics, explanations of the sword displays, and video production. The video focuses on the theme of "The Kusanagi-no-Tsurugi - The Myth of its Transmission," which is also the origin of the name of the Kusanagi-kan. This exhibit presents the myth of the birth of the Kusanagi-no-Tsurugi sword and the origin myth of its enshrinement at Atsuta Shrine in a graceful, picture-scroll style. The background music was also carefully chosen, beginning with the melodies of traditional Japanese gagaku instruments and culminating in the grand moment of the shrine's creation with orchestral sounds. The explanatory monitors for displays sword displays followed established viewing conventions, while also using larger fonts and numerous furigana (phonetic guides) to make them more accessible to a wider audience. <Our Project Members> [Sales] Izumiichiro Yamamoto, Kyoko Watanabe [Planning, Graphic Direction, Video Direction] Yuki Shimokuni [Fixture concept design] Tairo Miyake