In Session 2, under the theme "What kind of design museum would we like to create?", moderators Tatsuo Miyajima (contemporary artist) and Taro Igarashi (architectural historian) selected and introduced ideas submitted by the public.

A total of 38 applications were received. Overall, many proposals related to architecture, with a particular focus on network-based designs that connected existing facilities. Other proposals included landmark designs in which the museum itself would become a city's magnet, and the bold idea of a mobile museum, like a circus, rather than a building. Igarashi pointed out the connection to the times, such as "rather than the scrap-and-build of the bubble era, we are looking to utilize public facilities such as abandoned schools and connect with local revitalization."

In addition to discussing the collection policy and criteria for collecting archives, Miyajima also raised the issue, saying, "While there is design as an object, there is also an increasing trend toward designs that connect people. How can we archive these as a collection?" The final speaker in Session 3 was architect Toyo Ito, art director Katsumi Asaba, Issey Miyake, and Masanori Aoyagi. Miyake, who has been visiting Tohoku for the past 40 years to examine materials, introduced the Tohoku region's sashimi weaving technique, explaining how it is incorporated into products. He emphasized the importance of handcrafts, which form the core of the museum, saying, "I want to restore the dexterity of Japanese hands. The Edo period's popular culture is what makes Japan so appealing. I want to share this with the rest of the country and apply it in various fields." Ito, who gathered with people who lost their homes in the earthquake, launched the "Home for All" project, in which residents and builders build homes together. "The lessons of 3/11 have brought us to the very fundamental question of what purpose architecture serves, and for whom. I believe that designing the process is a major theme now," he said, highlighting the pressing issues surrounding urban development and architectural design in the context of earthquake recovery. Asaba, whose mother is from Ishinomaki City, Miyagi Prefecture, spoke about his work related to the Tohoku region. He also spoke about the Ogatsu inkstones, a traditional craft made from stone mined in Ogatsu Town, Ishinomaki City, which were washed away by the tsunami along with their workshop, and their subsequent recovery. Fortunately, the inkstones survived and were exhibited at the venue. Aoyagi cited an exhibition of Ito Jakuchu's works, which was being held in Sendai at the time, as an example, commenting on the blurring of boundaries between fine art and crafts. He noted the significance of the National Design Museum as a forum for research and development focused on crafts, saying, "The keyword 'design' allows us to discover new Japanese culture." Regarding collaboration with education, the next issue discussed was the financial aspects of operation, following on from the content. Miyake concluded with these powerful words: "I feel like the prototype of a design museum lies here, at Sendai Meditheque. The people of Sendai have allowed us to use this space, which has accelerated our progress. We can see the future. Things won't move forward unless we believe the economics will work out. Let's do it."

Japanese design is attracting attention from around the world in all fields. Despite this, there is no design museum in Japan. When traveling, everyone visits local art galleries and museums. Designs and objects born from people's lives are proof of the people who lived in those times, and they are part of life itself. The accumulation of designs and objects creates the present, and from them the future is born. Without these accumulated experiences, the "present" is like a castle built on sand, at risk of easily collapsing and becoming disconnected. In that sense, I hope that the National Design Museum will become a reality as soon as possible, and I wholeheartedly support it.