On April 21, the second public symposium of the "Society for Creating a National Design Museum" was held in Sendai. The symposium, divided into three sessions, lasted a lengthy seven and a half hours, including breaks. The audience listened intently to the speakers' talks, which focused on their thoughts and feelings about design, demonstrating their high level of interest in the idea of a national design museum. We will report on the event in two parts. The Society was founded last September by designer Issey Miyake and art historian and director of the National Museum of Western Art, Masanori Aoyagi, with the goal of "conveying the importance of design in Japan and building momentum toward the establishment of a national design museum." The first symposium was held in November, where participants discussed the necessity and significance of a design museum and the importance of creating an archive to preserve unique designs. This time, the theme was more specific: "The kind of design museum we want to create!" In Session 1, Taku Sato (graphic designer) and Naoto Fukasawa (product designer) served as moderators, and three creators presented their specific visions for museums from their respective perspectives. First, interface designer Yugo Nakamura proposed archiving not only objects (products) but also information and context (such as the culture, history, and technology of the era), and further networking between companies, organizations, and individuals. His proposal for a geological layer-like archive storage facility, with each floor divided into 10-year periods, was also clear and unique in concept. Next, contemporary artist Kotaro Sekiguchi, whose theme was "Creation and Education," emphasized the importance of experiencing materials firsthand for cultural preservation, saying, "Design doesn't just happen on a computer; don't forget to design by hand." When asked about the need for a mascot for the museum, he humorously folded origami paper himself and pasted eyeball stickers to demonstrate his hand-crafted design. Finally, Maki Onishi (architect) proposed "creating a landscape that deserves to be preserved," citing the fact that "the Great East Japan Earthquake completely changed the landscape." Citing the difficulty of preserving even mountain scenery, she suggested that specific methods, in addition to thinning trees and managing fields, would require collaboration with industry. Her ideas expanded to include art residencies, cafes, and gallery studios. Following the three presentations, Sato said, "We're in an era where design is considered neutral. We can preserve not only the things but also the feelings and lifestyles connected to the land." Fukazawa cited the example of the cleanup that occurs during the Milan Salone, saying, "When something happens, it creates a chain reaction and has an impact. I look forward to the reproductive power of the design museum." These days, design is not limited to objects; it's also about experiences. As Sekiguchi believes, "Everyone is a designer. We design our lives," the concept of design seems to be expanding. Continued in Vol. 2/2.