Interview about Hiroshima Peace Song Exhibition, winner of the A' Graphics, Illustration and Visual Communication Design Award 2025
The designer created the design by envisioning how a single droplet of water expands into a cascading waterfall, using the lyrics of the Hiroshima Peace Song. Inspired by principles akin to Japanese Zen, the design is placed on a plain background so that its simplicity yields deeper significance the more one observes it. The English lyrics of the Hiroshima Peace Song, which is sung every year at the end of the Peace Memorial Ceremony on August 6, are used to symbolize how peace can spread outward.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThis design was created for the 2024 Hiroshima Peace Poster Exhibition, held at the Former Bank of Japan Hiroshima Branch, a building just 380 meters from the atomic bomb’s hypocenter. Given the historical and emotional significance of this location—especially as we approach the 80th anniversary of the war’s end—I felt a deep responsibility to produce a work that went beyond superficial aesthetics and instead addressed the essence of peace.The lyrics of the “Hiroshima Peace Song,” traditionally sung at the conclusion of the August 6 Peace Memorial Ceremony, carry a profound message. I was inspired to represent them typographically, letting the words themselves form the visual foundation. To express the dual emotional currents of Hiroshima—the tranquil, flowing rivers of today and the tragic memories of victims who died desperately seeking water after the bombing—I chose “water” as the central metaphor. A cascading waterfall, simultaneously serene and powerful, emerged as the perfect symbol.While researching natural waterfalls for inspiration, I found that the rocky, rugged formations—though beautiful—often distracted from the idea of pure fluid movement. This led me to recall Leonardo da Vinci’s studies on fluid dynamics, which I had encountered during previous design explorations. I revisited his manuscripts, specifically those held in Japan’s National Diet Library, and found in his observations a profound clarity and simplicity that felt aligned with my goals.The flowing, unimpeded forms Leonardo captured helped shape my design. The waterfall I created doesn’t just visually reference water—it visually releases the song’s message, cascading down as if words themselves were made of water, flowing endlessly like peace should. Just as rain becomes a stream, a river, a waterfall, and then joins the sea before cycling back into the clouds, this work aims to embody an eternal flow of peace, remembrance, and renewal.
The Former Bank of Japan Hiroshima Branch is located a mere 380 meters from the bomb’s hypocenter. At the moment the atomic bomb detonated, people sitting inside were burned into the walls, and portions of those walls are now relocated and exhibited at the Hiroshima Peace Memorial Museum in Peace Memorial Park—this is a building of profound historical significance.Although many people perished inside this building and it suffered extensive damage, it symbolized resilience when, starting on August 8—just two days after the bombing—private banks began returning deposits and conducting payouts for citizens. This act became a symbol of post-war recovery. Today, it is preserved as a hibaku (bombed) building under Hiroshima City management, and visitors can tour it free of charge.As I visited the building repeatedly while designing the exhibition, I became intensely aware that I couldn’t just design a message of peace—I had to fully accept and reflect on the horror of war. The feelings and impressions I gained from being inside the structure significantly influenced my design choices.
To embody the essence of the cascading typography depicting the “Hiroshima Peace Song” lyrics, I selected Akzidenz-Grotesk—a simple, refined, and traditional typeface. Its clean, timeless quality resonated deeply with the weight of 80 years since the war and the enduring message of peace. It provided a sense of continuity and respect, echoing the solemn flow of history.For the title of the Hiroshima Peace Poster Exhibition, I chose Gotham, and this choice carried a meaningful cultural connection. Earlier that spring, Christopher Nolan’s film Oppenheimer premiered in Hiroshima, and I watched it twice at Hacchō-za, a cinema located close to the hypocenter. The film’s blend of American perspectives on the atomic bombing and the Japanese experience of J. Robert Oppenheimer’s moral struggle struck a deep chord in me. By using Gotham—the same typeface used in Nolan’s film title—I aimed to honor the director’s nuanced storytelling and reference the film’s dialogue between past and present, East and West. This dual-typeface approach creates a visual and historical conversation: Akzidenz-Grotesk grounding the work in tradition and peace, while Gotham bridges it to contemporary discourse and cultural introspection.
In Japan, we have a deep cultural tradition rooted in Zen philosophy and an appreciation for negative space. I intentionally adopted a monochrome palette—reminiscent of ink wash painting (sumi-e)—so that the waterfall formed by the “Hiroshima Peace Song” lyrics becomes the central visual force. As viewers engage more closely with the piece, they uncover deeper meanings, much like a meditation practice unfolding through careful observation. This minimalist approach invites quiet reflection and underscores the enduring message of peace.For the B1 posters featured in the exhibition, I collaborated with artisans from the Bizan Hand-made Washi Cooperative (阿波手漉和紙商工業協同組合). Each poster was printed on a single sheet of their hand-crafted “Bizan” washi paper, produced through traditional water-driven papermaking methods. The unique texture and materiality of this high-quality paper amplify the design’s tactile essence and conceptual depth, creating a powerful resonance with the exhibition’s peace-focused theme.
After deciding to express the Hiroshima Peace Song as a waterfall, I spent countless hours observing natural falls. While balancing my other professional duties, I continually returned to the fundamental question: What is peace? What does it mean to depict a waterfall? In time, I cleared away even those very thoughts, embracing simplicity. What remained was the essence of this design—the pure form, flow, and emotion at its heart.On Hiroshima City’s official YouTube channel, the Peace Song is available in both Japanese and English. When I listen to it while gazing at the waterfall typography, I feel as if my thoughts, hopes, and wishes for peace are enveloped in its cascading flow and the sound’s vibrations that cascade through the air. Guided by this intention, I placed the waterfall of lyrics against a plain white background. This stark emptiness amplifies the waterfall’s movement, the melody’s vibrations, and the urgings of peace—all without distraction. The white background is a canvas for silence, letting the design breathe and the message resonate clearly and powerfully.
While my personal design expression in the exhibition is centered on the waterfall motif, as mentioned earlier, the Hiroshima Peace Song Exhibition is fundamentally composed of the heartfelt aspirations for peace expressed by all 68 participating designers. The thematic concept of “water” reflects not only the essence of peace but also scientific beauty. As we know, water molecules are composed of H₂O, but in nature, they tend to exist in clusters of around five molecules. These clusters reminded me of social groupings among humans—close-knit circles of friends and communities.I visualized these molecular clusters as symbols of human connection and designed them accordingly, scattering the cluster motifs across signage and visual elements within the exhibition. Some of the cluster designs were expanded to form spherical shapes reminiscent of the Earth, representing the broader, global unity of these individual expressions of peace. These designs emphasize the interconnectedness and collective importance of each of the 68 works.For the name tags of the outstanding student posters, I incorporated a droplet shape—symbolizing their addition to the expanding cluster of peaceful voices. Through this visual language, I sought to express the ripple effect of peace, spreading from individual intentions to a collective consciousness.
My design was strongly influenced by contemporary contexts—just as with Question 03, Christopher Nolan’s Oppenheimer had a profound impact. Additionally, Hiroshima hosted the G7 Summit the previous year, and with the 80th anniversary of the bombing approaching, I sensed a heightened awareness among both citizens and visitors.During the design process, I frequently visited Hiroshima to absorb this charged atmosphere—the cultural reflections, architectural memorials, and conversations taking place. This helped me distinguish between superficial symbolism and essential expression. Immersed in this moment of collective remembrance and global attention, I was determined to create a design that resonates with historical depth while remaining genuinely rooted in contemporary reflection.
From the outset, the entrance tapestry was designed with its monumental scale in mind. I wanted passersby—on their daily commute or on their way to school—who casually walk past the venue to feel a sense of significance and impact through the waterfall motif. To achieve this, I visualized the typography forming a torus-like waterfall that remains visually striking even from across the street.By carefully balancing the compression and spacing of the water-flow typography, the large forms create an unmistakable waterfall structure when viewed from a distance. As viewers approach the tapestry, the letters themselves become legible: positive words and poignant phrases emerge from the flow of lyrics, inviting closer reflection. This dual-layered experience—bold visual impact at a distance, and thoughtful textual discovery up close—ensures the work communicates both its emotional weight and its message of peace at any scale.
In 2023, Hiroshima welcomed approximately 12.3 million visitors—a 33 % increase compared to the previous year. This significant growth reflects rising global interest, with many visitors touring the Peace Memorial Museum and other atomic bomb sites.By strategically distributing exhibition flyers across these municipal spaces and the Atomic Bomb Museum, we ensured visibility to both residents and international visitors. The materials were quickly taken—almost disappearing from venues—which confirmed high public engagement. This broad distribution helped drive attendance and conversation around the exhibition, fostering community connection and amplifying its message of peace.
I am deeply honored to receive the Silver A’ Design Award for the Hiroshima Peace Song Exhibition. This recognition has already led to meaningful opportunities, such as being featured in the Chugoku Shimbun, requests from venues to display the poster, and exhibitions in areas far from Hiroshima. Through this exposure, I believe the message of peace embedded in the design is beginning to reach broader audiences.As we approach the 80th anniversary of the atomic bombing, I hope this exhibition will continue to foster global reflection—not only on Hiroshima’s past but on our shared future. The Hiroshima Peace Song and the visual metaphors of flowing water represent a call for peace that transcends borders and generations. As inscribed on the stone cenotaph in Hiroshima Peace Memorial Park, “安らかに眠って下さい 過ちは繰返しませぬから.” These words embody the spirit of Hiroshima—a collective commitment not to repeat the mistakes of the past, a resilience born from profound suffering, and a vision for peaceful coexistence. Through this work, I wish to contribute to that spirit and to amplify its relevance in today’s conflicted world.
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