The Urgent Need for Design Archives

— How was the “Platform for Architectural Thinking (PLAT)” founded?

Seki : Three of our directors—Kayoko Ota, Hiromasa Shirai, and Keigo Kobayashi—are from the field of architecture and have worked at the globally renowned architecture firm Office for Metropolitan Architecture (OMA), led by Rem Koolhaas. Rem also runs a think tank called AMO, which actively engages in research on cities and architecture. Inspired by this approach, the three of them wanted to establish a similar initiative in Japan to promote architectural culture through publications, forums, and urban planning.

I had known Kayoko Ota for a long time and was involved in a community revitalization project in Omishima, Ehime Prefecture, led by architect Toyo Ito. Our conversations naturally led to the realization that “Design is indispensable to architecture and urban development.” Over the course of nearly a year, we held discussions and ultimately decided to form an NPO as a platform for our activities.

— How did you come to focus on archive research within PLAT?

Seki : My interest in archives began in 2011 when I directed the exhibition “Shiro Kuramata and Ettore Sottsass” at 21_21 DESIGN SIGHT. During my research, I wanted to interview people who had known Kuramata, but many companies had closed down, and several individuals had already passed away. This made me realize that interviews and archival work must be conducted while the individuals are still alive; otherwise, it becomes too late.

At the time, I was too busy with other work to pursue archives, but once PLAT was established, I was able to launch an archive research project as an individual initiative within the organization. PLAT’s flexible structure allowed each of us to run independent projects while also collaborating on shared initiatives.

— Why did PLAT choose to operate as an NPO?

In Japan, it is quite difficult to establish and manage a for-profit company in the fields of culture and education. Additionally, since all four of us have our own primary professions while engaging in this initiative, we felt that an NPO structure would be the most suitable, as it allows us to raise operational funds through grants and membership fees.

In fact, one of the key reasons we have been able to continue the Japan Design Archive Survey is that we secured funding from the Ishibashi Foundation at an early stage. There are very few foundations in Japan that provide grants for design, and even fewer that support archival initiatives. The fact that we have been able to interview many renowned designers is largely due to the credibility that comes with having the Ishibashi Foundation’s support.

Making the website bilingual was also a suggestion from the Ishibashi Foundation. For an NPO with limited funding, this was a significant challenge, but we found creative ways to make it possible. As a result, about 10% of our website traffic now comes from overseas, and we have started receiving inquiries from international audiences. We believe this has been an important step in enhancing the global recognition of the value of Japanese design.

Documenting the Footprints of Design Legends

— Could you give us a detailed overview of the Japan Design Archive Survey conducted by PLAT?

Our research primarily involves interviews with designers who have played a significant role in Japanese design history, as well as with museums that house their works and related materials. We document their perspectives on design archives and their approaches to preserving them. In recent years, we have also started focusing on the individual achievements of each designer.

Initially, the project was intended to investigate the state of design archives held by designers and museums. However, as our research progressed, we realized that a designer’s philosophy, actions, and legacy are just as essential to the archive as their works themselves.

About a year after the project began, we expanded our interviews to cover both aspects, and we also began gathering opinions on Japan’s design museums and archival initiatives. Our ultimate goal is for this research itself to become a “digital archive of designers.”

— The project evolved from simply researching archives to archiving designers’ thoughts and philosophies. What considerations do you have in presenting these archives?

I have always felt that Japan does not value its historical legacy as much as it should. Even for a legendary designer like Ikko Tanaka, it is difficult to find a comprehensive overview of his work online—despite the sheer volume of information available in the digital era.

With this in mind, our website aims to first provide basic information about each designer, including who they were and what kind of work they did, along with key representative works. For those who wish to explore further, we also include references to books, archives, and contact information whenever possible.

“A Wealth of Discoveries” – The Words of 100 Designers

— Your website features interviews with designers from a wide range of disciplines. How do you determine the scope of your interview subjects?

We primarily focus on industrial design fields such as graphic design, product design, interior design, and textile design. At present, we limit our interviews to freelance designers, excluding in-house designers. Additionally, we include design critics, design directors, and photographers who have been deeply involved in the design world.

— How do you select the individuals to be interviewed?

Initially, we created a list of about 50 key figures in consultation with the project members. This list included legendary designers such as Yusaku Kamekura and Ikko Tanaka, whose influence is widely recognized.

As we conducted more research, we often received suggestions like, “You should interview this person,” or “this person must be included.” We continuously updated our list based on these recommendations. Since many of the interviewees are elderly, we approach each interview with care and prioritize them thoughtfully.

— Interviewing nearly 100 designers must require an immense amount of effort. What has kept you motivated to continue?

The stories they share are simply fascinating. These are pioneers who built Japan’s design industry from scratch after the war—their experiences are filled with anecdotes that would be unthinkable in the Reiwa era today. The energy and resilience of those who led Japan’s postwar design scene is truly extraordinary.

Moreover, as we listen to their stories, unexpected connections emerge—“This person was linked to that person,” or “this design was influenced by a particular historical event.” These discoveries offer a glimpse into the social and human dynamics of each era, making every interview an exciting learning experience.

I believe that is why we have been able to sustain this project. The writers and designers involved in the initiative do not just see it as a duty—they are genuinely passionate about it and consider it their life’s work.

Preserving Archives Through Both Web and Print

— There are many ways to archive information. Why did you choose the web as your primary platform?

The main reason was cost-effectiveness—compared to print, maintaining a web archive is significantly more affordable. Additionally, the state of archives is constantly evolving. For example, materials once kept by a family might later be donated to a museum, or designers might establish their own personal archives. The web offers the flexibility to update and reflect these changes in real time.

That said, we also print 200 copies of an annual report at the end of each fiscal year and distribute them to relevant institutions.

Since digital data can become obsolete due to technological advancements, we are planning to compile our research into a printed publication to commemorate the project’s 10th anniversary. While print may be considered an “old media,” it ensures long-term preservation.

We have already interviewed about 90 designers, and by 2025, when we reach our 10th anniversary, we aim to complete 100 interviews. Although it may not be possible to include every important figure, we plan to mention those we could not interview in the introduction, ensuring that we preserve as much information as possible. By donating these records to art universities and museums, we hope they will be widely utilized.

Positioning Design in History

— Is print the best medium for long-term preservation?

It may seem sudden, but consider the book Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari (1511–1574), which provides biographical accounts of Renaissance artists like Leonardo da Vinci and Michelangelo. This book remains a valuable historical resource for understanding that era.

This may sound ambitious, but by preserving our digital archive of designers in print, we hope to secure a lasting place for design within cultural history.

In Japan, design is often framed as a component of economic activity, but it is also a cultural element that reflects civilization, daily life, and technology. As design transforms from analog to digital, it is essential to document and position the thoughts and activities of past designers as part of history—not only for preservation but also for future reference and inspiration.

Sowing the Seeds of Design for the Next Generation

— How do you view the significance of design archives?

Many of the designers who helped rebuild postwar Japan have passed away, or their studios have closed, leading to the loss and dispersion of their works and materials. In some cases, family members store these archives at home or in warehouses, but there is no guarantee that they will be preserved indefinitely. This sense of urgency is at the heart of our initiative.

Additionally, learning from the past is also for the benefit of those of us living today. After the chaotic postwar period, Japan’s industrial development was driven by the power of design. When we look back at this history, we can find many valuable lessons and insights that can help us navigate the present and move forward positively into the future.

— What kind of initiatives do you think are necessary to widely communicate the significance of design archives?

I believe it is important to create ways for people to feel a personal connection to archives. At PLAT, we have organized initiatives to bring archives closer to the public.

For example, in 2018, we planned a workshop where participants visited designers’ studios. A designer’s workspace is the perfect setting to experience their creative world firsthand, offering a unique opportunity to gain deeper insight into their design philosophy.

In 2019, we organized another event as part of a project marking 30 years since the passing of Shiro Kuramata, titled “PASS the BATON: Talking About Shiro Kuramata.” As part of this initiative, we visited Kuramata’s home and held a study session, allowing participants to experience his world directly.

Following this, we held a symposium at the National Museum of Modern Art, Tokyo, in Takebashi, and compiled the event’s discussions into a book titled “Introduction to Shiro Kuramata.” This project began with the desire to pass Kuramata’s spirit on to younger designers, and I believe that such initiatives play a key role in demonstrating the true value of archives.

Archives as the Foundation of Design Education

— How do you view the role of archives in education?

I believe that education is at the core of design archives and museums. The late design critic Hiroshi Kashiwagi also emphasized this idea.

I personally think it would be wonderful if children in elementary and middle schools had more opportunities to learn about the joy of craftsmanship, the excitement of creation, and the richness of Japanese culture through design. If design education were incorporated into subjects like art and craft classes, allowing students to learn about design, engage with it hands-on, and experience the creative process, it could plant the seeds of design thinking in young minds.

In this regard, design archives play a crucial role. Initiatives like the “DESIGN デザイン design” project, led by the Ministry of Economy, Trade, and Industry (METI), are commendable in building archives, but I hope that similar efforts will also involve the Ministry of Education, Culture, Sports, Science, and Technology (MEXT) to integrate design archives into educational and cultural spaces.

If 500,000 children were given the opportunity to study design, even if just a few of them chose to pursue a career in design, that could lead to the emergence of future talent who will shape the design industry and contribute to the evolution of Japanese design and culture.