Difference Makes the Difference —
Inside the Inclusive
‘A Mystery of the Senses’ Difference Makes the Difference —
Inside the Inclusive
‘A Mystery of the Senses’

With the return of inbound tourism, we initially began thinking about how we might attract more international visitors. But as we talked with the team at HERALBONY, we realized that our previous puzzle events hadn’t been truly accessible for everyone. It wasn’t just about language barriers or tourists from abroad. We started to see that there were many people, including those with disabilities or different ways of experiencing the world, who had been unintentionally left out. That led us to think more deeply about how we could open things up and create something more inclusive.

When our team first visited the Sapporo Art Park, we played a little game as we walked through the Sculpture Garden. We tried to guess the titles of the artworks just by looking at them. What really struck us was how differently each of us imagined them. The way I saw a sculpture was completely different from how someone else did, and that sparked a fun conversation.
It made us wonder what kinds of interpretations children might have, for example. That’s when we started thinking: what if we created a puzzle that invited all kinds of people to explore and enjoy the park in their own way? That idea of opening it up to more people became really exciting for us.

While most museums have rules against touching the exhibits, at the Sapporo Sculpture Garden, you’re invited not just to view, but to touch the sculptures as well. What makes this museum truly special is the seamless integration of the sculptures with the surrounding nature, including the river and trees, creating a strong sense of connection.
Here, you can hear, see, and touch, which makes it a space that truly welcomes and includes people from differing backgrounds.

HERALBONY helped us rediscover the charm of our own facilities. These were things we tend to overlook simply because we see them every day. They brought a perspective that is uniquely their own, and their ideas went far beyond just catering to international tourists. We’re truly grateful for the insights they shared.

The Sculpture Garden, with its artworks set amidst nature, is full of forest trails and uneven ground, which can be challenging to navigate. For example, visitors with strollers, young children, or limited mobility might find some areas difficult to reach. In addition to these physical challenges, we also wanted to ensure that people with visual or hearing disabilities could participate in the experience and enjoy solving the puzzles just like anyone else. To achieve this, we created multiple pathways through the puzzle experience, allowing each participant to choose the route and type of puzzle that best suited their individual needs or preferences.

Traditional puzzle events usually present a single problem, and for those with disabilities, it can sometimes be impossible to even access the puzzle. For this event, we have created three types of puzzles: one that can be solved through sound and touch, one that doesn’t rely on language, and one that can be solved on a route with fewer slopes. Regardless of which puzzle is chosen, the answer is the same.

As someone who is deaf, I experience a world without sound. For those with visual disabilities, sound can be a helpful tool in solving puzzles. However, for deaf individuals, any puzzle that relies on sound becomes completely inaccessible.
Everyone perceives and interacts with the world in different ways, and that’s perfectly okay. When we thought about how to create a space that fosters inclusion and recognition for all, we realized that offering multiple approaches to the puzzles would be the best way forward.

Since we’re the ones directly engaging with the customers, in the early stages, we were worried about whether someone who is visually disabled would actually be able to solve the puzzles. We weren’t sure if those with visual disabilities would be able to engage with it fully. There was always a part of the process where we could only imagine how it would work, and we didn’t have full confidence in that.

Even when Fumi and I were creating the puzzles, we could only imagine the challenges faced by people with visual disabilities. It really became clear to us how important it was to listen to genuine feedback during the creation process.
For example, we asked Kenji Ishii, a blind communicator, to supervise the puzzles. Then, once we had a rough draft, we invited people from diverse backgrounds, including wheelchair users, people who are deaf, and foreign nationals, to do test plays. With their feedback, we were able to refine and update the puzzles to ensure they were accessible and enjoyable for everyone.

At first, when we thought about including people with disabilities, we were focused on things like providing audio guides or improving the uneven paths and the physical infrastructure.
But during the test play, we realized that it’s not in fact just about fixing the physical aspects. What matters even more is the mindset we, as staff, have. It’s about being prepared in our hearts to welcome and accept people from all walks of life. That awareness is far more important than any physical adjustments we could make.
Even though our intention was to be inclusive, we found ourselves hesitating. We worried about saying something that might offend or hurt someone, or whether our actions might come across as disrespectful.

But then Mr. Ishii told us, “If you’re unsure or wondering whether something is necessary, you should just go ahead and ask.” That really opened things up for us. Over the next two days, we asked a lot of questions to get Mr. Ishii’s input, like “Is this path accessible for you?” and “What would be helpful for you?”
For instance, we had initially considered providing an accompanying staff member. However, we realized that being left alone with someone unfamiliar could actually cause more stress. This input made total sense. It was a reminder that sometimes our well-intentioned ideas can be short-sighted, and it was a valuable learning experience for us.

One of the unique features of the sculptures is that they can be experienced not only visually but also through touch. However, the policy on whether visitors are allowed to touch the sculptures varies from one museum or facility to another.

At the Sapporo Sculpture Garden, some sculptures were once off-limits to touch. With the creation of “A Mystery of the Senses,” we took time to reflect on the reasons behind these restrictions. After thoughtful consideration, we decided not to impose a prohibition.

There were several areas with uneven terrain and steep slopes. These paths were once well-maintained, but over time, they became worn down, making it increasingly difficult for wheelchair users to navigate. Unfortunately, we grew accustomed to this, and since most visitors could still pass through without issue, the need for repairs was gradually deprioritized.
However, with this project, we recognized the need to change our approach. Our goal was to ensure that wheelchair users wouldn’t be excluded from experiencing the sculptures simply due to challenging terrain. As a result, we focused on improving the paths to make them more accessible for everyone.

We also had the HERALBONY team do an accessibility check on our website, and through that process, we were able to clarify some policies that had previously been unresolved or undefined.
Another key takeaway was that when we receive inquiries, it’s essential for everyone involved in the operation to approach them with a welcoming attitude, ready to embrace people from all backgrounds. Even when there are limitations, it’s important to be transparent and provide clear explanations. It was a valuable lesson in the importance of shared understanding and openness.

Some visitors told us they discovered our event through our website, where they saw that it was wheelchair accessible. This feedback has been really encouraging, and we’re excited to expand our outreach even further going forward.
We even had one puzzle enthusiast who managed to solve all three puzzles in just two hours. They mentioned that the different experiences were enjoyable because each one appealed to different senses.

Initially, we designed the experience with wheelchair users in mind, but it ended up being accessible for other groups as well, like people with strollers, families with young children, and the elderly.
We also received feedback from parents saying, “I’d love for my younger child to experience this too.” The beauty of using non-verbal, sensory-based puzzles is that it allows anyone to participate and challenge themselves, even if they can’t solve everything. That, in a way, was an unexpected benefit.
I believe that challenges or limitations don’t always come from “disabilities” alone. Sometimes, people face difficulties simply because of their circumstances. With this project, I think we were able to approach that broader range of needs.

Initially, my goal was simply to raise awareness about the Sapporo Art Park and encourage more people to participate in the event. However, as I reflected on the process, I realized there were individuals who, despite their interest, were unable to engage.
When we decided to offer three different types of puzzles, my initial thought was to create a special course specifically for people with disabilities. However, instead of focusing solely on creating a separate course, we aimed to design a space where everyone, regardless of their abilities, could use their individual strengths to approach the puzzles in various ways. This shift wouldn’t have been possible without the whole team, and I’m excited to keep improving the experience so that everyone can have fun together.

What I’ve come to realize is how important it is to recognize that we are, in many ways, more alike than different. For example, there’s a line between Fumi, who is deaf, and myself. But that same line exists between me and Reimi, who hears like I do, and between everyone else too. While that line may never disappear, it has become narrower, and now there are many more ways to bridge it.
It reminds me of Mr. Ishii’s exceptional spatial awareness. It’s similar to how we all have our own strengths and weaknesses. What matters most, though, is taking that first step toward communication with others.

Originally, we were aiming for the project to launch in 2024, but as we started discussing both the staff’s mindset and the physical space, we realized that we needed to make some changes. So, we decided to delay things. The discussions and the time it took to carefully examine every detail were much longer than for a typical puzzle game. But working through this, while being mindful of each person’s differences, was incredibly rewarding.
As someone who is deaf, I often find myself wondering, ‘Should I even participate in an event?’ I worry about whether I need to ask questions, negotiate, arrange for an interpreter, or if I will be expected to cover the cost myself. I also wonder if there will be subtitles available.
With this project, however, the message was clear: ‘It’s okay, anyone, whether it’s you, me, or anyone else, can come and enjoy.’ To me, that message is more than just an invitation; it’s an affirmation of the value of every individual. It’s a powerful reminder of the importance of inclusion.

At HERALBONY, we believe that “disability” is not something inherent in individuals but often a result of the way society is structured. When we recognize that certain rules and systems unintentionally create obstacles for some, it helps us see things we might have overlooked before.
By focusing on accessibility and inclusivity in our projects, we aim to encourage a more open and equal way of thinking. Our goal is to share the new perspectives and insights we gain through this approach, hoping to change how people view the world and each other.

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