FLUX was held at Designart Tokyo 2019 in order to convey the aesthetic and philosophy of Grand Seiko's premiere luxury watch, the Spring Drive. In order to specifically convey the aesthetic of the watch rather than its mechanical function, we opted to eschew any complete timepieces and instead only present parts of watches amongst a specifically-created fluid, acting as a metaphor for time. In order to convey the idea that the essence of time lies precisely in its fleeting and transitory nature, and in the subjective experience of that time, we used the flowing liquid as a metaphor for something that is constantly in flux and never the same twice. Over the length of a 10-metre distance, an immersive and darkened space presents a row of plinths with suspended watch fragments and mechanisms, positioned and spotlighted in the centre of a pool of water. A series of controlled illuminations are emitted by a special liquid, timed in unison with a backdrop of graphic moving imagery. Through various experimentations and trials we developed a special liquid that once a UV laser is applied to it, the liquid emits light for a certain period of time before gradually attenuating. Inside the pool of water, a system that pumps over 100 conduits allows the luminous liquid to gradually spread and disappear. When light hits the components of watches positioned on the plinths, the light stays in the liquid beneath, and the illuminated liquid, powered by a pump, flows slowly out as it creates organic ripples. In addition, computer graphic imagery suggesting the transition of time encompasses the entire space. FLUX utilises light to visualise the flow of ever-changing organic liquid, and suggests the individual differences in time felt by people, and in the way they engage with that sense of time. The special liquid is a representation of the constant change and transience of time as its motion comes alive with light. We intentionally created a pitch-black space to re-direct attention and concentration to the ripples of light observed on the liquid, to encourage the feel of time flowing through guests. The formation of the pool and plinths were also intentionally kept as simple as possible, to further redirect focus on the sensorial elements. To heighten an immersive experience, we collaborated with a sound designer to create a simple environmental sound that elevated a sensorial frequency and increased visitors' concentration. The sound reflected water droplets dripping and reverberating in an echo chamber, and were timed in conjunction with the momentum of the computer graphic imagery. The experimental sound provided an element of intrigue yet familiarity of dripping water, adding to the contemplative atmosphere of the space.