Engaging with Society through Design Education

— What is the Japan Design Organizations As One (DOO)?

Tsuneo Ko (Ko) : DOO is a council consisting of seven design organizations: the Japan Design Space Association (DSA), the Japan Industrial Design Association (JIDA), the Japan Package Design Association (JPDA), the Japan Graphic Design Association (JAGDA), the Japan Interior Designers Association (JID), the Japan Jewelry Designers Association (JJDA), and the Japan Sign Design Association (SDA). The most distinctive feature of DOO is that it brings together professional design groups from diverse fields. While respecting the individual activities of each organization, we work together to address design-related challenges and contribute to society.

— How does DOO contribute to society?

Ko : We believe that utilizing designers’ expertise to foster design culture, educate the next generation, and create value for society is the ideal role of DOO. In this sense, our organization serves a public interest function. Since understanding design in the context of culture and society requires a research perspective, we have invited Professor Takemi Kuresawa, an expert in design history and theory, to oversee our initiatives.

Takemi Kuresawa (Kuresawa) : As a researcher and educator, I have always considered these issues. I first connected with DOO through discussions about a “design museum”—a museum dedicated to design activities. I have specialized in design museums for over a decade and published a book in 2014 showcasing examples from around the world. Unfortunately, I had to conclude that Japan lacks a dedicated design museum. However, DOO has been actively working on establishing a design museum through the Japan Design Museum Preparatory Committee (JDM). This initiative led me to collaborate with them.

Ko : In addition to preparing for a design museum, DOO operates other key programs. The Design Protection Committee works to raise awareness of intellectual property related to design, and the Public Relations Committee manages and promotes the “JAPAN DESIGNERS” database, which collects information on designers nationwide. These initiatives are educational and aim to bridge the gap between design and society.

Unified Under the Goal of Social Contribution

— Could you tell us about the founding of DOO?

Ko : Each of the member organizations has been holding awards and publishing annuals in their respective design fields since around the 1950s. The origins of DOO trace back to 1966 when these organizations came together to form the Japan Design Organizations Association. Later, in 2002, when the number of affiliated organizations reached eight, the association was renamed D-8. Finally, in 2023, we officially adopted the abbreviation DOO.

— Were there any challenges in bringing together multiple organizations?

Ko : When D-8 was first launched, each organization was heading in a different direction, lacking cohesion. After all, designers thrive on originality. However, as more people recognized the importance of social contribution and the shared vision of creating a museum where design could be explored and enjoyed from multiple perspectives, we gradually came together as a unified force, leveraging our collective experience and resources.

Kuresawa : From an objective standpoint, it may not have been the case in the past, but today, I feel that there is a strong sense of unity among the organizations. Each group operates in different areas of expertise, but I sense that they are all supported by a common core—a shared backbone of design, underpinned by a unified set of values.

Social Education Activities Exploring the Connection Between Design and Daily Life

— You mentioned the universality that transcends different design fields. What common elements do you see across spatial design, interior design, graphic design, and other disciplines?

Ko : I believe the key factor is how closely design is tied to everyday life. Our work revolves around the concept of “Postwar Japan Design,” which explores designs that have influenced Japanese society and daily life, as well as designs that have been shaped by them. By analyzing which designs were valued in different eras, we can gain a broader understanding of Japanese design. Through this approach, we can identify enduring elements alongside evolving trends.

Kuresawa : Take the 1970s, for example, when SONY’s Walkman was introduced. If we examine that decade as a whole, we see that innovations were occurring across multiple fields. Reflecting on history in this way can provide valuable insights for fostering innovation today. The Postwar Japan Design research project, where different organizations collaboratively build a shared body of knowledge, is a unique achievement that sets DOO apart.

Ko : We present our findings through exhibitions and other means, but we recognize that their true value lies in education. This is because there are very few institutions in Japan that offer comprehensive design education. While universities do teach design, lectures and assignments alone are often insufficient. We believe that cultivating talented designers will create a strong foundation for Japanese design, which is why we are committed to this mission.

Toward the Establishment of Japan’s First Design Museum

— A design museum seems to be a prime example of social education. Could you tell us about the efforts toward its establishment?Toward the Establishment of Japan’s First Design Museum

Ko : To provide some background, the Design Museum Establishment Preparatory Committee, which actively operates within DOO, has strong ties with the Ministry of Economy, Trade and Industry (METI). In 2003, a METI research group published a report titled “40 Proposals for Strengthening Competitiveness,” which included the initiative to “create opportunities to engage with diverse and excellent designs through the establishment of a design museum.” At that time, the Japan Industrial Design Association was already operating a small-scale design museum, but this policy became the catalyst for a more unified effort among various organizations to work together toward a larger initiative.

Kuresawa : One of our most recent activities was the “ROOTS OF FUTURE – Exploring the Past, Finding the Future” exhibition, held in Tokyo Midtown in 2024. The exhibition was structured with chronological design genealogy charts summarizing achievements in each design field from the 1950s to the 2020s. These were interlinked with separate keyword-based displays to provide a comprehensive perspective. Many students visited the exhibition, and we believe they were able to grasp the evolution and universal value of Japanese design. More importantly, through this exhibition, we gained a strong sense that we had created a prototype of a design museum. Since a design museum cannot be built overnight, we believe that it is essential to start with small initiatives and develop a gradual vision toward its realization.

— Could you elaborate on the vision for the design museum?

Kuresawa : We want to emphasize the importance of learning through direct encounters with real objects. Design does not emerge out of nowhere—it is always built upon the accumulation of past knowledge and historical continuity. A museum serves as a space to understand this legacy—to learn from the past to create the future. In other words, past knowledge becomes the foundation for new ideas. Since one of the core social functions of a museum is to provide educational opportunities, we aim to offer as much knowledge as possible. Think, for example, about the importance of preserving ancient ruins. Within existing artifacts, there are hidden technologies and wisdom—just like how skilled carpenters can construct buildings without blueprints, relying solely on their knowledge and experience. Museums play a similar role in extracting and passing on this wisdom.

Ko : From a museum studies perspective, the foundation of a museum lies in research activities, which generate valuable specimens—resources that need to be preserved. Over time, the question arises: How do we utilize these specimens? You could compare it to cooking ingredients—the real essence of a museum lies in how these elements are processed and prepared. The act of serving and sharing the “prepared dish” with the public is what exhibitions and displays represent. Through education and outreach, exhibitions become deeply connected to society. We believe that a design museum will also follow this natural cycle and become a powerful tool for engagement and education.

New Technologies and Archives

— With the advancement of digital archive technology, what developments do you look forward to?

Kuresawa : As 3D scanning technology continues to evolve, it will allow us to capture information that could not be preserved through photographs alone. In extreme cases, digital scanning can even be used to preserve full-scale buildings. Beyond simple documentation, this technology holds great potential for recreating experiences. Entire environments, spatial designs, and urban signage systems can be replicated within virtual spaces, enabling future generations to interact with them in immersive ways.

Ko : The advantage of digital technology is that it allows us to preserve not only tangible products but also disappearing spaces. However, because digital archives exist as data, their usability and accessibility require careful planning.

Kuresawa : One reason why digital museums have yet to become widespread is the difficulty in determining what to preserve. Since digital data can be stored indefinitely, it becomes challenging to select which pieces of information are truly valuable. This is why it is crucial to establish clear and systematic selection criteria.
At DOO, most of our member organizations conduct annual design awards, recognizing outstanding works in fields such as graphic design and jewelry design. In that sense, we already possess historically validated selection standards, which could serve as a foundation for curating digital archives.

— It sounds like there is great potential for a digital version of a design museum. Thank you for sharing your inspiring initiatives today.