Photo by Asami Hirabayashi

でだない

決してググれない、

のれんの向こう。

 

Madedanai

You never know

the narratives by googling.

 

#Project

#Graphic design

#Art direction

#Storytelling

#Exhibition design

Collaborators

Yukari Watanabe

Naoyuki Ishitani

 

Supporters

Wakuya, The 12th | Tomomi Watanabe

Onoya, The 6th | Kazuhiro Abe

Iseya, The 21st | Kiyotaka, Ishizuka

Daimaru Mannendo, The 3rd | Jun Kato

Kashiwaya, The 5th | Zenbei Honna

 

Photographer

Asami Hirabayashi

福島県郡山市はかつて大きな宿場町として栄えました。奥州街道から商人や役人が集まり、城のない郡山はいつしか県内一の人口にまで発展しました。郡山の商店街には、今でもいくつかの老舗がのれんを掲げています。しかし、この商店街もかつての活気を無くし、多くの老舗がのれんを下ろし、その歴史に幕を閉じています。

 

街の発展に貢献してきた老舗の存在から紐解く郡山はどんな街なのか。

”元気がない商店街”は本当の姿なのか。郡山の再発見(過去)・再確認(現在)・再発信(未来)をテーマにこのプロジェクトはスタートしました。

 

商店街に店を構える老舗5店舗にご協力頂きそのお店の、のれんと屋号を新たにデザインしました。2016年10月から1ヶ月間行ったこのプロジェクトは安積歴史博物館で展示され、多くの郡山市民がそののれんをくぐり、老舗と商店街のストーリーを垣間見ました。

※までだない=ていねいにやりとげる、という福島県中通りの方言

※ググる=Googleを使って情報を検索する、という意味

 

Koriyama city once flourished as a post town in Edo period. The city has grown up the biggest population in Fukushima Pref. because of the accessible location. Many merchants and governors used to commute from Edo to Koriyama via a road called "Oushu-Kaido." We still can see some Noren curtains in front of the entrance of old Japanese stores "Shinise" which have opened since the Edo period in the shopping street of Koriyama City. However, the Japanese economics and culture have changed so much than before, and it causes of taking the Noren curtain down from the shop's entrance which means many Shinise stores permanently closed.

 

How can we discover the narratives of Koriyama city? This project started to re-explore the history (Past) of Shinise stores, reconsider the role of old stores and community space (Present) in the district and re-deliver the narratives to Koriyama people (Future). Five Shinise stores cooperated to this project. I redesigned Yagou -Japanese brand mark and Noren curtains for them. The artworks were exhibited at Asaka History Museum in 2016. Many audiences visited the exhibition to pass through the Noren curtain and re-explored stories of their city.

※MADEDANAI = A dialect of Fukushima Pref. which means "to complete a work carefully and create the best quality."

サー

RESEARCH

DESIGN

 

十二代続く、歴史ある旅館和久屋は変わらず表参道に店を構えている。人が行き交う旅籠はものがたりが集まる発信源のような場所だった。やがて町から旅籠はなくなり、和久屋は民芸品店へと姿を変えたが、この時代だからこそもう一度その発信力を取り戻したいと、十二代目は語った。遠い昔、湧屋と名乗っていた和久屋。もう一度、人が、熱が、アイデアが湧く泉のような場所へ。和久屋のヤマニ紋と実際に使用していた湧の字を用いて湧き出る源泉を表現した。

Wakuya has been in Omote-Sando Street for 230 years. The Wakuya hotel used to be a place many visitors came along and shared their stories with others. Even though hotel business was the primary industry of Koriyama City, the amount of hotel has decreased day by day. Despite Wakuya has changed his business to crafts shop, the 12th owner expressed his aspiration that he wants to get back a community place like before.

 

Wakuya in Japanese is 和久屋 yet; it was 湧屋 long time ago.  connotes spring, energising, generating idea and excitement. I associated this letter with a new concept that Wakuya turns back to the community place like spring where a bunch of people would gather to share their ideas. The place would also be full of energy. The under arrow of this logo is referred to the previous Yagou which is called Yamani.

和久屋

Wakuya

 

小野屋金物店は大町商店街にあるなんでも屋さんだった。家庭金物はインターネットで買い求めやすくなり、建築金物は駐車場が広く車で行きやすい市外のホームセンターに需要がながれていった。そうしてかつての誰もがフラッと立ち寄れる、金物屋は商店街から姿を消してしまった。もう一度物と物を接ぎ合わせるように、人と人を繋ぎ、歴史を継ごう。デザイン上部のデヤマは小野屋の歴史を、その傘の下に入る右側の小野屋は人を、左側の金物屋は物をイメージし、つなぐ金物屋を表現した。

Onoya was an ironmonger in Omachi Shopping Street. Local people used to visit this shop and had a chat with neighbours. The small ironmonger shop was an important community place for locals. The shop has already closed due to shrinking the industry at Koriyama. Internet services gradually replaced to retail stores. A big home centre became much convenient to go for construction workers rather than driving a car to the narrow Shopping Streets. The 21st owner had suffered from the dramatic change of customer's tendency.

 

The new design concept is "Reminding the role of Onoya that was a HUB in the local community." The top of the logo shows the same roof shape as the previous Yagou mark which expresses the history of Onoya. The right-hand side part means "Connecting people" and "Various architectural parts" can be seen the left-hand side.

小野屋金物店

Onoya

 

古いせやとよばれ愛される呉服店は500年以上そののれんを守ってきた。和装文化自体が大きく変わってしまった上に、商店街の衰退が大きくこの店に影響を与えている。その長い歴史を辿ると、愛宕神社から一つのものがたりが出てきた。先代彦惣が吉良上野介邸に家来として勤めていた頃に遭った赤穂浪士討ち入りにより瀕死の怪我を負った話だった。信心深くお祈りを捧げていたお稲荷さんが彦惣の前に大狐となり現れ、背中に先代を乗せて郡山へ帰還した。そうして先代はこの店を継いだ。もしこの時代に大狐に乗った彦惣が現れたら、この町の人たちに何を伝えるだろうか。その思いを馳せて、この絵を描いた。

A Kimono store, Iseya nicknamed Ko-Iseya which means "the oldest shop" has hung a Noren curtain on the entrance of the store over five hundred years. The Japanese Kimono market had been getting smaller and fewer customers in the Shopping Street than ever has given serious impact to Ko-Iseya. When I looked up the long history of Ko-Iseya, an impressive story was found from Atago Shrine that was about the 7th owner, a samurai, Hikosou who worked at Kira Kouzukenosuke's house as a secretary.

 

The plot called "Chushingura" is the most famous and popular legend in Japan. In the story, Hikosou was said he was one of the victims of this issue. He was saved his life by a big fox "Oinari-Sama." The Fox brought him back to Koriyama City on the day, and he determined to start Kimono store  instead of spending the rest of his life as a Samurai. I created a continuous story for a new logo what if he came to this era to say something to us. He gives many questions to reconsider about this city.

いせや呉服店

Iseya

 

重要な場面で登場するハンコ。その指先の決意に誠心誠意向き合い、人生の局面に寄り添うのがハンコ職人の仕事である。蔵場商店会で店の門を開け、経営者や新しい一歩を踏み出す若い社員、老舗の当主などのハンコを作り続けた。「ハンコを渡した後のその人の人生は、想像するしかないんだよね。」そう三代目は語った。一瞬に一念を込め、一点物のハンコで人生の一大事を迎える。ハンコを押すというのは一を生み出すことと似ている。百以上の中から選んだこの一は、実はすべて判を押す所作のように上から下へ決意を込めて筆を走らせたもの。

When someone puts a stamp on a contract, s/he can be standing on a turning point in their life. The 3rd president of Daimaru Mannendo has encouraged his customers who order a new stamp by creating a bespoke stamp. He mentioned that "I have no idea the circumstance how the customers use the stamp after they receive it from me. Then only thing what I can do is to wish their success and progress."  Last few decades, many stamp shops closed in Japan because consumers have become much focus on low price than high quality. This new design shows 一(Ichi) which mean first or one in Japanese. I imagined a situation that a man determines to contract a critical state and stamp on it. The job of the craftsman is to support this one moment of someone's life. I wrote more than hundred 一(ichi) from top to bottom edge on papers as well as the motion of putting a stamp on a contract sheet because wanted to express determination.

大丸年堂

Daimaru Mannendo

 

日本三大饅頭の一角として、郡山から和菓子界を牽引してきた柏屋。薄皮饅頭に包まれたのは餡だけではなく、日本の文化や饅頭を食べるしあわせな時間、そしてあたたかい空間であった。お茶の間はその時を共有する大切な空間だったが、今では昔のように人が集まり、談笑することが少なくなった。町のランドマークになりたい、と語る柏屋はこれから先、どのような空間を作っていくのだろうか。ミライの茶の間というコンセプトをたて、柏屋のせいろマークを近未来的な幾何学を施した欄間と丸窓から覗く茶の間にリデザインした。中央には陽が昇るように、薄皮饅頭が卓の上に置かれている。

Kashiwaya is one of the leading sweets companies in Japan which has contributed to developing the Shopping Street of Koriyama City. They create the space and time for a short break as well as selling Manju itself. There is a tea room in a Japanese house where family or visitor gather to drink tea, to eat sweets and to share topics. However, we hardly see the situation recently due to the change of Japanese custom in a house, and it might cause of less communication than before. The 5th president suggested that an aspiration of Kashiwaya for the next few decades is to become a landmark of the city. I focused on how Kashiwaya will recreate the space -tea room in the future.

 A metaphor "a tea room in the future" came up as a design concept. The geometry square expresses Ranma- Japanese decoration for a wall between different rooms. In the middle, you could see a circle window and a half circle Manju on the table which implies sunrise. You are now looking at a Manju in a tea room.

柏屋

Kashiwaya

INSIGHT

今回多くの商店や老舗で聞いたのが、震災による蔵の倒壊と資料の紛失でした。これまでの長い歴史の証拠が失くなってしまったのです。ここで歴史を継なぐ主な手段は言い伝えとなります。しかし言い伝えは「話し手(Storyteller)」と「聞き手(Listener/ Audience)」双方がいないと成り立ちません。その間の架ける橋をつくる事こそが、今回のこのプロジェクトの意義でした。それぞれの老舗にマインドマップとのれんを寄贈しました。そののれんを見てこれから先も老舗のストーリーが繋がっていくよう、現代に一つ句読点が打てたことが重要な成果となりました。

I confronted to correct enough resources and documents of the most Shinise stores because it has been lost since Kura (蔵) -Japanese storage was collapsed due to the earthquake in 2011. At this moment, a way of taking over the history to the next generation is mainly folklore. It would be better if they have archives to talk about their histories. I believe that one of the roles of a designer is to create the bridge between past and the future. I expect that the Noren curtains I passed to all owners after the exhibition will give opportunities for having a conversation about the histories and plans for the future among local people.

のれんの寄贈

現代に句読点を打つ

Giving all Noren curtains and

the mindmaps to the owners.

 

記事

ARTICLE

TAKAYUKI ISHII

 

Graphic Design And

Community Engagement

COPYRIGHT © 2018 TAKAYUKI ISHII.  ALL RIGHTS RESERVED.