VOLVO teamLab: A Forest Where Gods Live | teamLab

裝置藝術本身會隨著漂浮在池面的小船前進而不斷變化。而且魚群整體本身並沒有意志，而是每一尾魚都會受到附近魚群的影響，並以自律性的方式來游泳。當小船靜靜地飄浮在水面時，魚群就會聚集到小船的周圍，而當小船開始航行時，魚群就會避開小船。魚兒在游泳時會受到小船行動以及其他魚兒行動的影響。最後整個魚群行動的軌跡，就會描繪出這個作品。

在真實的巨石上呈現的裝置作品。把巨石（高約3m，寬約4.5m）在虛擬的三次元空間裡再現，並注入流水，模擬水流在岩石上的舉動最終描繪出瀑布。

水，用無數連續的水粒子來表現，然後計算粒子間的相互作用。接著按照水粒子的舉動，在空間上描繪出線條。最後通過teamLab考案的“超主觀空間”理念把所有線條的集合平面化，並描繪出瀑布。

在御船山樂園裡，岩石的裂縫中生長的斷岩楓之岩（高約2.4m，寬約4.7m）上呈現的裝置作品。用光描繪的書法，黑色的書體代表著此處並沒有光，和斷岩楓割斷的岩石形成的陰影無法區分。書法和陰影合成一體，描繪出圓相。

本作品把禪宗書畫之一的「圓相」（一筆畫圓）在空間裡一筆畫出（空書）。在空間裡畫出的這一筆，先是保持靜止不動，隨著視點的轉移,漸漸看到圓形顯現。
在禪宗之中，圓相自古以來是以手杖等物在空中畫圓來表現的。而且也被視為是對頓悟、真理、宇宙整體以及平等性等像徵性的表現符號。圓相是能夠反映出觀賞者之心的圓，對其的解釋也因觀賞者而異。

“空書”是在空間裡書寫的書法。書法特有的墨跡，深淺度、速度和力度，在全新詮釋的空間裡被立體的再構建，通過teamLab的“超主觀空間”的理論結構被二次元化。書法在平面和立體之間不斷巡回。

由20個岩石所組成的岩石群會發出光芒。 每個岩石的光芒都以自律的方式變化，宛如在呼吸似的不斷明滅閃爍。 而且當人們靠近岩石時，岩石的光芒會變得更強並且發出聲音。

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.

本作品是通過點狀光的集合來創造三維物體的火焰的互動雕塑作品。此創作方式類似於點彩繪畫，即用各色彩點來繪制圖像。
當人們靠近時，火焰將變得更強。
火焰是由於燃燒而產生的一種光和熱的現像，並非是一種物質，而是我們看到燃燒這種化學反應時的感官體驗。 這種感官上的體驗，使得火焰能夠被我們認知為是一種物體，且有時能夠在其中感受到生命的存在。
大多的火焰，從外焰到焰心的顏色都是逐漸變化的。外焰為紅色，內焰為強烈而明亮的白色，焰心則是較暗的顏色。 然而盡管生雞蛋的顏色構成也與之相似，外殼是白色的，內部是透明的，中心部分是黃色的，作為一個三維物體，從外面卻只能看到白色的外殼。火焰這個三維物體之所以看起來能夠像二維繪畫一樣有色彩的層次，而非如雞蛋一樣，是因為火焰是由光所構成的三維物體，內部強烈且明亮的白色即使與外部的紅色混合，也依然呈現白色的樣子。因此，作為一個三維物體的火焰，無論從哪裡觀賞，都像一幅具有色彩層次的平面繪畫。
本作品通過點狀光的集合來創造三維物體的火焰，從而使得火焰的雕塑能夠在三維和二維之間來回穿梭。

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.

位於禦船山樂園的庭園與森林交界處的作品。此作品後面的森林連接著樹齡超過三千年的武雄神社之大楠神木。
來訪者進入作品空間站立一段時間以後，就會有新的線條的集合體產生並蔓延。
通過此作品，森林變成了抽象的平面。

作品不是將預先制作好的影像進行放映，而是通過電腦程序實時繪制而成的。整體來說，作品的圖像並非復制以前的狀態，而是受到觀賞者行為舉止的影響，持續發生變化。眼前這一瞬間的畫面，錯過就無法再看到了。

每棵樹上的光都會在遇到觀賞者接近或通過時產生顏色的變化並發出獨特的聲響。而且每棵樹木的光芒會呈放射狀傳播到附近的樹木。被傳播點亮的樹木燈光會發出同樣音色的聲響，並且不斷的接著再傳播點亮給其他相鄰的樹木直到森林邊界。

從森林的深處延展過來的光芒代表了未見的他人的存在。由此人們應會比平時更加註意到相同空間內他人的存在吧。

在《連續生命的記憶》的盡頭，是一個距地面約30米高的觀花台。 《夏櫻與夏楓之呼應森林》中的樹木在眼前蔓延開來，人們從近處經過，將會導致新的光產生，隨後，光再伴隨著音樂聲擴散到周圍的樹木上。 在御船山樂園裡，可以看到人們在森林中行走所產生的光在樹林中擴散開來的樣子。

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，茶中會不斷綻放花朵。當觀賞者拿取茶碗，花朵就會散落而花瓣則會延展到茶碗之外。花朵在茶中不斷綻放。只要茶碗之中還有茶水存在，花朵就會不斷地綻放盛開。茶碗中的茶，就是花朵能夠無限綻放的世界。如此喝茶，就如同將無限擴張的世界喝下去似的。
必須有茶水存在作品才會誕生。如果茶被飲盡的話，作品也就不復存在。茶是一種容易變化的存在，根據茶碗中茶水量的不同，茶水面積大小也會不斷改變。配合著這個變化，所誕生花朵的大小也會跟著改變。當茶水從茶碗之中濺灑而出時，該處也同樣會綻開花朵。
作品裡的花朵在一年裡會不斷變化，隨著季節的變化在每個月綻放出不同的花朵。
作品不是將預先制作好的影像進行放映，而是通過電腦程序實時繪制而成的。整體來說，作品的圖像並非復制以前的狀態，而是受到人們行為舉止的影響，持續發生變化。眼前這一瞬間的畫面，錯過就無法再看到第二次了。

地點：御船山樂園 園內
時間：御船山樂園開放時間內均可觀賞

供奉著祠堂（hokora）的，由巨石堆積而成的超自然的磐座（iwakura，日本古代自然崇拜（萬物有靈論）的一種）。

地點：御船山樂園 園內
*僅供在御船山樂園酒店及御宿竹林亭宿泊的客人觀賞

在江戶時代後期，建造御船山樂園時（1845年），建於池畔邊、用來作為第28代武雄領主鍋島茂義公的別宅，有著茅葺屋頂的荻野尾御茶屋。春天、秋天時會開放一般民眾進入。

地點：御船山樂園 園內
時間：御船山樂園開放時間內均可觀賞

據說由於與神功皇後自朝鮮半島的新羅歸來（200年左右）時的「御船」有所關連而得名。

地點：御船山樂園 園外
時間：24小時均可觀賞

別稱「御船山城」。
據說是由武雄第二代領主後藤資茂於1118年至1120年左右所建。
後藤家在江戶初期（17世紀前半葉）時，由佐賀藩主鍋島勝茂賜姓鍋島，並作為「親類（視同親戚）」，成為了武雄鍋島家。
塚崎城因江戶幕府的「一國一城令（1615年）」而遭廢城，整個江戶時代都作為武雄鍋島家的居館而存留下來。

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