ONE Asia Creative Awards
ONE Asia Creative Awards celebrates the best creative work of the year from the Asia Pacific region. Formerly known as the One Show Greater China Awards, which was founded in 2014 by The One Club for Creativity, the awards were established because of the tremendous growth and evolution of creativity in the Asia Pacific market. It presents an unparalleled level of prestige and honor for creatives, designers and innovators in the region. The awards are a fusion of culture where East meets West that brings the creativity of the region to the global stage.
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Category
Virtual Installations
Annual ID
OA25_INM004M
Background
Singer-songwriter Kenshi Yonezu stands at the intersection of Japanese pop culture, spanning anime, gaming, drama, and film with his boundary-pushing creativity. His opening theme “KICK BACK” for the anime “Chainsaw Man” made history as the first Japanese-language song certified gold by the RIAA®. In 2023, he composed “Spinning Globe” for Studio Ghibli’s Oscar-winning film “The Boy and the Heron”, and “Moongazing” for the Square Enix game “FINAL FANTASY XVI.”
In 2024, he released his latest album “LOST CORNER”, whose title is inspired by an imaginary lost-and-found described in Never Let Me Go, one of his favorite novels by Kazuo Ishiguro, where all missing items finally gather.
In 2024, he released his latest album “LOST CORNER”, whose title is inspired by an imaginary lost-and-found described in Never Let Me Go, one of his favorite novels by Kazuo Ishiguro, where all missing items finally gather.
Creative Idea
To mark the release of his latest album, “LOST CORNER,” we explored the future of music entertainment at Harakado, a new spot opened in 2024 and named after “the corner of Harajuku.” This intersection of Japanese cutting-edge cultures became the stage for a groundbreaking AR concert, bringing together the imaginations of artists and audiences.
After a decade of mobile AR, superimposing a virtual artist was nothing new. To go beyond, we introduced three innovative challenges. First, an AR experience viewed from a rooftop 28 meters above ground, overlooking the intersection below. Second, stage effects unique to AR, powered by physics simulations. Third, interactive elements that engage the audience in real time.
Through these innovations, we set out to seamlessly merge the artist’s boundless imagination and the audience’s real-time excitement, with no spatial misalignment and no latency, to craft a moment of pure immersion.
After a decade of mobile AR, superimposing a virtual artist was nothing new. To go beyond, we introduced three innovative challenges. First, an AR experience viewed from a rooftop 28 meters above ground, overlooking the intersection below. Second, stage effects unique to AR, powered by physics simulations. Third, interactive elements that engage the audience in real time.
Through these innovations, we set out to seamlessly merge the artist’s boundless imagination and the audience’s real-time excitement, with no spatial misalignment and no latency, to craft a moment of pure immersion.
Insights & Strategy
Music fans are drawn to an artist’s ever-evolving vision and creativity, finding themselves captivated by the constant reinvention of their world. In a world of constantly shifting information, Kenshi Yonezu continues to provide never-seen-before entertainment that keeps audiences fully engaged. This AR concert is a clear example of that commitment.
In addition, when promoting the album release, it’s vital not only to spark fervor among core community fans but also to expand that excitement beyond the existing fan base. By combining an innovative AR experience with Harakado’s cutting-edge location, we aimed to spark conversations across music, entertainment, technology and tourism expanding its reach beyond traditional audiences.
In addition, when promoting the album release, it’s vital not only to spark fervor among core community fans but also to expand that excitement beyond the existing fan base. By combining an innovative AR experience with Harakado’s cutting-edge location, we aimed to spark conversations across music, entertainment, technology and tourism expanding its reach beyond traditional audiences.
Execution
We designed an “haute couture VPS: visual positioning system.” To create an AR experience for rooftop viewing, we developed a dedicated high-precision 3D map instead of relying on a generic open-source version. With centimeter-accurate positioning and frame-level synchronization, we crafted a performance in which the artist moved dynamically and the stage shifted like a kaleidoscope.
We also harnessed physics simulation, which enabled massive AR objects to interact with real-world terrain and architecture, and an interactive experience in which the audience threw AR objects toward the stage, building up the climax together.
For ten days, we hosted a special album release event on Harakado’s rooftop, with the AR concert as its centerpiece. The viewing area, equipped with the latest iPads featuring M4 chips, delivered a richly immersive and dynamic experience, seamlessly integrating cutting-edge technologies to push the boundaries of what’s possible today.
We also harnessed physics simulation, which enabled massive AR objects to interact with real-world terrain and architecture, and an interactive experience in which the audience threw AR objects toward the stage, building up the climax together.
For ten days, we hosted a special album release event on Harakado’s rooftop, with the AR concert as its centerpiece. The viewing area, equipped with the latest iPads featuring M4 chips, delivered a richly immersive and dynamic experience, seamlessly integrating cutting-edge technologies to push the boundaries of what’s possible today.
Results
At an intersection of technology and creativity, the artist and audience’s imagination converged for a brief moment. A fleeting yet unforgettable experience, true to the name LOST CORNER.
Reservations for the AR concert filled up instantly, with over 4,000 people experiencing this exclusive event. From music media and tech publications to television coverage, the concert gained attention across multiple contexts. Critics and audiences alike praised this groundbreaking initiative, calling it “an ambitious project that opens new doors,” “Inarguably the greatest AR concert,” and “No AR concert will beat this.” This unprecedented event not only solidified Yonezu’s reputation as a visionary artist but also deepened the love and respect for his creative genius.
Times change, but the essence of concerts remains the same: a surreal immersion in an artist’s creation. Technology evolves not to replace it but to augment reality itself.
Reservations for the AR concert filled up instantly, with over 4,000 people experiencing this exclusive event. From music media and tech publications to television coverage, the concert gained attention across multiple contexts. Critics and audiences alike praised this groundbreaking initiative, calling it “an ambitious project that opens new doors,” “Inarguably the greatest AR concert,” and “No AR concert will beat this.” This unprecedented event not only solidified Yonezu’s reputation as a visionary artist but also deepened the love and respect for his creative genius.
Times change, but the essence of concerts remains the same: a surreal immersion in an artist’s creation. Technology evolves not to replace it but to augment reality itself.
2025 Awards
Total Points: 2
Merit Award
Credits
Agency
Six Inc. / Tokyo
Production Company
Spoon. / Tokyo
Whatever / Tokyo
Animator
Shuto Fujisawa
Art Director
Yuichi Takatani
Creative Director
Masako Suzuki
Yuta Okuyama
Director
Jun Tamukai
Producer
Ayako Watanabe
Cinematographer
Koretaka Kamiike
1st CA
Yuuki Shimada
2nd CA
Kaito Yoshida
3rd CA
Yuto Mori
Assistant Choreographer
Hina Masuda
Sola Sakazaki
Assistant Designer
Asami Inoue
Assistant Engineer
Kazuya Nagamachi
CG Designer
Ayaka Yamaguchi
Comomo Kanayama
Daisuke Fujikawa
Junpei Yoshizawa
Shinji Masuyama
CG Director
Takeshi Ozaki
Yu Onishi
CG Producer
Futoshi Nagata
Hidekazu Ohtake
Kota Yamaguchi
Nobuyuki Asaoka
CG Production Manager
Masashi Kikuchi
Yoshihiro Tanabe
Yuzuki Nakase
CG Technical
Naoki Sato
Naoya Hoshino
Choreographer
Tomohiko Tsujimoto
Colorist
Sota Ito
Creative Planner
Gentaro Yajima
Yuki Ueda
Yusuke Amagai
Engineer
Takanobu Izukawa
Film producer
Dai Sano
Hiromi Sato
Film Production Assistant
Masaru Sogabe
Film Production Maneger
Shiwo Futai
Floor Director
Yosuke Tanabe
Frontend Engineer
Eri Matsutake
Modeler
Mitsuyuki Tsukidate
Takahiro Soejima
Yuka Fujita
Modeling Director
Daiki Moriizumi
Takayuki Kimura
Motion Caputure Artist
Erina Oyama
Mai Suzuki
Makoto Ii
Raifu Kojima
Shuhei Takizawa
Toma Nakayama
Motion Caputure Director
Akio Asao
Motion Caputure Producer
Yuta Koike
Offline Editor
Masayuki Kubo
Online Editor
Takayuki Yasoshima
Project Manager
Kanako Nagatomi
Saki Yoshihara
Project Manager / 3D Map Specialist
Ryo Kuroda
Rigger
Naoya Akiyama
Sound Effects
Junichi Uga
Sound engineer
Masayuki Sato
Studio Manager
Katsumi Nihommatsu
Technical Artist / VFX Artist
Koki Ibukuro
Technical Director
Genki Toyama
Technical Producer
Mamoru Kamikawa
XR Technical Director
Yuya Takayama
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