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Survey on the actual situation of Japanese design archives

what is going on?Design archives of these people


Edited and Published by Art Archives Center, Tama Art University


Interview: August 24, 2020 13: 00-15: 00
Interview location: Tama Art University Art Archive Center 4th floor
Interviewees: Kenichi Yoneyama (Director of Art Archive Center), Rina Tagawa (Office of Art Archive Center), Katsuya Kato (Associate Professor of Tama Art University), Takehiko Muramatsu (Graphic Designer)
Interviewers: Yasuko Seki, Akiko Wakui   Writing: Akiko Wakui



The Tama Art University Art Archive Center (AAC) is an archive organization established in 2018 in the complex facility "Art Take" on the Hachioji campus of Tama Art University (Tama Art University). On the 4th and 5th floors, there are 7 project rooms, large and small storages, and research spaces, and the products and creations of research can be exhibited and exhibited in the gallery on the 1st and 2nd floors. ..
The purpose of the establishment of AAC is to make it possible to browse various materials related to art and design that are neither works nor books that the university has accumulated over the years, and to use them as living teaching materials for student production and research. Then, the research results will be disseminated domestically and internationally, and it will function as a base for research and education in art and design. Currently, the main fields of research are "Mono-ha Archive" centered on Shigeo Anzai's photographic materials, Takeo Poster Collection, DNP Poster Archive (Kazumasa Nagai, Kazumasa Tanaka, Shigeo Fukuda), and Makoto Saito. , Koichi Sato, "Tama Art University Poster Archive" centered on Katsumi Katsumi, "Media Art Archive" centered on Haruko Mikami's work materials and video recordings. In addition, materials such as Shuzo Takiguchi Bunko, Katue Kitasono Bunko, Matazo Kayama, and Misao Yokoyama are stored, and the contents are manuscripts, photographs, drawings, sketches, watercolors, works, posters, books / magazines, dyeing and weaving. A wide variety of materials, models, musical instruments, etc.

Many of the archive institutions that we have interviewed so far have a few people in charge of all the work from organizing materials to publishing, so there is a chronic shortage of human resources and the work progresses only slowly. I had the problem of not having it. However, at AAC, research projects are formed within the university for each material, and basically each team organizes and catalogs as part of the research. On the other hand, AAC has the role of managing and storing the stored materials, supporting the legal development process to make the materials usable, and disseminating information inside and outside the university while aggregating the movements of each project. With such a system, we aim to instantly demonstrate the value of a living archive without dying the accepted materials.
The materials are basically accepted on the premise that the research project is functioning, and the research results are published regularly on the website, symposium, etc., which leads to new creative activities and the records are recorded. It also accumulates. AAC is trying to create a mechanism to create such a virtuous cycle.
So, this time, we talked about the current progress two years after its establishment, new problems that emerged including the corona wreck, and the poster archive of Koichi Sato, who was interviewed separately.



多摩美術大学アートアーカイヴセンター 作品



People continue to follow the university
Even if the archiving activity is suspended
If you save it, someone will start researching

Archive storage policy and contract

 The other day, when I interviewed Mr. Koichi Sato's archive, I heard that Tama Art University established an archive organization called AAC in 2018 and donated materials to it. So, this time, I would like to ask about the operation method of AAC, efforts for digital archiving, and future prospects. First of all, how are the materials accepted here selected?


Tagawa First of all, the current flow is that the Steering Committee will make the final decision by the Board of Directors. The storage policy has been discussed by the Steering Committee since 2018, when AAC was established. For those who will be conducting research at Tama Art University over the long term, we have a system to store materials by concluding a donation contract, but when we finish making materials and cataloging, we will research whether to keep everything as it is. The detailed policy has not yet been decided, such as what to do when there are no more people to take over.


 Is the material to be collected limited to those who have a connection with Tama Art University?


Tagawa Most of them are related to Tama Art University, but like Katue Kitasono, there are some materials that were purchased in connection with the research at the time of collection, so I can't say unconditionally.


Yoneyama There is also the problem of storage space, so even if it is directly related to Tama Art University, it cannot be accepted inexhaustibly. It would be difficult if there were no headlines on how it would be used for students and how it would be linked to the research of the faculty.


 When lending materials to Japan and overseas, will this be the contact person?


Tagawa Depending on the policy of the representative of the material, the AAC will be the contact point for the study group to carry out the entire process, and the office will take care of all the paperwork and inspection of the work. is.


Kato In the case of Dr. Sato's archive, it has not been organized yet, so it will not be released to the outside. I have already heard from students of teachers in China and other countries that I would like to hold an exhibition, so I think I have to think about the lending policy properly.


 What is the contract for accepting archives?


Tagawa It depends on the material. In some cases, the owner or copyright holder will ask you to sign a contract after the donation list has been created, and in other cases you will not need the list. Of course, the accuracy required for the catalog is also different, so even if you have been at Tama Art University for 20 years, the contract may not end.
Since the launch of AAC, we have basically been talking about contracts. The current contract is standard, similar to the museum donation contract, but from this year we are discussing with the Steering Committee and lawyers what kind of contract should be signed as AAC.




Established a research group for each material


 There are archives of various people other than Koichi Sato, but do you have a study group for each?


Tagawa Having a research group is a prerequisite for acceptance. However, if the materials were donated before the current organization policy, such as materials purchased by Shuzo Takiguchi and Katue Kitasono more than 20 years ago, or if the teacher in charge has retired, the research organization will Some of them are not attached and are temporarily kept in AAC.


 It is wonderful that there is a management department called AAC, and each study group voluntarily archives it.


Kato I think the good thing about Tama Art University is that it is done independently. However, since it is vertically divided and this AAC becomes a hub and each independent military branch moves, we are not familiar with other research.


Yoneyama AAC has not been able to share information with each project, so we are trying to improve it while hearing.


Tagawa In the hearing conducted in 2019, we found that the burden on teachers is heavy depending on the materials, so we hope that AAC can collaborate on advance preparations for contracts and clerical work. In addition, we hold a symposium once a year as a place to report on the latest status of currently active research organizations, and create a bulletin called "Trajectory" that summarizes the contents of the lectures. In the future, I would like to publish little by little every year what kind of activities each study group and materials have done before AAC.


 When will the next symposium be held?


Yoneyama It is December 5, 2020. We are preparing for 2021 to be held online on December 4th.




Tagawa I would love to participate. Do you plan to collaborate with archive organizations of other universities in the future?




Activities of Koichi Sato Study Group


The collection is mainly posters, books and intermediate materials

 Please tell us how Koichi Sato's archive was donated here and the contents of the collection.


Kato Mr. Sato was originally a teacher at Tama Art University, and died about a year after he retired, but it seems that there was talk of donations from his lifetime.


Muramatsu I heard that it wasn't working, but it was talking about it.


Kato After it was decided that the donation would actually be made, Mr. Muramatsu took the lead in organizing the work under the direction of his wife. At the same time, as one of our joint researches, we decided to set up the Koichi Sato Joint Study Group to study the works concretely. Full-scale research has not started yet, but we are proceeding with organizing materials and digitally archiving works.


 What kind of items are stored?


Kato The main part is posters, which also include books-related work, slides used for student lectures, and some goods such as plates and umbrellas. Besides, there are some original drawings, block copy, memos, photographs, and posters of other writers.


Muramatsu I also included posters and landscape paintings that Professor Sato drew when he was a child. I think it was probably left by my mother, but there are also hand-painted posters that seem to have been influenced by Mr. Kamekura, even though he was a junior high school student.


 How is the study group working?


Kato In the second year of the study group, I am in charge of practical management, with Professor Kazunari Hattori at the top. With the help of Mr. Muramatsu, we are working on the specific maintenance of digital archiving by asking graduates of the Department of Graphic Design, who were students of Professor Sato, to take pictures and enter lists. Therefore, I have not been able to move to the point of researching each work and returning those materials to the students. Also, I was trying to summarize the results of the first year in a report, but it has stopped due to the effects of the new coronavirus infection.


Concept for digital archiving and exhibition

 How is digital archiving going on?


Kato We have prepared a simple shooting kit in the storage and are working on re-shooting and listing all the works. After finishing the shooting, I was making a simple list, but when I tried to put it in the inventory, I got a corona sickness, so I stopped here as well.
As for the future prospects, I would like to finish all digital archiving and aggregate the data in AAC, and I would like to hold an exhibition in the gallery on the 1st and 2nd floors. Initially, I had a plan to hold an exhibition in the third year and move on to the next step, but considering that the schedule will be delayed due to the corona disaster, I will take it a little longer. I'm talking with Mr. Muramatsu that I want to hold the event from a perspective that can only be achieved by this study group.


 What kind of approach are you thinking at this stage?


Kato It's still a vague idea, but I'd like to put it together in a multifaceted way, such as the writer's theory and the technical side. Mr. Sato also taught at Tokyo University of the Arts before becoming a full-time teacher at Tama Art University, so it would be interesting to consider the flow of design education based on Mr. Sato. Research at the university tends to be a closed activity, but by taking an outward approach as AAC, such as regular exhibitions and publication on the website, it can be seen by more people. I hope I can do it. It will be a long-term effort, but since it was donated, I would like to avoid leaving it in the safe.


 How do you create a list of collections?


Kato I refer to databases such as museums, but there are some that do not apply as they are, so I am recreating a new one while having Mr. Muramatsu think about the structure and design of the list. Even one work has different versions, such as the presence or absence of a company logo, so if you include them, the number will be quite large.


Muramatsu In addition to the title of the work, year of production, size, version, etc., the list at this stage has several remarks columns so that it can be used for client names, venue names, collaborators, etc.


 Is there a standard format as AAC when converting to digital data?


Tagawa Regarding posters, there are some that were created as a format for research on the "Takeo Poster Collection" * rather than the AAC format. The Takeo Poster Collection was deposited by Takeo, a paper trading company, in 1998, and since then, joint research has been continued between Takeo and Tama Art University. This format was created mainly by Professor Ichiro Saga of the Department of Graphic Design in order to publish a digital archive as one of the results. From 2020, we also started to build a joint database of Tama Art University Museum, our graduate school, and AAC. However, the trends in the materials are different, so we plan to make a general outline into a manual.


Takeo Poster Collection
Approximately 3,200 poster collections from the Linehold Brown Gallery in New York purchased by Takeo in 1997.
It was deposited with Tama Art University in 1998, and joint research is being promoted by both parties. Some of them are regularly exhibited at exhibitions.



多摩美術大学アートアーカイヴセンター 多摩美術大学アートアーカイヴセンター

Koichi Sato Archive collection and work space for shooting




Digital archive "Takeo Poster Collection Database" created as a result of joint research by Tama Art University and Takeo





What is the arrangement required of the donor?


 What kind of arrangement is it easy for the donor of the archive to accept in advance?


Tagawa It doesn't matter if it's a rough sketch, so it's important to know what kind of things are scored, how many years the materials are stored, and whether the rights are aggregated by the office or individual. It will be very helpful if you know it.


Yoneyama When you move something here, you need a list that shows at least what and how many points you have moved so that the interpretation is not misunderstood.


Kato In the case of Professor Sato, I couldn't do it without Mr. Muramatsu. I hope that the number of AAC members will increase and the number of specialists will increase.


 Is archivist training at Tama Art University?


Tagawa At AAC, we believe that it is necessary to train archivists who can handle a variety of media, and training archivists at graduate school is one of our medium-term goals.



About future digital archives


 We often hear that digital archives have problems with management difficulties, such as data corruption and cases where old media cannot be read. Also, as the number of works that are different from paper, such as installation works and web design, increases, what do you think will be the way to leave digital works in the future?


Kato Regarding web design, I think that many people archive it by leaving it in the video. It is difficult in reality to leave the working environment as it is because you have to leave the hardware and software together.


Tagawa The archive of Professor Seiko Mikami (Professor of Media Arts Course) who died suddenly in 2015 is in the collection, and joint research on the restoration and re-exhibition of media art works using digital media during her lifetime is underway. I will. In interactive media art, including Professor Mikami, a variety of software and devices are used to complete her work. As with web design, assuming that it is difficult to leave the entire development environment, how should we think about how to extract the core of the work and how to reproduce it after the author's death? Is being researched.
In Mikami's research, by thoroughly studying the subject and clarifying how the collaborators with Professor Mikami were willing to adapt the work and made changes, and why, one by one, once again. The work was able to start moving. Leaving it in the video is one solution, isn't it? Both design and art are produced in the same development environment depending on the area. I hope AAC can also serve as a bridge between the results of mutual archives.


 What about graphics? Since the data will be overwritten, isn't it harder to leave intermediate materials than when it was paper-based?


Kato As long as it's printed matter, the goal is the same as it used to be, so I think we're still considering the production process digitally to make it more persuasive. It is true that young people today have a strong digital image, so I feel that they are not interested in material senses such as printing technology and the texture of paper. However, I will notice things that I could not understand from data alone by comparing with analog, and recently, there are increasing movements to create by successfully fusing analog and digital, so I think that there is something to be left. I will.



Archives add value to the university


 What do you think are the benefits of having an archiving institution at a university?


Kato People continue to work at the university, so even if the activity is interrupted due to the retirement of the researcher, I think it is an advantage that someone will start research eventually as long as it is properly stored. I will.


Tagawa The materials of Dr. Masaru Katsumi have also begun to move actively in the last few years, including the theory of Mr. Kaede Wang in 2019.


 What kind of materials does Masaru Katsumi have?


Tagawa The most common are books centered on foreign books. Other than that, the main items are paper items such as maps, posters, paper materials, photographs taken at travel destinations, and DM. The three-dimensional objects are furniture that was in the teacher's study.


Yoneyama There is also a part that the movement became active due to the creation of AAC. Being archived at the university is not only a record of the individual writers, but also the influence that their students have had on society, the history of the university and the history of art education, and so on. That also leads to increasing the value of the university called Tama Art University. I thought that I had to listen to various things in order to do so, so the PLAT site was very helpful.


 I would be happy if you could say that. From this story, I learned that there are archiving and ways to utilize it that can only be done by a university with various human resources. I am also looking forward to the symposium in December. Thank you for today.







The 3rd Tama Art University Art Archive Symposium
Take the "Art Archive as a Medium"


On December 5, 2020, the third symposium hosted by AAC will be held online, with the theme of how to utilize art archives at art universities, educational use of online archives in Corona, and integration promoted by AAC. Reports and discussions were held on the design and operation of the database.
What I paid attention to as PLAT was a report on the archive of Makoto Wada, which was newly donated to AAC. Wada's archives, which have demonstrated extraordinary talent in various fields such as illustrators, essays, book designers, and film directors, are enormous not only in terms of material quantity but also in terms of breadth. It is said that Makoto Wada's office used a file maker to classify and manage such a number of jobs. We signed a contract in March 2020, and we are in the process of organizing it, but once we have a complete picture, I would like to hear from you again.

Another thing that impressed me was the remarks made by multiple commentators about the ambiguous interpretation of the word "archive." In fact, even in the PLAT archive survey, the archival definition of "preserving and publishing a group of materials from a specific writer or organization while making the most of its structure" and the work database (digital archive) are vaguely interpreted. There was a time when they were there, and calling the two collectively "archives" could hinder the construction of the database. In our research, we are looking for good data management methods that designers can do to make it easier for donors to accept. Unlike the one-of-a-kind art, the design work, which is a reproduction, has the former part of "utilizing the structure as a group of materials", considering that the intermediate materials leading up to the finished product are important. It is necessary to create data for. I realized once again that I had to be aware of that.

I was keenly aware of the depth of the archive by listening to other interesting reports with a sense of realism. The details will be summarized in the bulletin "Trajectory" published at the end of the fiscal year, so I would like to take a closer look.



Outline of the 3rd Tama Art University Art Archive Symposium


Date and time: Saturday, December 5, 2020 10: 00-17: 00 (held online)
Organizer: Tama Art University Art Archive Center
Cooperation: Tama Art University Media Network Promotion Committee





Part 1 Current status of art archives
Toshimi Koizumi + Yuri Mitsuda: The light basis of photography: Man Ray and its surroundings
Akihiro Kubota: Analysis of Interactions
Ichiro Saga + Yu Tsukada: Makoto Wada Archive Donation Report and Possibility
Moderator: Reiji Ando


Part 2 Art Archive and Distance Education
Ara Ishiyama: Lecture materials rising from the archive of Seiko Mikami
Yuko Fukatsu: Pattern Archive and Art & Design Education
Commentators: Kenji Kajiya, Atsuhito Sekiguchi, Yuji Akatsuka
Moderator: Akihiro Kubota


Part 3 Archive / Collection Database
Atsushi Horiguchi, Yu Fuchida, Kyoko Kinoshita: Toward the construction of a database that crosses museums and archive centers
Takashi Hiraide: Final Lecture ゠ Exhibition "Air Language program"
Punditers: Masako Kawaguchi, Eri Taniguchi, Yoko Watanabe
Moderator: Ichiro Saga


Closing Summary of the symposium and the future of the Art Archive Center
Akihiro Kubota, Akira Tatehata, Yasuhito Nagahara, Takashi Hiraide






◎Edited and Published by Art Archives Center, Tama Art University



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what is going on?
Design archives of these people

There is also the possibility of changing subjects of survey.

The subjects (individuals) to be surveyed have been selected, including those who have already died, referring to the 2006 Asahi Shimbun publication "The Great Masters who have designed Nippon".

* Is a person who has died.




Let's talk about Shiro Kuramata

Symposium held

Shiro Kuramata (1934-1991) is a legendary designer who was active in the 1960s and 1980s.
His character and his work continue to fascinate people all over the world.
Thirty years before his death, he held a symposium to connect the design of Kuramata to the younger generation from the past to the present and the future as "Introduction to Shiro Kuramata".


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