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Survey on the actual situation of Japanese design archives

what is going on?Design archives of these people


Musashino Art University Museum of Art and Library

Tadaku Nagasawa


Interview: July 2, 2018 15: 30 ~ 17: 30
Interview place: Musashino Art University
Interviewee: Tadataka Nagasawa, Yuichi Sawada (Museum Leader of Library and Library Group Book),
Masashi Murai (same group book team)
Interviewer: Seki Yasuko, Tomoko Ishiguro Writing: Tomoko Ishiguro



Nagasawa Tadanori Nagasaki only

President, Musashino Art University
Royal College of Art Senior Fellow

Born in Toyama Prefecture in 1953
1978 After graduating from Musashino Art University,
1981 Royal College of Art Graduation
    (Major is graphic information) After returning home, opening an office
From 1987 to 15 years, he will serve as a judge member of the Good Design Awards
In 1999 he appointed full time professor at Musashino Art University design information department
Inauguration of the University Director 2015



Musashino Art University's museums and libraries are unique "knowledge complexes" unique to art universities with a combination of libraries, museums and museums.With the "Art Library" opened in 1967 as a womb, the name was changed to the museum / library in 2010, the library was newly rebuilt.The book holds 310,000 volumes centered on fields of art, design and architecture, 5000 titles of magazines, 50,000 exhibition catalogs, rare books on designs of the 20th century, and is one of the leading Japanese science libraries in fine arts colleges To boast.The museum houses 30,000 posters, 400 legs modern chairs, collections centered on works by successive teachers, as well as living goods and toys, and also exhibitions.In addition, we have a folk materials room where 90,000 items of living utensils and utensils started to collect from Miyamoto Tsuneichi 's office and an image library holding 20,000 images.
In 2008, with the adoption of the "Private University Strategic Research Infrastructure Formation Support Project" by the Ministry of Education, Culture, Sports, Science and Technology, the "Center for Formative Research" was established, including books and works in the museums and libraries, image libraries, The data base for preservation and publication of a large amount of materials related to modeling, such as the material of the material is being advanced.In 2012, the university also participates in the Tokyo Midtown Design Hub, and has opened the "Design Lounge" of Musashino Art University for the first time as a design base as an art university.
President Tadakuden Nagasawa has graduated from London's Design Graduate University, has worked on design production, criticism, strategy planning, etc. and has worked hard on design promotion support activities and construction of international design information network for a long time.I asked Mr. Nagasawa about such a background about the design archive at Art College, the design museum, and the design archive of Kohei Sugiura at that school.



Musashino Art University Museum of Art and Library



From "Musee Rosie" to "Institutional"
If you deal with material carefully, it will cost permanently

History of Musashi Miyuki who handled books as works

- Last year, he interviewed Mr. Kohei Sugiura about the design archive and explained the active efforts of Musashino Art University and Ms. Nagasawa's activities.First of all, Mr. Nagasawa has been teaching with Musashi Mi since 1990, but I would like to ask about the background of becoming interested in the archive.


Nagasawa That Sugiura Kohei For concrete explanation about the archive, Mr. Sawada who is the library team leader and Mr. Murai in charge will talk later.My activity as an educator began in 1986 when I taught "color study" at Tama Art University.Since 1990, he took the "design theory" at the department of basic design in our university, in 1999 I became a full-time professor in the creation of the Department of Design and Information Sciences in the Department of Design Studies, and since 2015 he has served as the president.The university has focused on enhancing traditional books and art materials and internationalizing design education.Let's explain why Musashi Aki library began to emphasize the archive in the first place.Currently called museums and libraries, I used to call it an art museum library before.Books are materials, but since ancient times, we have handled books as works.Traditionally there is a different consciousness than simply exposing a bunch of paper to read to everyone.Although we are going through mass-production processes, art libraries were born in order to take care of expressions projected on books.Although the university was never wealthy, I have been managing the library with the desire to show things unreachable for the students.Here is the root of the thought of our university's archiving.Since opening, furniture, products, and posters are also collected, but the book is the same work as them.Collected books are unprecedented in Japanese art colleges.Mr. Sugiura also knows the attitude of facing Musashi Miyako's book, so I think that he kept it.I became the International Director in 2003 and since then served as Planning Manager and Assistant to the President.He has served as a councilor since 2011 and a president from 2015.


- There is a tradition of library of Musashi Mi, and Mr. Sugiura's archive became possible, too.


Nagasawa and Mr. Sugiura and Musashi Mi had a shallow margin.Years of Kamekura was presided over the activities of the association thinking about the graphic design of the next era called "Graphic 21 Association" around 1959, and Mr. Sugiura participated in this association with Ms. Ryuichi Yamashiro and Kazumitsu Tanaka etc. was doing.This will lead to the design activities of the Tokyo Olympic Games, but later Shuutaro Mukai, who will establish Musashi Miyoshi's basic design department (hereinafter referred to as "basic de)," from Ulm University of Art University studying the flow of Bauhaus in 1957 After returning home, I was called to the same association and seemed to be talking about Ulm University of Art and Max.As a result of this, it seems that Mr. Mukai and Mr. Sugiura became close friends.When Mr. Mukai decided to build the foundation in 1965, Mr. Sugiura returned from the visiting professor of the Ulm Institute of Architectural Forms lent his strength as a founding support member.Mr. Sugiura at that time taught at Tokyo Zokei University where Mr. Katsumi Masaru is the design director, but I also do class at the basic de.From Mr. Mukai's point of view, Mr. Sugiura is not an exaggeration to say that it is a member who made foundation de.I am the 8th grader of the foundation de, and I am learning from Mr. Mukai to Mr. Sugiura by entering and leaving the Sugiura office.


- A story about Mr. Nagasawa's part-time job at the Sugiura Office was heard by Mr. Sugiura's interview (for details, see the "Japanese Design Archive Actual Survey 2017 Report" by Kohei Sugiura).


Nagasawa When I was attending Mr. Sugiura's office, I was booming at the time of change in graphic design from letterpress to phototype.Mr. Tadashi Matsuoka was entering and leaving the office at the job of magazine "Yu", the master of photocopy which was said to be the best in Japan also entered and entered, and there was atmosphere like a nest.I also got to know a lot of people.Various people gathered, worked and dined ... ....Mr. Sugiura waits only late without having dinner until the expert master of that photocopy comes back from the place of origin.Mr. Sugiura is a person who is unconditionally in contact with people who support me.There was something sharp as well as characters and attention to color and memory.What what such Mr. Sugiura's gathered was from the students of the students from the book, it was already the subject of admiration.I also longed for Indian Kuruta shirt that is also his trademark.


- Mr. Nagasawa as well as Ms. Sugiura always wearing a collar's jacket.


Mr. Nagasawa Sugiura's advice, I studied at Royal College of Art (RCA) of graduate school after studying abroad in London afterwards.At the time of his study abroad, Mrs. Fumiko of the late wife tailored a jacket of collapsed collar as a discriminator.Ms. Fumiko was also a name producer of Mr. Sugiura, but I was also a treasurer who took care of me very much and I am still wearing packed collar jacket and mother handmade Kurta as a memento.While studying abroad in London, I met with Mr. Sugiura a lot and helped to purchase and deliver precious books such as the world's iconography on the site.In addition to the mandala and the graphic books, we also sold old books of the astronomical figures printed by etching, etc, and they became the source of Mr. Sugiura's design.Even though I ordered in Japan, it was just like books that will not come in.


- The collection which became the source of such Sugiura design is also stored in Musashi beauty, is not it?


It has a source of Nagasawa idea, a copy showing the production process, and all the works.Mr. Sugiura is a person who, along with Mr. Hosoya Iwao, became phototypes and stuffed the characters for the first time in Japan.It cuts characters and adjusts between letters.At the time of production of Mr. Sugiura-san "Kogyo Temple Kuranogo Shinsenin Bilateral Mandala" (Heibonsha, 1977), the missing edges of the old woodblock printed letters were cut with a straight ruler and a cloud- Did.I repaired, photographed and repeated troublesome things to make a plate.Calendar numbers are also enlarged as they are small as they are.If you have a plate of the plate at the time, you can see clearly what kind of work you were doing and how you made it.When asking if Mr. Sugiura saved them, I decided to undertake them collectively because I left everything from the books.There would not be anybody who was so impressed as to print as Mr. Sugiura.


- How was it organized?


Murai It will be three years ago from now but Professor Sugiura will come to the library every month to organize the documents and we have made time to confirm what this is about each piece of the collection It was.While organizing the archive materials has been based on the comments received from Mr. Sugiura sensei, at the same time, the interview survey record at this time is also very important as an aural history.Currently we are starting to create databases of works and we are aiming for release in the near future.


I want to show it to students, but I have no choice but to choose


- That is wonderful, I think it is a rare example.There are few examples of practicing such archiving in university museums.If you are talking about ideals, the museum has both axes of exhibition and archiving, so archiving and research activities can not be separated.


Take the Nagasawa Victoria & Albert Museum as an example, the wall behind the exhibition room has a double structure, and both sides are filing lockers from bottom to top.For example, if it is a collection of historical manners and houses, it even classifies and collects the scratches of the fireplate neatly.It is a huge locker, but it is also full with the current situation.If you think on that scale, you can not possess it as an archive at a very university.RCA also bought a work at the time I was there.There was a student who draws works on the wall, but it has become a purchase and the school has cut the wall.I respect art.However, as it is impossible to keep the work at the school as it is, it seems that she was entrusting storage to the museum.It is because architecture and budget are attached to museums.The art museum can use it as their work while stating it as an RCA collection.


- It would be desirable if such a system would be established even in Japan.Musashi Mi archive is to put on a pioneering spirit, but I would like to ask opinions from the accepting position.Do you have any opinion, such as being easy to accept if it has such a form?


Nagasawa In honest talk, I would like you to keep in mind that archiving requires expenses to maintain it.The way to accept does not end with acceptance but to treat them seriously means that it will cost permanently from that point on.There are many epoch-making designers including Mr. Harahiro who enrolled as a professor at Kyoto University, Kiyoshi Awazu, Mitsuo Katsui etc.Everyone has something funny and I want to show it to students.But you can not but choose expenses.It costs more money to receive works and materials, which is a big burden.You must first think about what value it will receive.


Mr. Sawada Sugiura's archiving of materials started about ten years ago, but I just took a fumbling step forward.At the start, it was about an image that would go down one step after five years and advance to the next one, but even in the present situation it is a situation I do not know how many more years it will take.As we continue for 10 years, cash flow becomes difficult.Musashi Mi has promoted the archive of design materials because it was actually able to win a grant from the Ministry of Education, Culture, Sports, Science and Technology, I feel the difficulty of fundraising after the end of the 5 year period .


As an archive showing print culture


- Does it mean that it is laborious and time-consuming to work on, organizing, clarifying, digitizing scans, etc., and economically pressing it as well?


Sawada That's it.To Professor Sugiura I got a helping hand for organizing.Although we can not do this work without close relationship with the donor, there is a tendency that the more you build trust and build relationships, the more the contents of the archive will become darker.As you investigate, new things are found, new facts are found out, and there are not many things back to the projector.


- Since we will face each other seriously, the research of the work will be incomplete, and the numbering at the stage where we first sorted out must also be done again.


A person in a position to deposit Nagasawa works may be an image that would make it possible to organize materials as soon as the school creates a team, but in reality, the classification, organization, work If you do not do things such as collecting without dispersing, you can not even even work on the work.We told Mr. Sugiura about what kind of concept we were drawing the work, and it took three years to visualize it.This was also a difficult task.In the future, if it is aimed at making it possible to trace its modeling ideas from composition, books, style, etc., thinking that collecting integrated materials makes it a valuable material when the printing culture disappears It is.


- It treats it not only as a work of one designer but as a material that understands the printing culture at that time.


Nagasawa phototype was born, stimulated by Mr. Sugiura who was stuck with the exact size principle, typographer has put its know-how in the computer and has produced a lot of letters.In this way the position of the book has changed.Mr. Sugiura is the one who did the greatest job in Japan of that era.That is why we decided to keep it at our university.There is no other person who sticks to that over there is Mr. Sugiura.Musashi Miyoshi's library is that Mr. Sugiura was enough to be credible.That does not mean that it costs a huge maintenance cost, but I'd like to say that it is incorrect to give pressure that a private university should archive.


More severe than funds is securing human resources


In the case of Professor Sawada Sugiura, there is no choice but to be a lucky case.In addition, I got an explanation of the process material for 30 hours in total, and I could leave it in the image.Mr. Atsushi Sato who was enrolled in the Sugiura office for a long time also came and helped as a runner.If I do not know anything but valuable data comes up when trying to do with only amateur lines, it can be irreparable.There are many things that experts do not know without judging, so if you do not have an expert you can not move.Such an interdisciplinary collaborator is necessary for more than funds, how much support members are available, if there is no one prepared to be involved semipermanently, archiving will not proceed.The problem is more severe than funds.


Nagasawa When the state of Puttsuri is broken, there is no one who knows a specific story, the archive will be a dead stock.Also, passive can not protect documents.As I learned about the BBC program, the National Gallery in London has an expert called keeper and is observing the atmosphere.From the influence of visitors' hair dressing, vaporizing chemicals, static electricity generated by synthetic fiber clothing, from PM 2.5 to electromagnetic waves, the influence of newly generated by modern society, the atmosphere has changed, always checking what is going on There is.How do you protect your work from them?Work preservation can not be done without a creative viewpoint.In addition, people in the field often have a huge amount of time cut down in the work below.The site carries the hardship of maintaining collections.


Sawada maintenance efforts are somewhat like something that will come along with the years, but we are constantly making efforts so that the archive will be living.


- What you need for archiving is what you need to format.


Nagasawa It is not the work of the country originally including it.Private universities that consist of paid tuition fees have limitations to accept and operate such things.It is a really difficult problem.


What is the Agency for Cultural Affairs


- What is the private museum in the UK, for example the design museum in London?


Nagasawa Asso will do the exhibition but I do not own the collection so much.I think that there are many parts that depend on donation for operation.With that I remembered, there was a chance to talk with Prime Minister Margaret Thatcher who came to Japan when the British government tried to revitalize the design and rebuild the economy before completion of the design museum.At that time I advised that "From now on it should be institutional rather than musiologistic".Prime Minister Thatcher was also convinced.I do not have a cut when I do Museoji.


- Musashi Mi was carried out as an "Archive Center Base Formation Model Project" by the Agency for Cultural Affairs, but what kind of activity was this?


As a core base for promoting the archiving of Nagasawa Cultural Relations Materials, for the three fields of graphic, fashion, and product, an organization that can be the "core" in that field is selected and conducts research and research.Graphic is Kyoto Institute of Technology Art Crafts Museum, Fashion is Cultural Gakuen University Kimono Cultural Research Institute, and products are applied for public recruitment by the university's museums and libraries and adopted.


Sawada Three years passed and I completed in March 2018.It is a project to gather information on where in the country it is stored and where it is archived and to investigate its know-how, it is not a matter of digitizing and connecting with the network.Musashi Mi proposed to create a database from an early stage, but at the beginning it was told that "It is not impossible".Since the library industry has standardized cataloging rules and data management is unified, it is possible to search all at once, but the world of art museum is managed by local rule of each art museum Therefore, it can not pass through the skewer.Due to the fact that research elements are included in the database, the guard is hard to disclose information and it is not a stance as open as the library.It is usual not to reveal one work path for arts.There was a voice that it was difficult even on campus, but I knew the existence of a certain cloud service and opened a breakthrough.It is a collection management system for museums and museums provided by Waseda system development, which means that the cloud service can significantly reduce the initial cost, and about 200 art museums and museums have already participated in the whole country.Using that cloud service, we created something like a prototype of the archive format.


- I have finished this spring this spring, will the activity be handed over from now on?


Sawada The result is now available on the website of "Archive Center Base Formation Project" (


Various problems with database creation


- If you stand from the viewpoint of life culture, it is not sufficient for only three fields.


Nagasawa Until the 20th century the design was positioned in art and occupied a large position.But in the 21st century it will be useless.It is an era when students make graduation production with 3D printers.It can be said that only data needs to be added.If you do not leave the fun of this transition period in the archive, it will not be transmitted.It is now being completed as a collection of Musashi Mi.Next spring, a campus of the department of modeling concept will be born in Ichigaya.Kamekura's collection enters the library.Mr. Hara, Mr. Kamekura, Mr. Sugiura, all works that should be called Japanese graphic symbols are aligned with Musashi Mi.Not only graphics but also Katsuhiro Toyoguchi and Tatsuzo Sasaki who have laid the foundations for craft and industrial design are also taught and there is also a pride that Musashi was beautiful that opened a new curtain of industrial design in our country.I think the library of Musashi Mi is doing a tremendous thing representing Japan.Although I was tough, I tried hard on my budget allocation and picked it up with difficulties.Even though it repeats, however, I do not think it is impossible for us to accept works unconditionally at this university, and I do not think journalists should write down that they should accept it.


- Eames and Corbusier maintain an archive while opening up their own residence.Is it difficult to do such a method in Japan?


Since the time when Nagasawa interest rate was high I was able to operate with such a method because it was able to turn with interest, but now it will be impossible.The school has no equipment to make money.Musashi Mi has been running for 20 years without increasing tuition.If you raise it any further, your parents will not be able to pay.I can not raise my tuition for archiving.I think that we can only rely on the spirit of donation and philanthropy.It is best to create a system in which the Agency for Cultural Affairs provides a subsidy to maintain the collection.


- You need a system to fund funds on archives.


Nagasawa Yes, but there are also aspects that are not easy.There was a British project to utilize government funds and set up a graphic archive 15 to 16 years ago, and since we give all costs from digital photography to our university, we can connect with our archive I have been invited to share the database.It is equivalent to being deprived of virtual works virtually.It would be nice to share the exhibition with works.But I do not plan to easily share the database itself.Where are the sweat that I scratched to build a database?I think that such cases will come out more and more in the future.


- Are there possibilities for students to arrange for database construction and to help them work or treat them as part of class?


Sawada It is expected from the donor, but recent students do not cooperate easily unless they are paid for rent.It is essential to treat in the class, for example, if you are in the architecture it is necessary to see the drawing, and touching it is more than graphic, but think about it in terms of understanding the meaning of touching the copy under the current student I can not help to put it in the curriculum is difficult.


Nagasawa If it tells to the next generation, it is interesting, as long as a teacher who has a belief does not appear, it can not be realized.That's why the library holds a planning exhibition to stimulate the teachers.But since information can be seen at the Web many times as many times as the old days, things that you can notice at the exhibition are getting less, making creative things difficult to do.Today I told out a story I could not say the scene as a president of a private university.I am talking about real things.I believe that our university has gotten a lot of guts for Japan.Still keeping the capacity of the archive is approaching the limit.It is my true intention to ask for a large amount of donation.


- By understanding the situation on the host side that I could not tell you until now I have found out that it is necessary to change the idea.I learned a lot, thank you.



Writer: Ishiko Tomoko


Contact address

Musashino Art University Museum of Art / Library


1-736 Ogawa-cho, Kodaira-shi, Tokyo 187-8505
Tel: 042-342-6004
Fax: 042-342-6451



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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