Every Wall is a Door | teamLab

The only material substances present in this space are ordinary soap, water, and air. The bubbles are soap bubbles.
This floating, immense sculpture emerges from a sea of bubbles, transcending the very concept of mass. It neither sinks to the ground nor rises completely to the ceiling, but instead drifts in the middle of the space. The contours of its existence are ambiguous—it fragments into smaller pieces, but merges into a larger mass. Even when people fully immerse themselves in this sculpture, its existence remains intact. If broken by people, it naturally restores itself. However, when the sculpture is destroyed beyond what it can repair, it collapses, unable to recover. Even if people try to move or push this floating sculpture, they cannot do so,, and if they stir up wind, the sculpture disperses entirely. Physical human actions cannot move the sculpture.
Objects such as stones and man-made creations maintain a stable structure on their own. A stone will continue to exist even if placed in a sealed box, isolated from the external world.On the other hand, a vortex created in the ocean disappears instantly when transferred into an enclosed box. In other words, a vortex does not maintain a stable structure independently. A vortex exists within the flow created by its environment formed by water continuously from the outside to the inside and from the inside to the outside, maintained by the vortex’s ordered structure. This flow allows the vortex to shift as the surrounding currents change. Moreover, its boundaries are ambiguous, and there is no material distinction between the vortex and its surroundings.
Rather than a solid object, this sculpture is created by the order of energy generated by the phenomena of a unique environment.  Let us call this existence created by the order of energy, a "Higher Order Sculpture." The artwork is inseparable from the environment and changes along with the environment. It transcends the conventional notions of physical objects—it sustains its existence mid-air, having ambiguous boundaries, and it is able to maintain its shape even when people immerse themselves physically into the sculpture, naturally restoring itself even if the sculpture breaks.
By filling the space with soap bubbles, a distinct environment is created in which an order of energy is born. By doing so, a massive form emerges from this sea of bubbles that floats steadily in mid-air.
In modern biology, the definition of life cannot be strictly defined, but everything that is structured upon cells, capable of metabolism, and self-reproduction are labeled living things for convenience. In other words, all living things are composed of cells. All cells are enclosed by a cell membrane constructed of a lipid bilayer, with the hydrophilic part facing outward and the hydrophobic part covered within the layers. Both the inside and outside of the enveloping membrane are liquid. Soap bubbles are similarly enveloped by lipid bilayer membranes, and these membranes are structurally identical to cell membranes. However, contrary to cells, the bilayer of the bubble membrane floats in and encloses air, so the hydrophobic part faces outward, while the hydrophilic part is covered within the layers. In other words, if we consider cells to be pouch-shaped membranes in liquid, then bubbles are pouch-shaped membranes in air. This sculpture is created from substances composed in the same ways as cells, the structuring units of life-forms, and the order of energy created from this environment.
The same is true of life. It consumes external matter and energy as food and discharges it, sustaining its ordered structure as the energy dissipates. Life exists within the flow of matter and energy, and its contour, like a vortex, is ambiguous.Perhaps, life is a miraculous phenomenon that emerges in the flow of matter and energy, and its structure is the order of energy created by that flow.

This artwork is in continuous change, transcending the boundaries between itself and other works. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters.
Flowers are born, grow, bloom, and eventually scatter and die. The cycle of birth and death repeats itself in perpetuity. If people stay still, more flowers are born. If people touch the flowers and walk around the space, the flowers scatter all at once.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.
The water from the Universe of Water Particles artwork influences this work, causing the flowers to scatter.
In spring in the Kunisaki Peninsula, there are many cherry blossoms in the mountains and canola blossoms at their base. This experience of nature caused teamLab to wonder how many of these flowers were planted by people and how many were native to the environment. It is a place of great serenity and contentment, but the expansive body of flowers is an ecosystem influenced by human intervention, and the boundary between the work of nature and the work of humans is unclear. Rather than nature and humans being in conflict, a healthy ecosystem is one that includes people. In the past, people understood that they could not grasp nature in its entirety, and that it is not possible to control nature. People lived more closely aligned to the rules of nature that created a comfortable natural environment. We believe that these valleys hold faint traces of this premodern relationship with nature that once existed, and we hope to explore a form of human intervention based on the premise that nature cannot be controlled.

على الرغم من أن الذات والطبيعة يبدوان مختلفين، إلا أنهما في الواقع كيان واحد، لا ينفصلان عن بعضهما البعض. إن نقيض الانقسام ليس هو التوحد، وقد ندرك أن الوجود الذي يبدو متميزًا هو في الواقع جزء من كلٍّ واحد.
إن منافع الطبيعة وتهديداتها، وكذلك منافع وتهديدات الحضارة، مستمرة. ولا يوجد مصدر للشر المطلق، ولا يمكن رفضه بشكل مثالي. ومع ذلك فإننا نسعى إلى تأكيد الحياة في جميع جوانبها. إن الحياة جميلة.
في هذا العمل الفني، تمت كتابة (生 "سيه")، المقطع الذي يدل على الحياة، بشكل ثلاثي الأبعاد باستخدام الخط في الفضاء. والخط في الفضاء هو شكل من أشكال الخط المرسوم في الفضاء والذي كان تيم لاب يستكشفه منذ تأسيسه. يعيد العمل الفني بناء الخط في فضاء ثلاثي الأبعاد للتعبير عن عمق وسرعة وقوة ضربة الفرشاة، ثم يتم تسطيح هذا الخط باستخدام البنية المنطقية التي يطلق عليها تيم لاب الفضاء فوق الذاتي. وينتقل الخط بين بعدين وثلاثة أبعاد.
يبدو فضاء العمل الفني التقليدي، المؤطر بالعدسة أو المنظور، وكأنه على الجانب الآخر من سطح العمل الفني، حيث يصبح السطح بمثابة حدود، ويتم فصل الفضاء الذي يوجد فيه المشاهد عن فضاء العمل الفني. ومع ذلك، فإن إحدى خصائص الفضاء فوق الذاتي هي أن سطح العمل الفني لا يصبح حدودًا.وبالتالي فإن الفضاء الذي يوجد فيه العمل الفني يتجاوز حدود سطح العمل الفني ويتم إدراكه كما لو أنه موجود بشكل ثلاثي الأبعاد في نفس الفضاء الذي يقف فيه المشاهد. وفضاء العمل الفني متواصل مع الفضاء المادي للمشاهد.