WOW participated in the BLUE OCEAN DOME at Expo 2025 Osaka, Kansai. At this pavilion, where visitors can learn about the sustainable use of marine resources and the protection of marine ecosystems, WOW was responsible for the direction and production of the video content. BLUE OCEAN DOME consists of three spaces under the theme of “the revival of the ocean.” It includes an installation expressing the spectrum of water, a video installation depicting the miracles and crises of Earth as the planet of water, and a space that presents a path toward restoring the ocean through documentary footage. WOW developed a hemispherical LED visual device about 10 meters in diameter together with Azlab. Through this one-of-a-kind, ultra-high-definition giant hemispherical LED screen, it brought Earth as seen from space to life. —The beautiful Earth, a miraculous water planet, is on the verge of being gravely damaged by human activity. This work depicts the ocean, where the brilliance of the chain of life and pollution progress simultaneously, across a range of scales from a vast view like looking at Earth from space to the cellular level. By fusing realistic depictions so true to life they could be mistaken for the real thing with dreamlike imagination, the piece sought to create an audiovisual experience as a “device for transforming consciousness” that appeals to the senses of visitors. The footage, supervised after fieldwork in biologically diverse marine areas and by the Japan Agency for Marine-Earth Science and Technology, vividly portrays everything from vibrant life to the realities of marine pollution through the meticulously crafted 3DCG for which WOW is known. In addition, Hatis Noit’s voice, resonating as if with the voices of all beings living in the sea, gave the imagery multidimensional depth. The hemispherical screen, covered by a parabolic cover, was precisely designed down to the number and arrangement of its supports, realizing two distortion-free curved surfaces. For the parabolic cover serving as the backdrop for the LED screen, a special paint that appears darker than black by absorbing light was used. A smooth base finish achieved through plasterwork and painstaking hand-applied painting created a jet-black screening space. The hemispherical screen itself was fabricated by hand, one small panel at a time. This ultra-high-definition display, with approximately 160,000 LED chips arranged at a 2.5 mm pitch, supported the overwhelming visual experience.

Released as part of “MIDTOWN CHRISTMAS 2023,” held at Tokyo Midtown from Thursday, November 16 to Monday, December 25, 2023. WOW was responsible for planning, directing, and producing “some snow scenes,” an installation that captured delicate winter scenes in the atrium of Galleria. The countless spheres evoking lightly floating snow were composed of approximately 3,400 objects (white balls, crystals, and acrylic pieces) suspended from a height of 15 meters by about 250 lines. In sync with music composed by Fumitake Ezaki and performed automatically on stage, the coordinated laser projection and lighting created a spatial installation where light and sound overlapped. In addition to the regular presentation, this work featured four special sequences every 15 minutes. At times, it poetically depicted various winter scenes, like snow falling deeply and quietly; at others, like a cold blizzard swirling through the air.

Responsible for the planning and design of “Reflective tree,” a Christmas installation placed at the entrance of Roppongi Hills West Walk. The approximately 7-meter-tall tree is composed of a column with 10 layers, about 500 branches, and leaves made from approximately 2,700 mirror-finish materials. As the layers rotate, sometimes simultaneously and sometimes alternately, the leaves, lit by colored illumination, reflect and diffuse the light, creating a variety of sparkling expressions. By allowing the brilliance of the tree itself and the leaves wrapped in layers of light to illuminate the space, the installation was designed to evoke the fantastical atmosphere unique to the Christmas season, day and night.

Responsible for the planning, direction, and production of the three main contents inside “DMM Kariyushi Aquarium,” a new kind of entertainment aquarium in Okinawa that blends visual expression with spatial design. A story of “water” and “life” projected on a multi-screen large display A large-scale video content experience through which visitors first encounter the “beauty of Okinawa” (approximately 12 m wide by 4 m high, with 6 m of depth on both sides). It takes visitors on a virtual flight across Okinawa’s rich natural scenery, including its distinctive sea, sky, and the Yanbaru forest, as well as historical structures such as Shuri Castle. The Shuri Castle featured in the work was filmed with permission from the Okinawa Commemorative National Government Park Office. A 3D model was created using photogrammetry. A giant diorama space recreating Okinawa’s skies and coastlines Okinawa’s beautiful sea reveals different faces throughout the day. This space was designed so visitors can experience that appeal firsthand. On the faux rockwork surrounding an approximately 18-meter-wide tank, lighting and video work in sync to create colors and shadows that recreate the changing states of the “sky,” “sea,” and “shoreline.” In this space, which shifts from daytime to dusk and then into night, visitors can experience the scenery of each moment. In addition to realistic landscape depiction, the installation also reflects the emotional image of “the Okinawa sea that everyone envisions,” expressing a view that invites people to gaze at it and lose track of time. A fantastical space woven from light and jellyfish A space filled with cylindrical tanks stretching from floor to ceiling. Jellyfish drift gently, illuminated by pillars of light that emit vivid gradients. The space, adorned by the jellyfish and the pillars of light, was designed to evoke a dreamlike, extraordinary atmosphere through repeated transparency and reflection. The tank lighting, the visuals of the light pillars, and the music are all synchronized as part of the production.

With the theme of “reconstructing the orchestra through technology,” the “Yoichi Ochiai × Japan Philharmonic Project” launched in 2018. Again this year, WOW participated as the “performer of images” in the “____ Music Concert,” or rather, the “Twin Music Concert.” While the past two years had focused on creating a space where audiences could experience new appeal and value in the orchestra, this year the project sought to explore what an orchestra could be during the COVID-19 pandemic. In addition to a theater performance with a limited audience, the concert was also streamed online, aiming to offer a performance where new appeal could be experienced from two perspectives. In the theater performance, the audience experienced innovative music that opened up a new era of multidirectional sound in space, alongside image performers projected onto screens. In the online stream, the project pursued a sense of immediacy through concert-quality 2K video including AR imagery, industry-leading sound quality (AAC-LC 384 kbps), and three-dimensional visual direction made possible only through digital means. The visual experience of this performance centered on the AR imagery in the online stream, while the theater screens featured visuals that synchronized with, responded to, and contrasted with the AR imagery. Each offered a different yet equally valuable experience. In addition, by allowing theater audiences to later watch the online performance when it was re-streamed, the project sought to create a synergistic effect in which the performance could be relived from a different perspective. In visualizing the clues discovered through examining the music, the project did not rely on conventional notions of AR or stage visual direction, but instead aimed, as “image performers,” to create visual effects that accompanied the world of the music from two different perspectives, with the hope that each would be recognized as having its own new value. The title used up to just before the performance, “____ Music Concert,” was intended to express how the originally planned concert had been wiped away by COVID-19, and how a new concert was then pursued through trial and error. It also encouraged each viewer to think about the word that would fill the blank in the title. Near the end of the performance, the word corresponding to the “____” was revealed, and as the “Twin Music Concert,” a new concert was born from the search for what form a music concert could take during the pandemic.

Elements, kept as simple as possible. Behavior, made as natural as possible, something that never gets old. With “10¹² TERRA,” we explored the interplay of light and shadow created by the rotation of the outer and inner shades of a white, geometric form. The source of motion is nothing but convection caused by the heat of an incandescent bulb. Without using any motorized power, we pursued a natural, beautiful, gently flowing movement of light. “LUX” — What we set out to design was not a fixture called lighting, but “the behavior of light” itself. It softly shapes the space with drifting light and shadow. A beautiful, conceptual light, here.

J’adoreキャンペーンのスピンオフとしてArtist Filmの企画・演出・制作を担当。Romain Gavrasがディレクターを務めたメインフィルムの世界観を踏襲し、ハマムの装飾、湿気、光、きらめきを抽象的に再構築し、 J’adore が新しく生まれ変わる様子をグラフィカルに描いた。

アイヌ文化の普及啓発活動に取り組む阿寒アイヌ工芸協同組合と、日本版地域DMOとして観光地域づくりに取り組むNPO法人阿寒観光協会まちづくり推進機構が、阿寒湖アイヌシアター「イコㇿ※1」の演目を一新。デジタルアートとアイヌ古式舞踊を融合した新プログラム「阿寒ユーカラ※2『ロストカムイ』」が、2019年3月19日から一般上演開始となった。WOWは、舞台映像の演出・制作を担当した。 本プログラムは、阿寒湖温泉のアイヌの人々が継承してきた歌や踊りなどの伝統文化を、国内外から同地を訪れる多くの人々に知ってもらうために企画された。ヨシダナギ、Kuniyuki Takahashi、UNO、WOW、坂本大輔（JTBコミュニケーションデザイン）といった、写真やデジタルアート、サウンドデザインなどの分野で注目を集めるクリエイターが阿寒湖に集結。アイヌ古式舞踊、現代舞踊、3DCG、7.1chサラウンドを組み合わせ、5台のプロジェクターで舞台を立体化した新演目「ロストカムイ」を制作した。 同作では、「アイヌとエゾオオカミとの共生」をテーマとした物語がデジタル技術と舞踊で立体的に再現され、自然を尊び共存してきたアイヌの人々の暮らしの中から生まれた歌や踊りなど、アイヌの世界観を存分に体感することができる。加えて、「アイヌ古式舞踊」と「イオマンテの火まつり 」の演目もリニューアルし、伝統的かつ斬新な演出でアイヌ文化を紹介している。 ※1「イコㇿ」はアイヌ語で「宝物」の意味。小さい「ㇿ」はアイヌ語音を表現したもの。 ※2「ユーカラ」はアイヌ民族に伝わる「叙事詩」を意味する言葉。

J’adoreキャンペーンのスピンオフとしてArtist Filmの企画・演出・制作を担当。Romain Gavrasがディレクターを務めたメインフィルムの世界観を踏襲し、ハマムの装飾、湿気、光、きらめきを抽象的に再構築し、 J’adore が新しく生まれ変わる様子をグラフィカルに描いた。

作品について 「暑さ厳しい真夏に涼やかさを堪能する」ということを、日本人の感性が育んだ伝統的手法のオマージュにより、現代的なアート体験として再構築することに挑んだ。かつての日本人は五感の可能性を活かし、冷房のない夏を楽しんできた。日没、日本の庭先、縁側（エンガワ）、打ち水、涼風など、日本の夏の原風景たる要素。それらを開催場所であるTOKYO MIDTOWNの「東京の真ん中でいちばん気持ちの良い場所になりたい」というコンテクストとへつなぎ、ダイナミズム、エンンターテイメント性を加え表現したものが本作品である。人々は、都会の真ん中に現れた「懐かしさ」と「新鮮さ」が融和した空間へ自らを投じ、実際の温度だけではない、五感に染み渡る「涼」という日本的な刺激体験に酔いしれていた。 本作品は、リアル空間における体験に特化したクリエイティブカンパニー HakutenとWOW、TOKYO LIGHTING DESIGNが手掛けた。WOWはクリエイティブディレクション及び演出を担当。 展示について 2018年7月13日（金）から8月26日（日）まで東京ミッドタウンにて開催された「MIDTOWN LOVES SUMMER 2018」の一つとして公開された。本展示では、まず「日本の夏の涼」というテーマで、東京の真ん中、多種多様な人々が溢れ、常に賑わいがやまない六本木という街において、新たな夏の楽しみ方の提案が求められた。私達は、夏の暑さをも風情として楽しもうとする、日本人が本来持つ豊かな感性からアプローチした。 庭に面した縁側（エンガワ）※1 に座り、虫の声を聞き、花火を愛でて、親しき人と夏の夜を楽しむ。そんな感性豊かな日本の夏の原風景を現代的に再構築し、新たな夏の風景をつくりだすことへのチャレンジである。 その場を構成するのは、約2,000㎡もの、都会の中心に在る、広大な芝生の「広場」。ステージでありフレームでもある20m✕40mの巨大な「縁側」。刻々と変化しその瞬間だけの空間を作り出す「霧」。そしてその場を彩る、約6,000灯のLED照明を制御した「デジタル花火」の映像。 体験者は縁側に佇みながら、足元に広がる日本の夏の映像を楽しみ、涼を実体験する。常に変化し続け、同じ表情を二度と見せることのないプリミティブな霧の表情と、デジタライズされた花火の光は、飽きること無く見続けることができる場を生み出す。この作品は、夏の夜と混じり合い、暑さと共に訪れた人のココロも体も涼やかにしてくれる体験となった。 ※1：縁側（エンガワ）とは、日本の和風家屋の独特の構造で、屋内と屋外の境界的な空間であり、腰掛けて外の風情を楽しんだり、家族と談笑するような、豊かな暮らしを象徴するような場所。

本インスタレーションは、SHISEIDOのTeam 101 とコラボレーションし、感覚に働きかけ自分の可能性を目覚めさせる“ニューロサイエンス”に着想を得たSHISEIDOの新スキンケアシリーズの世界観を表現するために制作した。資生堂銀座ビルの1階から2階の吹き抜けを貫く、高さ約9mに及ぶ、新素材ファイバーを使った光の表情が変化する大型モニュメント「NEURO_SURGE」。幅9m、高さ5mのストレッチスクリーンに触れ、押し込むことで自らを活性化するイメージを表現した「INTERACTIVE WALL」。これらの作品は、さまざまな情報、人間関係、社会構造、インフラ、 全てが複雑に絡み合った状況を繊細さと大胆さで表現し、日々の喜怒哀楽に晒される生活者の感覚神経その情報伝達の様を可視化している。