VOLVO teamLab: A Forest Where Gods Live | teamLab

装置艺术本身会随着漂浮在池面的小船前进而不断变化。而且鱼群整体本身并没有意志，而是每一尾鱼都会受到附近鱼群的影响，并以自律性的方式来游泳。当小船静静地飘浮在水面时，鱼群就会聚集到小船的周围，而当小船开始航行时，鱼群就会避开小船。鱼儿在游泳时会受到小船行动以及其他鱼儿行动的影响。最後整个鱼群行动的轨迹，就会描绘出这个作品。

在真实的巨石上呈现的装置作品。把巨石（高约3m，宽约4.5m）在虚拟的三次元空间里再现，并注入流水，模拟水流在岩石上的举动最终描绘出瀑布。

水，用无数连续的水粒子来表现，然後计算粒子间的相互作用。接着按照水粒子的举动，在空间上描绘出线条。最后通过teamLab考案的“超主观空间”理念把所有线条的集合平面化，并描绘出瀑布。

在御船山乐园里，岩石的裂缝中生长的断岩枫之岩（高约2.4m，宽约4.7m）上呈现的装置作品。用光描绘的书法，黑色的书体代表着此处并没有光，和断岩枫割断的岩石形成的阴影无法区分。书法和阴影合成一体，描绘出圆相。

本作品把禅宗书画之一的「圆相」（一笔画圆）在空间里一笔画出（空书）。在空间里画出的这一笔，先是保持静止不动，随着视点的转移,渐渐看到圆形显现。
在禅宗之中，圆相自古以来是以手杖等物在空中画圆来表现的。而且也被视为是对顿悟、真理、宇宙整体以及平等性等象徵性的表现符号。圆相是能够反映出观赏者之心的圆，对其的解释也因观赏者而异。

“空书”是在空间里书写的书法。书法特有的墨迹，深浅度、速度和力度，在全新诠释的空间里被立体的再构建，通过teamLab的“超主观空间”的理论结构被二次元化。书法在平面和立体之间不断巡回。

由20个岩石所组成的岩石群会发出光芒。 每个岩石的光芒都以自律的方式变化，宛如在呼吸似的不断明灭闪烁。 而且当人们靠近岩石时，岩石的光芒会变得更强并且发出声音。

Masses (Megaliths) of different space-times are clustered in the bath house ruins.The forest surrounding the bath house ruins is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house was made in modern times, but after just a short period, it was abandoned, becoming a space-time where time had stopped completely. And this group of megaliths is also a mass made up of compressed space-times where the flow of time varies. Here, various space-times intersect and overlap.
Each megalith is surrounded by similarly standing megaliths, the space-times of which are all connected. 
The artwork is continuously rendered in real time by a computer program. It is neither prerecorded, nor on loop. As a whole, previous states never recur, and the artwork is continuously changing due to the movement of people. Every moment is unique and can never be seen again.
The following artworks exist in the artwork space of the three-dimensional objects grouped in these bath house ruins.
・Flowers and PeopleThis artwork is in a state of continuous change. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters. The flowers bud, grow, and blossom before their petals begin to wither and eventually fade away. The cycle of growth and decay repeats itself in perpetuity. If a person stays still, the flowers surrounding them grow and bloom more abundantly.
・Universe of Water Particles When people approach the artwork, the flow of the water changes. The movement of people influences the artwork, causing it to evolve continuously, while the artwork influences other works. For instance, the water causes the flowers in the work Flowers and People to scatter.Water is represented by a continuum of numerous water particles. The interaction between the particles is calculated and then lines are drawn in relation to the behavior of the water particles. The lines are “flattened” using what teamLab considers to be ultrasubjective space.

* In order to view  teamLab: A Forest Where Gods Live before it opens (sunset), purchase a Daytime Rakan Bath Reservation. After sunset, only a teamLab: A Forest Where Gods Live exhibition ticket is needed.

本作品是通过点状光的集合来创造三维物体的火焰的互动雕塑作品。此创作方式类似于点彩绘画，即用各色彩点来绘制图像。
当人们靠近时，火焰将变得更强。
火焰是由于燃烧而产生的一种光和热的现象，并非是一种物质，而是我们看到燃烧这种化学反应时的感官体验。 这种感官上的体验，使得火焰能够被我们认知为是一种物体，且有时能够在其中感受到生命的存在。
大多的火焰，从外焰到焰心的颜色都是逐渐变化的。外焰为红色，内焰为强烈而明亮的白色，焰心则是较暗的颜色。 然而尽管生鸡蛋的颜色构成也与之相似，外壳是白色的，内部是透明的，中心部分是黄色的，作为一个三维物体，从外面却只能看到白色的外壳。火焰这个三维物体之所以看起来能够像二维绘画一样有色彩的层次，而非如鸡蛋一样，是因为火焰是由光所构成的三维物体，内部强烈且明亮的白色即使与外部的红色混合，也依然呈现白色的样子。因此，作为一个三维物体的火焰，无论从哪里观赏，都像一幅具有色彩层次的平面绘画。
本作品通过点状光的集合来创造三维物体的火焰，从而使得火焰的雕塑能够在三维和二维之间来回穿梭。

This installation space consists of a ruptured wall, teamLab’s works Living Crystallized Light and Light Sculpture of Flames, and a VOLVO C40 Recharge.
As part of a project with VOLVO in 2021, the wall in this space was ruptured and Light Sculpture of Flames was installed. In 2022, Living Crystallized Light was newly created and a VOLVO C40 Recharge was placed inside the installation, existing as one with the work.

Built during the years of steep modern economic growth, this space inside the hotel was abandoned after a short period, becoming a time-space where time had stopped completely. The forest, rocks, and caves of Mifuneyama Rakuen have formed over a long time, and people in every era have sought meaning in them over the millennia. It is the ongoing, continuous relationship between nature and humans that has made the border between the forest and garden ambiguous, keeping this cultural heritage beautiful and pleasing. By breaking through the walls that have divided this continuity, the space is reconnected to the continuity of the world and time, creating a place where various time-spaces intersect and overlap.

位于御船山乐园的庭园与森林交界处的作品。此作品后面的森林连接着树龄超过三千年的武雄神社之大楠神木。来访者进入作品空间站立一段时间以后，就会有新的线条的集合体产生并蔓延。通过此作品，森林变成了抽象的平面。
作品不是将预先制作好的影像进行放映，而是通过电脑程序实时绘制而成的。整体来说，作品的图像并非复制以前的状态，而是受到观赏者行为举止的影响，持续发生变化。眼前这一瞬间的画面，错过就无法再看到了。

每棵树上的光都会在遇到观赏者接近或通过时产生颜色的变化并发出独特的声响。而且每棵树木的光芒会呈放射状传播到附近的树木。被传播点亮的树木灯光会发出同样音色的声响，并且不断的接着再传播点亮给其他相邻的树木直到森林边界。

从森林的深处延展过来的光芒代表了未见的他人的存在。由此人们应会比平时更加注意到相同空间内他人的存在吧。

在《连续生命的记忆》的尽头，是一个距地面约30米高的观花台。 《夏樱与夏枫之呼应森林》中的树木在眼前蔓延开来，人们从近处经过，将会导致新的光产生，随后，光再伴随着音乐声扩散到周围的树木上。 在御船山乐园里，可以看到人们在森林中行走所产生的光在树林中扩散开来的样子。

Over 3,000 years old, this camphor tree is the 7th largest tree in Japan. The roots of the tree are wrapped in rough bark, with their central section split open near the surface of the ground. The interior is a hollow space about 22 square meters in size, with a stone shrine in the back. This is the sacred tree of Takeo Shrine, which was built in the Nara Period (735 CE).

Depending on your location and the pace at which you walk through the shrine from the torii gate, to the forest, to the bamboo thicket, to the sacred tree, the musical experience changes.

If you look at the satellite photo on Google Maps, you will see the sacred tree is located in the forests of Mifuneyama that lead to the garden. When the garden was built towards the end of the Edo period (1845 CE), efforts were made to find a path connecting the garden to the sacred tree based on the theory that there was a hidden path in the forest. A footpath made from stones was finally uncovered, where you can find The Floating Tree. Currently, only the section of path between the garden and the sacred tree containing that artwork is being maintained.

倒完茶之後，茶中会不断绽放花朵。当观赏者拿取茶碗，花朵就会散落而花瓣则会延展到茶碗之外。花朵在茶中不断绽放。只要茶碗之中还有茶水存在，花朵就会不断地绽放盛开。茶碗中的茶，就是花朵能够无限绽放的世界。如此喝茶，就如同将无限扩张的世界喝下去似的。
必须有茶水存在作品才会诞生。如果茶被饮尽的话，作品也就不复存在。茶是一种容易变化的存在，根据茶碗中茶水量的不同，茶水面积大小也会不断改变。配合着这个变化，所诞生花朵的大小也会跟着改变。当茶水从茶碗之中溅洒而出时，该处也同样会绽开花朵。
作品里的花朵在一年里会不断变化，随着季节的变化在每个月绽放出不同的花朵。
作品不是将预先制作好的影像进行放映，而是通过电脑程序实时绘制而成的。整体来说，作品的图像并非复制以前的状态，而是受到人们行为举止的影响，持续发生变化。眼前这一瞬间的画面，错过就无法再看到第二次了。

地点：御船山乐园 园内
时间：御船山乐园开放时间内均可观赏

供奉着祠堂（hokora）的，由巨石堆积而成的超自然的磐座（iwakura，日本古代自然崇拜（万物有灵论）的一种）。

地点：御船山乐园 园内
*仅供在御船山乐园酒店及御宿竹林亭宿泊的客人观赏

在江户时代後期，建造御船山乐园时（1845年），建於池畔边丶用来作为第28代武雄领主锅岛茂义公的别宅，有着茅葺屋顶的荻野尾御茶屋。春天丶秋天时会开放一般民众进入。

地点：御船山乐园 园内
时间：御船山乐园开放时间内均可观赏

据说由於与神功皇后自朝鲜半岛的新罗归来（200年左右）时的「御船」有所关连而得名。

地点：御船山乐园 园外
时间：24小时均可观赏

别称「御船山城」。
据说是由武雄第二代领主後藤资茂於1118年至1120年左右所建。
後藤家在江户初期（17世纪前半叶）时，由佐贺藩主锅岛胜茂赐姓锅岛，并作为「亲类（视同亲戚）」，成为了武雄锅岛家。
冢崎城因江户幕府的「一国一城令（1615年）」而遭废城，整个江户时代都作为武雄锅岛家的居馆而存留下来。

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