Going beyond two dimensions to create heart-stopping three-dimensional works: the director's (production manager's) way of making dreams come true

Large-scale special objects such as monuments and decorations that captivate visitors at theme parks and other venues. Fujinuma Yasuhiro has worked on numerous projects as the director in charge of their production. He is a specialist in elevating two-dimensional visuals to three-dimensional forms, including Ghibli Park: Valley of the Witches and Howl's Castle. We will explore the secrets of production management that he has cultivated and his vision for the future.
 

The key to converting 2D to 3D is detailed planning and sharing the image with the client.

Fujinuma is a manager in the 2nd Section, Product Direction Department 1, 4th Business Division, Sales Promotion Headquarters. As a director, he has worked on numerous projects to create large special objects such as monuments and decorations in extraordinary spaces such as theme parks.

Fujinuma: "Most recently, I was in charge of a large-scale renovation project for an art facility for about a year as director. The construction is now complete, and the facility has opened without any problems."

Fujinuma creates photo locations and monuments that leave a lasting impression on visitors. His work is a creative field that tests scale and precision in creating something "out of the ordinary," such as tall, gigantic structures and large-scale decorations that unify the space.

Fujinuma: "The production of large-scale special-purpose structures is an extremely complex process that combines space, structure, and presentation at a high level. Every step of the process, from the selection of materials and structural design to the layout planning of the lighting and equipment to be installed inside, and the methods of disassembly, delivery, and installation on site, requires advanced expertise and precise operation. Even one flaw in the design directly affects the overall completeness of the structure, so uncompromising design and management down to the smallest detail is essential.

Of these, the most stringent requirement is the perfection of the "appearance." From the feel and luster of the materials to the texture of the surface, we pursue a realism that is even more realistic than the real thing, through repeated meticulous design and verification. We must finish with a precision that allows the viewer to immerse themselves in the world of the work without compromising the overall sense of volume - to achieve this, it is essential to balance artistic sensibility with structural knowledge. It demands an extremely high level of sculptural expression that sets us apart from simple construction."

Fujinuma says that the most delicate and difficult aspect of transforming a two-dimensional concept design into a three-dimensional one is "how accurately we can share and embody the image in the customer's mind."

Fujinuma: "At first, we only have two-dimensional illustrations and perspective drawings. From there, we turn them into three-dimensional objects, but the concrete image, such as the texture of the materials used and the nuances of the details, only exists in the client's head. The key to success is how accurately we can bring out that image.

That's why, in the first meeting, we clarify all doubts and points of uncertainty and listen thoroughly. We ask detailed questions, even to the point where we think, "Maybe I'm asking too many questions," in order to share a deeper worldview. We believe that the initial consultation is the most important step in achieving a quality that exceeds the client's expectations.

If you neglect to pay close attention to the finer details, the final product may be far removed from your image. Especially in projects with short delivery times, a single mistake in judgment can affect the entire process.
In addition, because visitors will actually see and sometimes touch the products, it is essential to consider safety and durability. By presenting samples and repeatedly checking specifications, we carefully work out every detail to ensure both high quality and reliability.

Fujinuma: "When it comes to large-scale sculptures, they need to be divided into individual parts and transported to the site. Therefore, we have to carefully plan in advance how to divide them, in what order to transport and bring them in, and even how to assemble them on site.

Right from the production stage, we are required to carefully consider the structure and process, just like solving a puzzle."

Mastering the art of large-scale special modeling - deepening knowledge through multiple projects

▲The beckoning cat at Fuji-Q Highland Nagashimasuka, which was the first project I was involved in.

Since his student days, he had vaguely dreamed of "wanting to be involved in the construction of theme parks," but this dream came true soon after he joined NOMURA, when he had the opportunity to work on the creation of a monument that would become the symbol of an amusement park attraction, led by a senior colleague.

Fujinuma: "It was a very moving moment for me to be able to stand at the forefront of the industry, even though I didn't know what to do."

After that, he worked on interiors design for showrooms and displays, before becoming fully involved in theme park projects. However, the following year, the scale of orders for projects shrunk, and Fujinuma found himself in a tough situation, being the only person in charge.

Fujinuma: "We thought hard about how we could meet our customers' expectations and win more work with our limited resources."

"Looking back on that time, he showed his strength in overcoming challenges," he said. Gradually, Fujinuma won more projects and, while he was in charge of production, he also took on sales duties, accumulating advanced know-how in the production of large-scale special objects. He was well versed in a wide range of tasks, including schedule management, consideration of production methods, drawing management, estimates, and quality control. In particular, he established a unique method for schedule management during the limited production period. This schedule management method was later used in the Ghibli Park project and was highly praised.

Fujinuma's work goes beyond simple production; it has established a unique position in the world of large-scale special modeling, which requires precise planning and rapid response.

Fujinuma: "First we create an entire process for two months and list out the necessary tasks. We thoroughly plan who will come to which factory, on what date and time, and what they will check. This ensures that the entire project proceeds smoothly.

In large-scale projects, there is a tendency for time wasted in adjusting meeting schedules and proceeding with the project, but by sharing the schedule in advance, we can proceed more efficiently. We always pay close attention to schedule management and create an environment where everyone can check the schedule at the same time."

There are also major challenges in construction.

Fujinuma: "At sites with set opening hours, such as theme parks, work time is limited, so progress must be planned precisely. To efficiently transport parts, install them with a crane, wire the electrical wiring, and assemble the equipment, we calculate the order of work and the number of people required, and take factors such as the weather into consideration when proceeding with the work.

The judgment skills and efficient work progress abilities I developed at these sites are the foundation of my current work."

Creating "Howl's Castle" at Ghibli Park -- an unprecedented challenge to large-scale sculpture

▲ Colleagues in charge of production

For Fujinuma, the biggest challenge he has ever taken on was the creation of "Howl's Castle" in Ghibli Park "Valley of the Witches," which is scheduled to be completed in 2024. He was selected for this project in recognition of the skills he has cultivated in large-scale special modeling, and it boasts an unprecedented scale that is integrated with the large-scale architectural exterior.

Fujinuma: "This was a much larger structure than any we had done before, and it was our first experience integrating it with architecture. There were many things we had to take into consideration, making this an extremely challenging project."

In order to pursue this unique worldview, we also took special care in selecting the materials.

Fujinuma: "Goro Miyazaki, the director of Studio Ghibli, who oversaw the entire production, gave us a clear image of it, saying, 'It's like a warship, but it's also like a rugged, somewhat suspicious industrial product.' But expressing that worldview in a sculpture was no easy task, and we had to consider the materials and structure from scratch and embody it."

Fujinuma came up with a structure that combines FRP (fiber reinforced plastic) for the base and metal materials such as copper plate for the surface. While expressing a solid and rugged presence, he achieved a precise design that took into account durability, ease of construction, and on-site assembly efficiency.

Fujinuma: "In previous projects, I often worked on projects on my own, but this time it was a complete team effort. Structure, mechanics, modeling, drawings, instructions, on-site management - everyone was aware of their role as professionals and fulfilled their roles."

He says that even in the harsh work environment, team morale never dropped.

Fujinuma: "Not a single person said, 'It's impossible,' and they always seriously considered, 'How can we express it?' That positive attitude was a great driving force in moving this project forward."

Supported by collaboration with numerous partner companies, Fujinuma has gained experience and spoken about the joy of being a director:

Fujinuma: "The greatest joy is when I hear words like 'amazing,' 'cool,' or 'cute' in response to the designs or spaces I was involved in, and I get to feel their reactions directly. I think the true appeal of this job is being able to surprise and impress visitors, and provide them with new experiences."

The challenge of creating an "interesting space" that goes beyond preconceived notions

Fujinuma has built up a solid track record in the field of large-scale special modeling. His journey is also the result of a consistent "attitude to take on new challenges."

Fujinuma: "I'm drawn to complex and unique structures that make people ask, 'How did you make that?' The more difficult it is, the more rewarding it is. As a result, I've ended up working on a lot of large-scale structures, but at the core of my work is a desire to continue creating 'interesting spaces', regardless of scale or genre.

I want to broaden my own possibilities without being constrained by stereotypes, and also focus on passing on my skills to the next generation."

Fujinuma, who has worked on the spatial design of well-known theme parks and amusement facilities, will continue to create experiences that go beyond "Delight and Passion."

*The information provided is current as of February 2025.