Sumitomo Pavilion Creator’s Voice Vol.5 Mayuko Sakata
Hello from the Sumitomo Pavilion!
In this “Creators’ Voice” series, we introduce the people behind the exhibition, architecture, and experiences that bring the Pavilion to life.
From their thoughts on the Expo and the Pavilion to the challenges they’ve overcome and their unshakable creative vision, each story reveals a new layer of inspiration.
Have you found this secret room in the UNKNOWN FOREST?
This time, we speak with Mayuko Sakata, the designer of ”Beneath the Sunlit Leaves”, a space that has become a hot topic on social media as a “hidden place” in the Pavilion.
＜Profile＞
After graduating from Osaka University of Arts (Space Design course), Sakata built her experience at Tanseisha Co., Ltd. and is now working as a freelance designer. She has contributed to a wide range of corporate spaces such as museums, showrooms, and event venues. She was also involved in the Japan Pavilions at both Expo 2015 Milan and Expo 2020 Dubai. With a focus on “designing experiences,” she always aims to create spaces that clearly deliver their intended messages.
https://bento.me/mayukosakata
How did you get involved with the Sumitomo Pavilion?
Shortly after leaving my previous job, I received an invitation from Mr. Jun Naito, the General Producer, to join the Sumitomo Pavilion project.
Having worked with him closely at the Milan and Dubai Expos, I was honored and excited to be invited again. I was especially thrilled to be involved in another Expo, which has long been a kind of life’s work for me.
At the same time, I was nervous—jumping into a team where I knew almost no one. But I also felt the excitement of stepping into something completely new.
A space co-created with Lito@LeafArt
The “Garden of Sunlight Filtering Through Trees” is a collaborative space created with Lito@LeafArt.
From the outset, the question was how to present Lito’s intricate works in a way that would make the most of the space. Because the pieces are silhouettes, I felt from the very beginning that incorporating “light and shadow” into the presentation would be ideal.
Once we decided on the current concept from among several ideas, the next challenge was figuring out how to translate the perspective drawings—originally led by visual imagination—into a physical space.
The choice of materials, shapes, and the layout of the ceiling decorations would greatly influence the overall impression. While progressing with the entire balance in mind, there were many aspects that could only be determined by seeing them in real life. With the invaluable cooperation of the production team, we conducted full-scale mockups many times, gradually refining the design.
In the actual space, lighting is placed above the ceiling decorations to create the dappled light effect. We fine-tuned the lighting direction, height, and flicker patterns, as well as the airflow that causes the decorations to gently sway, repeating the adjustments until the atmosphere felt just right.
Because Lito’s works are so small and intricate, there were parts that could not be cut with machines. We divided the process between machine-cut elements and those Rito would cut by hand, working closely with each section to ensure every detail was handled with care. Through this teamwork and meticulous attention to detail, the vision finally took shape.
Did you find all of Lito’s works?
There are 6 hidden pieces by Lito@LeafArt in the Garden of Sunlight Filtering Through Trees. They’re not easy to find—have you spotted them?
Throughout my time working on Expos, I’ve met many people who said, “Seeing Expo ’70 in Osaka made me want to do this kind of work.” I secretly hope that some children visiting this Pavilion today will feel the same way. If I’ve planted a Seed for the Future in someone, that would mean the world to me.
“The power of real experience”
This Expo reminded me just how valuable real, physical experiences are.
We live in an era where amazing things can be done through apps and devices—but what truly moves people’s hearts is being there in person, in a real space.
I hope to keep creating those kinds of spaces going forward.
