In preparation for this year’s Design Award, we held a kickoff roundtable with the Sangetsu’s secretariat and the judges. In addition to Mr. Kentaro Yamazaki and Ms. Nozomi Zama, who served as judges last year, we are pleased to welcome new judges Ms. Chie Morimoto and Mr. Hokuto Ando. Our president, Mr. Yasumasa Kondo, will serve as the chair of the judging panel.
＞Click here to view the profiles of the judges
With changes to the judging panel, we reflected on past Design Awards and discussed our expectations for this year’s Design Award, including topics such as "Wall Design." We believe the insights shared will provide valuable inspiration for your work, so we encourage you to take a look.
【Q】Mr. Yamazaki and Ms. Zama, who have been appointed as judges for the third time, what did you think of the previous Design Award?
Mr. Yamazaki： "Last year, we shifted our focus from 'wallpaper' to 'wall design,' opening up many new possibilities — a positive step forward, in my view. Ultimately, it’s crucial for the judges to experience that ‘Oh, this is interesting!’ moment, so creating a setting that inspires that reaction is essential. In that sense, I noticed a shift in perspectives last time. I felt the transition from 'wallpaper' to 'wall design' was a real change, and now I’m curious to see just how much further we can push it this year."
Overview of the Judging Process for the Design Award 2023
Overview of the Judging Process for the Design Award 2023
Ms. Zama： "Listening to Mr. Yamazaki just now made me realize something: when I usually select wallpaper for interiors, I do it because there’s a wall that needs covering, so I choose wallpaper as an element to finish that surface, focusing on texture and color. But when I was invited to be a judge, it suddenly became a world of graphics, and I found myself judging wallpaper design. I was really nervous because I didn’t have much experience looking at spaces from a graphic design perspective.
But after two years, I’ve noticed something. It’s not about having wallpaper simply because there’s a wall, but rather about how a designed wall can actually expand a space or create new images. I saw many pieces that really stand out, where the wall itself makes a statement, and I feel like these are gradually emerging more and more. Originally, I think there was a higher proportion of graphic designers entering, but since around last year, I’ve felt that it’s been expanding to include spatial concepts. It seems like more space designers and architects are getting involved now, which feels like the range of entries is broadening. And two years ago, right after COVID, there were a lot of quieter, more delicate designs, many with natural themes.
But last year, we revamped the award’s focus to make it a more competitive gateway for new talent, and there were so many interesting, functional proposals — ideas beyond graphics, like shelves attached to walls or even curtain designs. So, I’m excited to see how this continues to grow this year. I think shifting the focus from ‘wallpaper’ to ‘wall’ designs has really had a positive impact."
All： Absolutely, there is.
Overview of the Judging Process for the Design Award 2023
【Q】This year, Ms. Morimoto and Mr. Ando have joined the judging panel. Could we hear your thoughts?
Ms. Morimoto： This is my first year, so I’m new to this. Listening to everyone, I realize that the concepts of 'wallpaper' and 'wall' designs are completely different. As for me, I joined at an earlier stage — helping to create announcements like posters — rather than at the judging phase like the other judges (laughs). Until now, the theme has been 'wallpaper,' so when I looked at past works and the types of entries submitted, they naturally gave off a graphic design vibe.
This time, though, I found myself caught up in the question of "what is a wall?" It’s almost philosophical — like something out of Kobo Abe’s work (laughs). When I started thinking about how to capture "what is a wall?" in a poster, I began to wonder about all sorts of things — like, in a world with war and other issues, where could we place walls so that people could find happiness? And then, when I tried to come up with an answer, I realized: wait, if I settle on an answer, it won’t really work as an award poster (laughs). I kept coming back to "what is a wall?" and started thinking about whether a wall is even necessary. Who’s there with you — many people, someone important to you, or maybe you’re alone, or with a child? The way we think about walls changes depending on the person or the situation—whether it’s something that surrounds and protects, or something that divides. It’s not about just saying, “Wouldn’t it be cool to have a wall like this.” For me, it’s about first identifying the type of wall needed, then deciding on the style and design that best fits.
From there, you can really enjoy the process. I believe setting a theme like "Joy of Design" conveys a message to the world. Even if it’s not something that fits neatly into social issues or everyday work, it’s about approaching work with that feeling in mind. I want this award to be a place where people can express that desire, where they think, "Yes, I want to participate." I’ve figured out at least that much — that I want to create a poster that inspires that feeling.
But what that will actually look like… I have no idea (laughs). It’s tough.
Mr. Ando： I’ve been thinking all along that this is really challenging... though I’m not the one actually creating anything.
Ms. Morimoto： Please think about it with us (laughs). That’s what I came here to discuss today.
Mr. Ando： I worry that our criteria for judging could just come down to personal taste. And I’m not sure if choosing based on personal preference is really the best way to evaluate design. When we talk about design, of course, it includes functionality and purpose, and the final output is often created to solve or raise awareness of some issue.
So, design serves a purpose in a way. But with this “Joy of Design” theme, I honestly have no idea what kind of submissions will come in. I wonder if voting based purely on personal preference is truly the healthiest approach. For example, if we had set criteria like “visual impact score” or “sustainability score,” it would be relatively easier. But if it just comes down to individual taste, that feels risky to me. It could turn into a situation where the most attention-grabbing piece wins, which doesn’t seem right for what design should stand for.
Ms. Morimoto： Exactly. For instance, the way someone confined to a hospital bed sees a wall is entirely different from how someone stepping into a new phase of life would view it. So, it’s hard to know what standard entrants will base their designs on or what standard we should use to evaluate them. The concept is so broad that I’m not sure how we should even approach the call for entries.
【Q】Thank you. Given everything we’ve discussed so far, what are your hopes for this year’s award?
Mr. Yamazaki： Listening to this discussion, I think Ms. Morimoto’s questions are great — they’re inspiring. Of course, many people will naturally draw from past examples, so we’re bound to see designs that fall into that graphic-focused style, which makes it difficult for someone like me to judge. I think it’s probably challenging for Ms. Zama too. When I served as a judge with Mr. Uehara last year, there was a clear criterion to assess entries purely from a visual or graphic design perspective. I believe it’s good to have a range of perspectives based on each judge’s values. And last year, I felt that we moved beyond just that; there was a sense of broader ideas. For instance, some people approached the theme with environmental concerns in mind, interpreting “wall design” in a way I hadn’t expected. This theme is so open to interpretation, and I think the breadth of those interpretations can become part of the award’s value.
When it comes to ideas, I think it’s best to allow the scope to expand significantly — even to the point where we might think, “Is this too broad?” That’s better than trying to widen the scope later, which is harder to do. We can set the tone by saying, “Yes, you can go this far,” and from there, we can see what kind of thought, consideration, or struggle emerges in the work.
As Ms. Morimoto mentioned earlier, even considering a question like, “What does a wall mean in a world with war?” could be worthwhile. We, as judges, would then have to respond with, “Oh, they’re thinking about things like this,” and that challenge of figuring out how to evaluate such interpretations makes us think as well. I feel it’s more productive to keep the invitation open-ended like that. And inevitably, we’ll reflect on all of this next year, which is fine. From that process, the final works will be refined and feel genuinely fair in their evaluation. I’m inclined to suggest an approach that allows for plenty of reflection along the way, even if it means there will be many points to reconsider.
The poster visual finalized after the discussion.
Ms. Morimoto： Thinking about it that way, it really feels like... after going around and around... I might end up with a poster that’s all about the words — a question, perhaps... that’s the direction I’m heading in, it seems...
The poster visual finalized after the discussion.
Mr. Ando： When ideas are that free-flowing… for example, a wall in the context of war, or even a torii gate—although it’s not a physical wall, it’s still a kind of barrier in its own way…
Ms. Morimoto： A torii gate… yes, it symbolizes a boundary between humans and the divine.
Mr. Ando： If we had a piece that interpreted “wall design” in the sense of something like a torii gate, it would probably be very challenging for us as judges, but it would also be incredibly stimulating and could spark valuable discussions. I think it might be good to interpret “wall design” that broadly.
Mr. Yamazaki： The idea displayed here (pointing to a monitor), about the Sangetsu Group valuing design as a means of engaging with and contributing to society, should naturally be reflected in the outcomes. So, I believe it would be beneficial if we could open up the scope a bit more within the judging process, allowing room for a wider range of ideas and discussions to emerge. Looking back at last year, the person who won the grand prize left a lasting impression because of the freshness of his concept. It was quite practical as well. There was also a piece addressing ocean plastic; the final execution aside, I think we need to recognize that the creator was broadening their scope and taking on a big challenge. At the same time, it’s crucial to communicate that design quality matters in the end. We can’t evaluate solely based on ideas and philosophy.
Ms. Zama： As Mr. Ando mentioned earlier, it’s hard to categorize the range of works we see. Some pieces are sustainable, others are visually striking from a graphic design perspective, or have great ideas but lack polish. So, we ended up engaging with each work on its own terms. It’s enjoyable and valuable to discuss how each one resonated with us or moved us in some way.
Mr. Ando： This kind of discussion could be interesting to share online. I’m realizing that we’re exploring some fascinating ideas here. Rather than confining the concept of “Wall Design” to something like “wallpaper,” we should communicate that it’s okay to interpret it more broadly. Inevitably, people have preconceived notions, but letting them know that even something torii-like could fit within the theme might open things up. After all, since we’ve already mentioned torii as an example, it’s important to show that even ideas along those lines are welcome.
Moderator： Thank you all for your valuable insights.
This discussion has been a great opportunity for Sangetsu to rethink the concept of “Wall Design.” We hope that those considering entering will reflect on the idea of “wall design” through this award, enjoy the creative process, and submit their works with that sense of exploration. We look forward to your entries!
