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The Shell Exhibition

Hakuten Corporation

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Main Hall, Japan Hall – Exhibition Entrance Chapter titles are printed directly onto sand-textured panels flanking the entrance. A giant squid model is presented as the largest mollusk on display. - Akira Arai(Nacása & Partners Inc.)
Main Hall, Japan Hall – By dynamically wrapping the giant squid’s tentacles around the structure, the entrance creates a powerful visual that immediately draws visitors into the exhibition space. - Akira Arai(Nacása & Partners Inc.)
Main Hall, Japan Hall :The half-moon-shaped display fixture represents the evolution and phylogenetic relationships of mollusks. - Akira Arai(Nacása & Partners Inc.)
Main Hall, Japan Hall – Exhibition Entrance Chapter titles are printed directly onto sand-textured panels flanking the entrance. A giant squid model is presented as the largest mollusk on display. - Akira Arai(Nacása & Partners Inc.)

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Comments
Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Exhibition
8.17
8.17
7.83
8.00
8.04
Emma Maxwell
Emma Maxwell Founder at Emma Maxwell Design
Slick and ambitious. I really like...
5.01
3.77
6.27
4.78
4.96
Niels Kramer
Niels Kramer Creative Director EMEA at Tétris Design & Build
Can not get a hold on this design....
4
5
6
4
4.75
Samar Younes
Samar Younes Founder and Chief Imagination Officer at Samaritual
Good play on scale, and point of dr...
5
3.85
7.09
3.97
4.98
Philipp Schlauch
Philipp Schlauch Senior Workplace Consultant at Drees & Sommer
Designwise I like the contrast of n...
5
4.5
6.75
4
5.06
Eunice Wu
Eunice Wu Property Director at China Merchants Shekou
the stair is interesting, but overa...
6
4
5
4
4.75
Andy Thaemert
Andy Thaemert Sr Creative Director  at Nike
6.25
5.78
6.8
2.3
5.28
David del Valle
David del Valle Founder at Del Valle Studio
5.3
5.83
5.78
4.33
5.31
Chantal Vos
Chantal Vos Associate Partner at Kraaijvanger Architects
shops are created for people to vie...
5
4
4
3
4
Hongdi Li
Hongdi Li Founder and Creative Director at Studio Lux
The translation of the golf sport a...
4.5
5
4.8
4.1
4.6
Hihope Zhu
Hihope Zhu Founder and Chief Architect at Archihope
5
6
7
6
6
Corey Martin
Corey Martin Principal Designer at Hacker Architects
7.2
4.95
6.45
4.63
5.81
Collin Burry
Collin Burry Design Principal at Gensler
5
5
5
5
5
Vincent Zhang
Vincent Zhang Cofounder at Domani Group Limited
5.15
5.15
4.64
5.05
5
Client
National Museum of Nature and Science
Floor area
500 ㎡
Completion
2024
Budget
8 million yen
Social Media
Instagram
Creative direction
Design
Graphic design
Production of special structures
Photo

The Shell Exhibition : Why Are People Fascinated by Shells?

This exhibition at the Tokyo National Science Museum looked at shells not only as biological specimens, but also as cultural artefacts such as ornaments and jewellery. To express the long relationship between shells and people, real shells and sand collected from beachcombers were used for signage and exhibition surfaces. The spatial design was inspired by the fact that shells are formed by calcium carbonate, and the plaster-like walls and materials subtly reflect this origin. From the phylogenetic tree to the chapter signs, each element was designed as a symbol of the human-shell connection, turning the entire space into a narrative medium.

Innovation:
The project began with the fundamental question: ‘Why Are People Fascinated by Shells? Inspired by ancient shell mounds and the soft trajectories of sandy beaches, the spatial composition integrates chapter signage made with ethically collected shells—blending narrative depth with material authenticity. Scientific insight and poetic expression converge through the “Shell Tales,” connecting intellect and emotion throughout the experience. The exhibition invites visitors to perceive multilayered relationships between people and shells, humans and nature, past and present. Through conscious material choices and waste reduction, the design suggests a new direction for exhibitions—where culture, environment, and sensory engagement intersect.

Creativity:
In addition to scientific content, the exhibition integrated poetic and cultural elements. Short texts titled “Shell Tales”—a wordplay combining “kai” (shell) and “kaisetsu” (explanation)—were placed throughout the space. These texts encouraged visitors to reflect not only visually but emotionally and linguistically on the relationship between humans and shells.
Shells used for chapter signs were ethically collected with researchers, embedding narrative-rich materials into the space and creating a layered, immersive experience.

Functionality:
Chapter signs and Shell Tales functioned as narrative tools guiding visitors through text, material, and layout—allowing for intuitive understanding without explicit instructions.
At the center, a taxonomy fixture shaped like a finger-drawn path in sand served as both a sculptural focus and a unifying element, reinforcing the exhibition’s conceptual clarity.

Environmental and Social Impact:
Sustainability was a guiding principle throughout the project.
All shells were ethically sourced via beachcombing in collaboration with researchers, minimizing environmental impact. To reduce construction waste, leased panels were used; fixtures were made of recyclable plywood, assembled without adhesives using screws and tackers—facilitating future reuse.
This sustainable approach in both material and message not only embodied ecological responsibility, but also prompted visitors to emotionally engage with themes of biodiversity and coexistence.