Silver Graphics, Illustration and Visual Communication Design · 2025
Hiroshima Peace Song Exhibition
- A' Design Award 2025 Silver Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2025
- CLIENT: Jagda Hiroshima
- Estimated Number of Design Views: 57,168
- Verification code 7297C6D5B6 · Verify this award
About Hiroshima Peace Song Exhibition
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.
The present work, which might be titled *Ascending Resonance: A Memorial in Line and Letter*, represents an exceptional achievement in contemporary commemorative graphic design, situating itself within the distinguished tradition of exhibition poster art that transforms promotional necessity into aesthetic statement, the designer demonstrating remarkable sensitivity to the solemn yet hopeful themes of peace and remembrance through purely formal means, eschewing literal imagery in favor of a powerful symbolic vocabulary built from the fundamental elements of line, pattern, and typography, the central organic form suggests multiple simultaneous readings including a tree of life reaching toward illumination, the resonant waves of song or speech radiating outward, and the regenerative force of nature reclaiming and transforming landscapes, this polyvalent imagery allowing viewers to bring their own interpretive frameworks while providing sufficient visual guidance to anchor contemplation, the technical achievement evident in the seamless integration of text within the organic structure recalls the finest examples of concrete poetry and experimental typography while maintaining complete functional legibility, the decision to present two complementary versions in opposing tonal schemes demonstrates sophisticated understanding of how meaning multiplies through juxtaposition, with the light version suggesting hope, clarity, and emergence while the dark version evokes memory, depth, and the preservation of meaning across time, together they propose that commemoration requires both looking forward and honoring what has passed, the exhibition materials thus function not merely as informational vehicles but as meditative objects in their own right, inviting sustained attention and contemplation, visitors encountering these works might consider how design itself becomes a form of testimony, how the patient accumulation of individual marks can build toward statements of collective significance, and how beauty and solemnity can coexist in service of remembrance.
Press Kit
- Unique Properties
- I created this 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, I placed the design on a plain white background so that its simplicity yields deeper significance the more one observes it.
To portray the flow of the waterfall, I studied Leonardo da Vinci’s manuscripts on water dynamics. I used the English lyrics of the “Hiroshima Peace Song”—chorused every year at the end of the Peace Memorial Ceremony on August 6—to symbolize how peace can spread outward. A single droplet represents an individual, while the river and waterfall evoke the collective consciousness extending from that individual. The molecular clusters of water, signifying human connections and communities, are woven into various parts of the design.
Rather than a commercial endeavor, this project aims to express a deeper, essential meaning of peace. - Dimensions & Packaging
- Exhibition Banner Tapestry
Prominently displayed at the main entrance
Dimensions: W2,000 mm × H5,500 mm
Signage 1
Dimensions: W900 mm × H1,800 mm
Signage 2 / 3 / 4
Each: W450 mm × H1,500 mm
Information Boards
Four boards, each A4 size
Flyer
A4, double-sided, full color plus one spot color
Printed on Araveil paper
Name Cards
Three designs in total: “Hiroshima Appeals,” “Hiroshima Peace Poster Exhibition,” and “Hiroshima Peace Poster Student Competition”
Venue Layout
Comprehensive floor plan for the exhibition space - Tags
- Peace,Poster,Exhibition,Design, Water Imagery, Typographic Design, Da Vinci Inspiration, Hiroshima History, Peace Advocacy, Poster Exhibition, Community Engagement, Gotham Font
- Production Technology
- This poster exhibition was held at the Former Bank of Japan Hiroshima Branch, a historic building located in the heart of Hiroshima and just 380 meters from the bombing’s hypocenter. Because many local citizens attend, we aimed for an immediately striking design. We utilized Akzidenz-Grotesk, a historically significant typeface, for the primary typography, while the exhibition’s title features Gotham—famously used for the film “Oppenheimer”—to add deeper resonance.
We chose a black-on-white monochrome palette to ensure that the showcased works would stand out, including “Hiroshima Appeals” posters, professional designers’ pieces, and a total of 68 selected student posters. Recognizing the classic architecture of the building and its profound historical context, we strove to create a visual presentation that harmonizes with its setting. - Design Challenge
- We focused on conveying both Hiroshima’s global reputation—rooted in its cultural and historical significance—and the city’s present calm, peaceful atmosphere, encouraging visitors to experience both. All of the exhibited works advocate peace, making this a truly remarkable poster exhibition. Our primary goal was to spark interest while ensuring the design carried a deeply meaningful message.
- Project Duration
- Exhibition Period
August 25 (Sun) – August 30 (Fri), 2024
10:00 – 19:00
Venue
Former Bank of Japan Hiroshima Branch (Atomic Bombed Building) - Operation Flow
- This design invites visitors to follow a visual flow, starting with the large tapestry and moving through various signage. Each element guides attendees through the exhibition, helping them connect more deeply with its theme of peace. By uniting water imagery, typography, and strategic pacing, the experience is both intuitive and immersive, encouraging thoughtful reflection and dialogue.
- Research
- We were able to welcome a large number of visitors. The Former Bank of Japan Hiroshima Branch is located in the heart of Hiroshima’s bustling downtown, where many commuters pass by each day. The prominent Exhibition Banner Tapestry at the entrance successfully attracted people’s interest and drew them in.
Additionally, A4 flyers were placed in the Atomic Bomb Museum and various municipal offices, which also helped bring in many attendees. Overall, we believe this event provided a valuable opportunity for many to reflect on peace once again. - Inspiration
- When designing the “Hiroshima Peace Poster Exhibition 2024,” an annual event organized by JAGDA Hiroshima, my primary goal was to create something truly meaningful. In 2025, Hiroshima will mark 80 years since the atomic bombing, and even in 2024, key events like the release of the film “Oppenheimer” and the G7 Summit highlight the importance of revisiting the concept of peace.
I chose to blend the lyrics of Hiroshima’s “Hiroshima Peace Song” with water—a symbol both of what bomb survivors longed for and of Hiroshima’s modern cityscape—to convey an essential message through typography, while also reflecting the city’s peaceful atmosphere today. To accurately portray the flow of water, I studied Leonardo da Vinci’s manuscripts, focusing on his observations of fluid dynamics. Inspired by the image of a cascading waterfall, I hoped to evoke the sense of peace spreading outward among all who experience the design. - Image Credits
- Main Image: PHOTO / Naoya Katagami, SOUND / Words by Yoshio Shigezono Music by Minoru Yamamoto The city of Hiroshima,
Image #1: PHOTO / Naoya Katagami, SOUND / Words by Yoshio Shigezono Music by Minoru Yamamoto The city of Hiroshima
Image #2: PHOTO / Naoya Katagami, SOUND / Words by Yoshio Shigezono Music by Minoru Yamamoto The city of Hiroshima
Image #3: PHOTO / Naoya Katagami, SOUND / Words by Yoshio Shigezono Music by Minoru Yamamoto The city of Hiroshima,
Image #4: PHOTO / Naoya Katagami, SOUND / Words by Yoshio Shigezono Music by Minoru Yamamoto The city of Hiroshima,
Colors of Hiroshima Peace Song Exhibition
Get Hiroshima Peace Song Exhibition
Design Interview about Hiroshima Peace Song Exhibition
The design was created to deliver a message of peace to the world. Using the English lyrics of the “Hiroshima Peace Song,” performed during the Peace Memorial Ceremony on August 6, I visualized the words as typography flowing from a single drop of water into a powerful waterfall—symbolizing how a message can spread across the globe. The imagery of flowing water was inspired by Leonardo da Vinci’s manuscripts, as well as my personal experiences visiting waterfalls.
My main focus was to ensure that the voice for peace from Hiroshima could reach the hearts of many people. In a world where wars continue to be fought without end, I strongly wished that this work could serve, even in a small way, as a catalyst for people to feel something meaningful and to reflect on the importance of peace.
This poster exhibition is held every year at the former Hiroshima Branch of the Bank of Japan, one of the city’s atomic-bombed buildings. I sincerely hope that future exhibitions will attract even more people and provide them with an opportunity to reflect once again on the importance of peace.
It took about six months from the initial concept to the opening of the poster exhibition. The process included developing the idea, refining the design, and preparing the exhibition as part of the project.
This concept began with a personal question to myself: What does peace truly mean? To explore this, I visited atomic-bombed buildings and related facilities in Hiroshima. I was born and raised in Hiroshima, and my grandfather was also an A-bomb survivor who entered the city after the bombing, so I grew up hearing many firsthand stories. Among them, the memory of countless people who perished while desperately longing for water left a deep impression on me.
With this in mind, I wanted the work to serve as a tribute to those people, while also using “water” as a symbol of today’s peaceful city of Hiroshima, often called the City of Water. At the same time, I felt strongly about incorporating The Hiroshima Peace Song, which is sung at the Peace Memorial Ceremony on August 6 each year. I obtained official permission from the City of Hiroshima to use the lyrics in the design, so that its message of peace could reach even more people around the world.
With this in mind, I wanted the work to serve as a tribute to those people, while also using “water” as a symbol of today’s peaceful city of Hiroshima, often called the City of Water. At the same time, I felt strongly about incorporating The Hiroshima Peace Song, which is sung at the Peace Memorial Ceremony on August 6 each year. I obtained official permission from the City of Hiroshima to use the lyrics in the design, so that its message of peace could reach even more people around the world.
This design is not intended for commercial production or licensing. It was created specifically for the annual poster exhibition held at the former Hiroshima Branch of the Bank of Japan, one of the city’s atomic-bombed buildings. The purpose of the work is not to sell or distribute it as a product, but to share a message of peace and reflection. I plan to continue producing and presenting such works myself as part of this ongoing exhibition, so that more people can engage with Hiroshima’s voice for peace.
My intention was not to create something that only looked stylish or atmospheric, but to design a work with deeper meaning. By using a simple, monochrome yet powerful waterfall composition, I wanted to give the design a strong visual impact while encouraging viewers to reflect on the true meaning of the lyrics of the “Hiroshima Peace Song.” This approach allowed the design to move beyond surface aesthetics and serve as a visual medium for contemplation and peace.
Yes, the concept was strongly influenced by Leonardo da Vinci’s sketches of water, which inspired the way I visualized the flow and energy of the typography. I also sought inspiration directly from nature by observing waterfalls myself, which helped me capture the movement and depth in the design. In addition, the “Hiroshima Peace Song,” sung each year at the Peace Memorial Ceremony, served as a central influence, providing both the text and the emotional foundation of the work.
The design is intended for a broad audience, including both local citizens of Hiroshima and visitors from around the world who come to reflect on peace. It especially aims to reach younger generations, offering them an opportunity to think about the meaning of peace through art and design. At the same time, the work speaks to design and art enthusiasts who value projects with a deeper social message, helping to extend Hiroshima’s voice for peace to an international audience.
This design stands out for its unique use of typography that transforms the English lyrics of the “Hiroshima Peace Song” into a visual waterfall, symbolizing the spreading flow of peace from a single drop. Unlike many poster designs that rely on aesthetic impact alone, this work carries a deeply rooted message tied to Hiroshima’s history and culture. Inspired by Leonardo da Vinci’s studies of water as well as direct observation of waterfalls, it combines scientific observation, cultural heritage, and personal background into a single visual statement. This fusion of artistic expression and universal message of peace makes the work distinctive.
The name was taken directly from the “Hiroshima Peace Song,” which is sung every year on August 6th at the Peace Memorial Ceremony in Hiroshima. Since I used the English lyrics of this song in the design, I wanted the title itself to carry the same message of peace and help spread it to the world. By naming the work after the song, the design underscores the importance of the music as a symbolic voice for peace.
I began by making hand-drawn sketches of waterfalls and studying the optimal patterns of water flow, which I recorded in my notebook to develop the concept. After scanning these sketches and transferring them to my Mac, I refined the design digitally. Using Adobe Illustrator, I recreated the flow of water, placed the text within it, and carefully adjusted the overall balance to achieve the final composition.
The most unique aspect of my design lies in the powerful impact of the typography shaped like a waterfall, combined with the profound meaning and resonance of the lyrics from the Hiroshima Peace Song. Together, they create both a strong visual presence and a deeper emotional vibration that extends beyond design aesthetics.
I designed this work independently without collaboration. The entire concept, research, and execution were developed by myself.
Technology played a supportive role in this design. I first created hand-drawn sketches to explore the flow of water and the concept of a typographic waterfall. These sketches were then scanned and refined digitally using Illustrator, which allowed me to balance the text and composition with precision. In this way, technology helped transform the initial analog inspiration into a clear and impactful final visual.
Yes, this design was influenced by both cultural research and personal exploration. I began by asking myself what peace truly means, and visited several atomic-bombed buildings and related sites in Hiroshima to deepen my understanding. I also studied Leonardo da Vinci’s sketches of water flow and observed actual waterfalls to capture the natural dynamics of water. Furthermore, I researched the background of the “Hiroshima Peace Song” and obtained official permission from the City of Hiroshima to use its lyrics. These processes helped ground the design in both historical context and authentic symbolism.
One of the main challenges was how to translate the profound theme of peace into a visual form without reducing it to decoration. Creating a waterfall made of typography was technically and conceptually demanding, as it required balancing readability with symbolic power. Another challenge was ensuring that the design carried authentic meaning by integrating historical and cultural research, such as the stories of Hiroshima and the use of the “Hiroshima Peace Song.” I also faced the responsibility of handling the subject matter with respect and sensitivity, making sure the work would resonate sincerely with viewers.
I decided to submit this design to an international competition because I wanted the message of peace from Hiroshima to reach beyond local or national boundaries. The “Hiroshima Peace Song” carries a universal message that I believe can resonate with people worldwide, and design provides a powerful language to communicate it. By participating in the A’ Design Award, I hoped to share not only the visual concept but also the deeper meaning behind it, creating opportunities for dialogue and reflection on peace at a global level.
Through the process of designing this work, I deepened my understanding of the history of Hiroshima and reflected on what peace truly means. Visiting atomic-bombed buildings and related sites, as well as listening to the memories of survivors, gave me new perspectives and a stronger sense of responsibility as a designer. I also learned how to translate abstract concepts such as memory, loss, and hope into visual form. This project reminded me that design can go beyond aesthetics and serve as a powerful medium to communicate values and inspire reflection.
What I would like to emphasize is the importance of passing on the message of peace to future generations. As someone born and raised in Hiroshima, I feel a deep responsibility to share this story with the world. My hope is that this design will not only serve as a visual statement but also as an invitation for dialogue, reflection, and connection across cultures. Ultimately, design can become a bridge that carries human values beyond borders.
I would like to take this opportunity to express my heartfelt gratitude to everyone at the A’ Design Award — the jury members, staff, and all those involved — for their dedication and efforts. Their work not only supports designers around the world but also gives us the chance to share our messages with a global audience.
I would like to take this opportunity to express my heartfelt gratitude to everyone at the A’ Design Award — the jury members, staff, and all those involved — for their dedication and efforts. Their work not only supports designers around the world but also gives us the chance to share our messages with a global audience.
Grand Interview about Hiroshima Peace Song Exhibition
This 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.