teamLab: A Forest Where Gods Live - GC | teamLab

미후네야마 라쿠엔의 연못 수면에 프로젝션하고 있다. 수면은 센서로 탐지되며, 영상은 연못 위를 떠다니는 작은 배와 함께 인터랙티브로 변화한다. 물고기떼 전체가 의지를 갖고 움직이는 것이 아니며, 각각의 물고기가 가까운 물고기의 행동에 영향을 받으면서 자율적으로 헤엄치고 있다. 또한 각각의 물고기는 작은 배가 잔잔히 떠 있으면 주변에 모여들고, 작은 배가 움직이기 시작하면 피해 움직인다. 물고기는 작은 배의 움직임, 그리고 다른 물고기의 행동에 영향을 받아 헤엄치고 있다. 그리고 작품은 물고기떼가 움직이는 궤적에 따라 그려져 간다.

실제 바위를 이용한 인스톨레이션 작품. 높이 약 3m, 폭 약 4.5m의 바위를 가상의 3차원 공간에 입체적으로 재현해, 그 위로 물을 낙하시켜 바위의 형태를 따라 흐르는 물의 움직임을 시뮬레이션해 폭포를 그려냈다.

바위 옆에는, 자연적으로 겹겹이 쌓여진 이와쿠라(신으로 모시는 바위)가 사당에 모셔지고 있다.

무수한 입자들의 연속체, 그리고 그 입자 간의 상호작용을 계산하여 물을 표현했다. 또한 물입자의 움직임을 따라 공간상에 선을 그린다. 이 선들의 집합을 teamLab이 고안한 ‘초주간공간(ultrasubjective space)’에 맞춰 평면화하여 폭포를 그려내고 있다.

미후네야마의 빛은 자율적으로, 천천히 호흡하듯이 점멸한다.
미후네야마 산기슭에 자리한 ‘생명은 계속되는 빛 - 철쭉 계곡’에서 전해진 빛에 공명하여 밝게 울려 퍼진다.

미후네야마는 약 300만 년 전 아리아케 해에서 융기하여 만들어졌다. 진구 황후가 200년경, 한반도 신라에서 배를 타고 돌아올 적에 ‘미후네(御船, 어선)’를 이곳에 대었다 하여 이러한 이름이 붙여졌다고 한다.

약 1300년 전, 명승 교키가 미후네야마에 입산하여 세 개의 동굴에 오백나한을 새기고, 세 번째 동굴에 삼불체를 새겼다고 전해진다. 그때 삼불체를 새기면서 옆에 구멍이 생겼고, 그 후 1300년간 구멍에 물이 마르지 않고 고여있다고 한다. 이 물은 예부터 많은 사람들이 약수로 마셔왔다.

빛으로 그려진 붓글씨의 먹은 빛이 없음을 의미하며, 동굴 깊숙이 자리한 어둠과 구분이 가지 않는다. 붓글씨와 동굴의 어둠이 하나가 되어 암벽에 영원히 공서(空書)를 써 나간다.

공서란 공간에 쓰는 붓글씨를 뜻한다. 글씨의 먹자국이 갖는 굵기와 속도, 강한 힘 등을, 새로이 해석해 공간에 입체적으로 재구축하고 있다.

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.

A long-forgotten underground passage has recently been discovered, and the depths of the passage are decaying. In this space that is crumbling and losing its original structure, a fire burns eternally.
The forest above the underground passage is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time and with each year passing 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 forgotten underground tunnel is a space where time seems to have stopped, and the depths of the passage are a decaying space and time that will not exist for much longer. The fire that eternally burns there also has its own space and time.Here, various space-times intersect and overlap.
The fire changes shape due to a transparent absolute presence.Lines are drawn in relation to the flow of combusting gas, and the flames are created by the accumulation of those lines in three-dimensions. The lines are then “flattened” using what teamLab considers to be Ultrasubjective Space to represent the flames.
teamLab is exploring the concept of Distributed Art.If you launch the Distributed Fire smartphone application and approach this artwork, the flame will ignite and you can take the artwork home with you. When you bring that flame close to another person's smartphone, a flame will alight. As you connect the flame, and they connect that flame with someone else, the flame will spread all over the world. The flames that are spread are displayed on the Map of The Flame.
Distributed Art duplicates itself, or a part of an artwork is distributed among people. Then, once in the hands of the people, the artwork is further actively distributed, and also makes copies of itself. The artworks will be distributed and exist on people's networks and become decentralized. When the artwork exists on the network, it continues to exist even if the original disappears.

Pointillism is a genre of paintings that expresses the subject matter through a series of points. This interactive sculpture, however, consists of a set of points of light that are used to express three-dimensional objects. For this work, a three-dimensional interactive flame is produced by the points of light.
When people move close to the flames, the flames increase in intensity.
Flames are a phenomenon of light and heat generated by combustion, not a substance, but our sensory experience when we see a chemical reaction called combustion. People perceive the flame, a sensory experience, as if it were an object, and sometimes feel life in it.
Flames often appear to have a hierarchy of colors from their outside to the center: red on the outside, strong bright white on the inside, and dark in the center. In the case of a raw egg, the outer shell is white, the interior is transparent, and the center is yellow, but because it is a three-dimensional object, only the white shell is visible from the outside. Unlike an egg, the flame is a three-dimensional object made of light, and the strong bright white inside is still white when mixed with the red outside. Therefore, the flame, which is a three-dimensional object, appears as if it were a flat painting with a color hierarchy, no matter where you look at it.
By creating a three-dimensional flame with a collection of points of light, the three-dimensional flame sculpture moves back and forth between three and two dimensions.

This space in the hotel was originally a banquet hall. It was built during the years of steep modern economic growth, and gradually fell out of use due to changes in the times, becoming a closed space where time stands still.
Various times and spaces exist at Mifuneyama Rakuen. By destroying the outer wall of the building, teamLab reconnects the various times and spaces, and creates a place where they intersect and overlap.
The rubble of the collapsed outer wall creates flickering black shadows and static red shadows.

teamLab: A Forest Where Gods Live struggled through the Covid pandemic and survived with the support of VOLVO. This space was created through the VOLVO project.

미후네야마 라쿠엔 정원의 벚꽃과 단풍나무숲이 환하게 빛난다. 나무들의 빛은 각각이 자율성을 가지고 있어, 천천히 숨을 내쉬듯 강하게 빛나기도, 사라지기도 한다.

나무들의 빛은, 관객이 근처를 지나가면 빛을 강하게 발산하며 소리를 낸다. 또한 그 나무의 빛이, 방사선 모양으로 근처에 있는 나무에 번져나간다. 전달된 나무의 빛은, 같은 식으로 소리를 내며, 차차 옆 나무로 번져, 연속해서 확산되어 간다.
 
숲의 안쪽에서 빛이 다가온다면, 그쪽에 누군가가 있다는 것을 의미한다. 사람들은 분명 같은 공간에 있는 타자(他者)의 존재를 평소보다 의식하게 될 것이다.

Available time (30 minutes one way):
Jul 12 - Sep 08, 8:00 - 17:00
Sep 09 - Oct 06, 8:00 - 16:00
Oct 07 - Nov 04, 8:00 - 15:00
* To experience this artwork, a ticket for teamLab: A Forest Where Gods Live - GC is required

A giant tree over 3,000 years old. 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.

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.

Depending on your location and the pace at which you walk through from The Floating Tree to the Excavated Path Leading to the Giant Sacred Tree, the musical experience changes.

미후네야마 라쿠엔 연못가에 위치한 산수 전망대. 연못 전체에 퍼져나가는 ‘조각배와 함께 춤추는 잉어가 그리는 수면의 드로잉과 연꽃’과, 미후네야마 산이 밝게 빛나는 ‘공명하는 미후네야마’가 한 눈에 들어오는 스팟입니다.
산기슭의 ‘생명은 계속되는 빛 - 철쭉 계곡’의 진달래 골짜기를 걷고 있는 사람들에 의해 태어난 빛이 미후네야마 산으로 번져옵니다.

한 잔의 차(茶)를 끓이면 그 안에 꽃들이 피어난다. 그릇을 손에 들면 꽃은 지고, 꽃잎은 그릇 밖으로 퍼져간다. 꽃들은 잔에 차가 들어있는 한 무한히 피어난다. 그릇 안의 차는 꽃들이 계속해서 피어나는 무한의 세계가 된다. 그 무한히 펼쳐지는 세계를 그대로 마신다. 차는 변용(變容)적인 존재인 차의 양에 따라, 피어나는 꽃들의 크기도 변해간다.차가 존재할 때 처음으로 작품이 탄생한다. 차를 전부 마시면 더이상 작품은 존재하지 않는다.
차에 피는 꽃은 현실의 시간의 흐름에 따라 변해간다.
작품은 영원히 변화한다. 지금 이 순간의 장면은 두 번 다시 볼 수 없다.

Before the modern era in Japan, Kasane no Irome (nuances of layered colors) were seasonal colors created in silk. The complicated colors were the result of a combination of front and back colors (silk at the time was so thin that the liner was transparent, creating more nuanced colors), overlapping color gradations, complex weave colors, and combinations of warp and weft.
When a person stands still close to a lamp, it shines brightly and emits a color that resonates out. The light of this lamp becomes the starting point, and it spreads to the two nearest lamps. The light from the two nearest lamps transmits the same color to other lamps, one after another, spreading out continuously. The light transmitted from the lamp always resonates out as a bright light once, passing to close lamps, until all of the lamps have shone brightly once, and then returns to the first lamp. The light of the lamp in response to human interaction, divides in two, becomes one optical line through all of the lamps respectively, before finally, returning to the first lamp that was the starting point. People become aware of the presence of others in the same space.
All the lamps, seemingly scattered randomly, have a single connecting line (unicursal) that can be drawn. When drawing a line, the stroke (the same starting and ending points) is drawn from a lamp to the lamp that is the closest in distance in three-dimensions. By arranging the lamps in this way, the light of the lamp corresponding to the person is always propagated to the nearest lamp, and must always pass through all the lamps in the space in a single stroke, before finally returning to the first lamp that was its origin.
The arrangement of the lamps is mathematically determined to satisfy a number of restrictions outlined below. A large number of solutions were evaluated that take into account the variation and distribution in the height, the direction of the lamps, and the smoothness of the three-dimensional path (light trajectory).
The hanging lamps are arranged uniformly, in such a way that they form an orderly grid. This is the first constraint. The second constraint is that of the boundaries of the physical space: the distance between the floor and the ceiling, and the height and the width of the passages through which people can move. And the third constraint is that when a line is drawn from any lamp to another lamp in three dimensions, the starting point and the ending point must be connected as a single line (unicursal).
Since the arrangement of the lamps born from such a process seems to be random at first sight, the trajectory of the resonating light cannot be predicted: the light continues to the lamp that is physically closest, thus giving a natural feeling - like a fire burning. And since the light trajectory of the lamps is connected by a single line, the light born from any particular lamp and the light born from any other lamp will always cross each other.
The arrangement of the lamps is not only beautiful in a static way, but also in a dynamic way when activated by people in the space. It demonstrates the space of a new era that can be designed freely and change itself through digital technology, a space that adapts and changes due to the movement of the people in it. 
※The lamp are made of Murano glass (Venetian glass).

장소 : 미후네야마 라쿠엔 내
시간 : 미후네야마 라쿠엔 개장 시간 내 관람 가능

초자연적으로 겹겹이 쌓인 거석으로 된 이와쿠라(신을 모시기 위해 설치된 암석)로, 사당이 모셔져 있습니다.

장소 : 미후네야마 라쿠엔 내
※미후네야마 라쿠엔, 온야도 치쿠린테이 투숙객 한정 관람 가능

에도 후기, 미후네야마 라쿠엔 조원 시(1845년)에 제28대 다케오 영주 나베시마 시게요시 공의 별장으로서 연못가에 지어진 가야부키 지붕(띠로 인 지붕)의 하기노 온차야. 봄과 가을 시즌에 일반 공개하고 있습니다.

장소 : 미후네야마 라쿠엔 내
시간 : 미후네야마 라쿠엔 개장 시간 내 관람 가능

진구 황후가 조선 반도의 신라에서 돌아오는 길에(200년경) “미후네(배)”를 묶었던 것에서 이름을 붙였다고 합니다.

장소 : 미후네야마 라쿠엔 밖
시간 : 24시간 관람 가능

별칭 미후네 산성.
다케오 2대 영주 고토 스케시게가 1118년-1120년경에 지었다고 전해집니다.
고토 씨는 에도 초기(17세기 전반)에 사가 번주 나베시마 가쓰시게에게 나베시마의 성을 받은 친척으로, 다케오 나베시마 씨가 되었습니다.
에도 막부의 일국일성령(1615년)에 따라 쓰카사키 성은 폐성되고, 다케오 나베시마 씨의 저택으로 에도 시대 동안 존속했습니다.

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