Gold Cultural Heritage and Culture Industry Design · 2026
Noshudo Zero Symbolic Blade
- A' Design Award 2026 Gold Winner in Cultural Heritage and Culture Industry Design
- Awarded April 15, 2026
- Estimated Number of Design Views: 58,735
- Verification code 074949AE0C · Verify this award
About Noshudo Zero Symbolic Blade
Noshudo Zero is a circular Japanese sword reinterpreted as a symbolic blade for self reflection. Hand forged and traditionally finished, it incorporates precision machined hilt and guard components only in limited areas. Forged from high purity tamahagane and finished with a uniform mirror surface, it reflects the viewer and transforms the sword from an object associated with direction and confrontation into one of self reflection and balance. Conceived as a cultural bridge between craft and people, it remains on continuous public display in Seki City.
Positioned within the contemplative intersection of traditional craft heritage and contemporary design innovation, this work invites consideration of how ancestral making traditions might be reinterpreted through modern material sensibilities and formal vocabularies, the circular blade form suggests dialogue with ceremonial objects across cultures while its specific material language evokes the revered traditions of blade-making where the relationship between cutting edge and handle has been refined over centuries into expressions of both functional excellence and profound aesthetic achievement, the designer appears to engage deliberately with the visual vocabulary of wrapped sword handles through the diagonal hatching patterns carved into the darker material while the triangular geometric faceting introduces a more contemporary crystalline precision that speaks to modern design sensibilities, the brass or bronze collar elements function both as structural transitions and as chromatic punctuation marks that warm the otherwise cool palette and recall traditional metalwork fittings, technical accomplishment manifests throughout in the flawless mirror polish of the metal arc which achieves a reflective quality suggesting master-level finishing techniques alongside the precise carving of the black material where each facet and groove demonstrates controlled execution, the presentation methodology itself communicates reverence through the luxurious silk drapery and protective vitrine suggesting this object merits the careful handling typically reserved for significant cultural artifacts, thematically the work seems to explore questions of continuity and transformation asking how traditional forms might carry meaning into contemporary contexts without losing connection to their heritage sources, the circular form absent a beginning or end point may suggest eternal cycles or the continuous transmission of craft knowledge across generations while the blade reference invites meditation on concepts of precision discipline and the cutting away of the unnecessary that appears across contemplative traditions, viewers might consider what it means to create a blade without a conventional cutting function transforming the weapon into pure symbol and aesthetic contemplation
Press Kit
- Unique Properties
- Noshudo Zero is a circular Japanese sword reinterpreted as a symbolic blade for self reflection. To the best of our knowledge, it is the first documented circular Japanese blade realized primarily through traditional hand forging. The blade is made from tamahagane and reclaimed historic iron and was intentionally finished without a sharpened cutting edge, emphasizing cultural meaning, reflection, and presence rather than aggression.
- Dimensions & Packaging
- The project features a circular Japanese blade with an approximate diameter of 300 millimeters. Primary materials include high purity tamahagane steel and reclaimed historic iron. The hilt and guard incorporate precision machined metal components. Traditional hand polishing and modern surface refinement were combined to achieve precise circular geometry, structural stability, and a uniform mirror like finish suitable for public exhibition.
- Tags
- Japanese sword, circular blade, symbolic blade, self reflection, cultural heritage, Seki City, traditional craft, hand forging, tamahagane, mirror finish
- Production Technology
- Creating the circular blade required controlled forging beyond conventional sword making practice. Under heat, the inner edge had to be contracted while the outer edge expanded in balance. Three forged material sets were lost before the final form of about 300 millimeters was achieved. The blade was then hand polished over several days to secure stable geometry and a uniform mirror surface, while precision machined parts were integrated in limited areas.
- Design Challenge
- The main challenge was realizing a continuous circular blade through traditional hand forging while maintaining structural stability, material integrity, and visual balance. This geometry is rarely attempted in Japanese sword making because curvature control under heat is extremely difficult. Repeated trials, close coordination among swordsmiths, polishers, and machinists, and refinement of each step were necessary before the final blade could be completed successfully.
- Project Duration
- The project began in April 2023 in Seki City, Gifu Prefecture, Japan. Over twelve months, design development and prototyping were carried out between the design studio in Anjo City and traditional swordsmith workshops in Seki. The final prototype was completed in April 2024 and publicly presented as part of a local cultural initiative. Since completion, the work has remained on continuous public display in Seki City.
- Operation Flow
- The object functions as a focal point for quiet contemplation. In a gallery setting, the mirror surface reflects the viewer and encourages a reconsideration of the sword as a symbolic cultural presence rather than an instrument of force. Because the circular form removes the usual directional character of a blade, viewers engage with it less as a weapon and more as a mirror of the self, inviting reflection, balance, and awareness.
- Research
- This is practice based design research. The objective was to test whether Japanese sword craft could gain renewed cultural relevance through reinterpretation. Methods included historical review, concept development, prototyping, forged trials, and observation of workshop processes using reference models and process records. Experiments with swordsmiths and machinists produced a circular reflective blade. The result suggests new social and design value for traditional craft.
- Inspiration
- This project reinterprets the Japanese sword as a reflective symbolic blade and a symbol of peace. Inspired by the cultural role of the mirror in Japan as a medium of self reflection, the design transforms the sword from an object associated with direction and confrontation into one of balance and contemplation. Through a continuous circular geometry, the work preserves the craft heritage of Seki while proposing that tradition can evolve through reinterpretation.
- Image Credits
- Image #1: Photographer Misaki Manabe, Noshudo Zero, 2024.
Image #2: Photographer Takao Inoue, Noshudo Zero, 2024.
Image #3: Photographer Takao Inoue, Noshudo Zero, 2024.
Image #4: Photographer Takao Inoue, Noshudo Zero, 2024.
Image #5: Photographer Takao Inoue, Noshudo Zero, 2024. - Patents
- Copyrights belong to Kenichi Mizuno, 2024.
Colors of Noshudo Zero Symbolic Blade
Design Interview about Noshudo Zero Symbolic Blade
The main idea behind Noshudo Zero is to reinterpret the Japanese sword not as a tool for cutting, but as a symbolic object for self-reflection.
The Japanese sword has a very strong spiritual and aesthetic presence in Japanese culture. At the same time, its long and sharp form naturally suggests direction, tension, confrontation, and cutting.
By transforming that linear direction into a circle, I wanted to express harmony instead of confrontation, introspection instead of aggression, and stillness instead of force.
A circle has no beginning or end. It can represent continuity, balance, and a mirror-like presence that reflects the self. Noshudo Zero respects the tradition of the Japanese sword while quietly questioning its meaning from a contemporary design perspective.
The Japanese sword has a very strong spiritual and aesthetic presence in Japanese culture. At the same time, its long and sharp form naturally suggests direction, tension, confrontation, and cutting.
By transforming that linear direction into a circle, I wanted to express harmony instead of confrontation, introspection instead of aggression, and stillness instead of force.
A circle has no beginning or end. It can represent continuity, balance, and a mirror-like presence that reflects the self. Noshudo Zero respects the tradition of the Japanese sword while quietly questioning its meaning from a contemporary design perspective.
My main focus was not simply to create an unusual form, but to preserve the dignity, tension, and spiritual presence of a Japanese sword.
The idea of a circular Japanese sword has a strong visual impact. However, if it appeared only as a joke or a decorative object, the project would lose its meaning. I needed to approach the craftsmen, culture, and history of the Japanese sword with respect, while making the work valid as a contemporary design.
What I wanted to achieve was to translate the spirituality of the Japanese sword into a universal form that people could understand intuitively. Through the simple and powerful shape of a circle, I wanted to shift the sword from an outward-facing blade into a symbolic object that reflects the inner self.
The idea of a circular Japanese sword has a strong visual impact. However, if it appeared only as a joke or a decorative object, the project would lose its meaning. I needed to approach the craftsmen, culture, and history of the Japanese sword with respect, while making the work valid as a contemporary design.
What I wanted to achieve was to translate the spirituality of the Japanese sword into a universal form that people could understand intuitively. Through the simple and powerful shape of a circle, I wanted to shift the sword from an outward-facing blade into a symbolic object that reflects the inner self.
Noshudo Zero has already been exhibited in Seki City, Gifu Prefecture, where many people have had the opportunity to see it.
In the future, I hope this work can continue to serve not only as an exhibited object, but also as a starting point for thinking about the relationship between Japanese sword culture, craftsmanship, and contemporary design.
This is not a work intended for mass production. Rather, it is a symbolic project that suggests how culture and technique can be connected to the future.
Through this international recognition, I would like to communicate that Japanese traditional craftsmanship and regional skills can gain new meaning through contemporary design.
In the future, I hope this work can continue to serve not only as an exhibited object, but also as a starting point for thinking about the relationship between Japanese sword culture, craftsmanship, and contemporary design.
This is not a work intended for mass production. Rather, it is a symbolic project that suggests how culture and technique can be connected to the future.
Through this international recognition, I would like to communicate that Japanese traditional craftsmanship and regional skills can gain new meaning through contemporary design.
The core idea appeared relatively early. Once the concept of a circular Japanese sword came to me, the direction became quite clear.
However, the real time was spent turning that idea into something that could hold the presence of a Japanese sword, rather than simply becoming a sculptural form. I considered many elements, such as the size of the circle, the way the blade appears, the relationship between the blade, handle, and guard, and the impression it would create when displayed.
Including the dialogue with craftsmen, material considerations, finishing, and structural issues, this project required much more than a simple design process. It was built through a long series of discussions and refinements.
However, the real time was spent turning that idea into something that could hold the presence of a Japanese sword, rather than simply becoming a sculptural form. I considered many elements, such as the size of the circle, the way the blade appears, the relationship between the blade, handle, and guard, and the impression it would create when displayed.
Including the dialogue with craftsmen, material considerations, finishing, and structural issues, this project required much more than a simple design process. It was built through a long series of discussions and refinements.
This project began through an encounter and discussion with people connected to Japanese sword making.
When I first received the opportunity, I felt both honor and fear. The Japanese sword is such a culturally significant subject that I honestly wondered whether I should be involved in it as a designer.
At the same time, I felt there was great meaning in reinterpreting the Japanese sword from a contemporary perspective.
It was a commissioned opportunity, but it was also driven strongly by my own inspiration. I did not want to treat the Japanese sword only as a beautiful tradition. I wanted to ask what it could express in the present age, and that thinking led me to this circular symbolic blade.
When I first received the opportunity, I felt both honor and fear. The Japanese sword is such a culturally significant subject that I honestly wondered whether I should be involved in it as a designer.
At the same time, I felt there was great meaning in reinterpreting the Japanese sword from a contemporary perspective.
It was a commissioned opportunity, but it was also driven strongly by my own inspiration. I did not want to treat the Japanese sword only as a beautiful tradition. I wanted to ask what it could express in the present age, and that thinking led me to this circular symbolic blade.
This work was created as a symbolic piece that connects traditional craftsmanship and contemporary design. It is not a general mass-production product.
At present, I do not intend to sell the production rights or develop it as a mass-produced item. I place more importance on communicating its value as a work within exhibition and cultural contexts.
If there are future developments related to this work, they should be considered carefully, in a way that does not damage the respect for Japanese sword culture and craftsmanship.
At present, I do not intend to sell the production rights or develop it as a mass-produced item. I place more importance on communicating its value as a work within exhibition and cultural contexts.
If there are future developments related to this work, they should be considered carefully, in a way that does not damage the respect for Japanese sword culture and craftsmanship.
I have worked mainly in automotive and industrial product design, creating many forms and product concepts. At the same time, through 4DESIGN, I have also explored works that cross the boundaries of craft, culture, product, and experience from my own personal perspective.
The Japanese sword is an object where craftsmanship, technique, aesthetics, and spirituality are connected at a very high density. For that reason, thinking about how contemporary design could engage with it was a major challenge.
This work is not simply a sword design. It is an attempt to connect Japanese tradition with contemporary thinking.
The Japanese sword is an object where craftsmanship, technique, aesthetics, and spirituality are connected at a very high density. For that reason, thinking about how contemporary design could engage with it was a major challenge.
This work is not simply a sword design. It is an attempt to connect Japanese tradition with contemporary thinking.
Rather than being influenced by a specific designer or existing work, I was strongly influenced by the history, beauty, craftsmanship, and symbolism of the Japanese sword itself, as well as by the symbolic meaning of mirrors and circles.
I do not usually follow specific designers closely. I often find ideas in forms, materials, culture, technology, and small feelings of discomfort or possibility.
For Noshudo Zero, I focused on reconstructing the essence of the Japanese sword through my own sensibility, rather than quoting from another design.
I do not usually follow specific designers closely. I often find ideas in forms, materials, culture, technology, and small feelings of discomfort or possibility.
For Noshudo Zero, I focused on reconstructing the essence of the Japanese sword through my own sensibility, rather than quoting from another design.
The target audience is not a specific consumer group, but people who are interested in Japanese sword culture, traditional craftsmanship, contemporary design, and symbolic art.
I would also like craftspeople, designers, cultural institutions, and people involved in regional industry and cultural promotion to see this work.
Noshudo Zero is not a practical weapon. It is a symbolic design that encourages viewers to face themselves and think about the meaning of the Japanese sword and how tradition can connect to the future.
I would also like craftspeople, designers, cultural institutions, and people involved in regional industry and cultural promotion to see this work.
Noshudo Zero is not a practical weapon. It is a symbolic design that encourages viewers to face themselves and think about the meaning of the Japanese sword and how tradition can connect to the future.
The most distinctive aspect is not only that the Japanese sword has been made circular, but that the idea was realized through traditional craftsmanship and contemporary design thinking.
It is not merely a circular object. I wanted it to retain the tension, material presence, finishing quality, and spiritual character of a Japanese sword.
Another important distinction is the transformation of meaning. The sword is changed from a linear object directed outward into a circular form that reflects inward. This is not only a change of shape, but also a change in the meaning of the sword.
It is not merely a circular object. I wanted it to retain the tension, material presence, finishing quality, and spiritual character of a Japanese sword.
Another important distinction is the transformation of meaning. The sword is changed from a linear object directed outward into a circular form that reflects inward. This is not only a change of shape, but also a change in the meaning of the sword.
Noshudo is the name of the Japanese sword maker involved in this project, and I included it in the title as a sign of deep respect.
The word “Zero” represents reset, origin, and the circular form of this work. In Japanese, it can also be read as “zero,” making it a name that can be communicated internationally.
This work does not deny the long history of the Japanese sword. Instead, it returns to the origin and reconsiders its meaning from a contemporary point of view.
For this reason, the name Noshudo Zero combines respect for the maker, the philosophy of the work, and a clear expression that can be understood globally.
The word “Zero” represents reset, origin, and the circular form of this work. In Japanese, it can also be read as “zero,” making it a name that can be communicated internationally.
This work does not deny the long history of the Japanese sword. Instead, it returns to the origin and reconsiders its meaning from a contemporary point of view.
For this reason, the name Noshudo Zero combines respect for the maker, the philosophy of the work, and a clear expression that can be understood globally.
In the early stage, I began with sketches and rough idea development. After that, I used 3D CAD and computer graphics to study the balance and structure of the form.
Digital tools were especially important for checking the three-dimensional relationship between the circular blade, handle, guard, and the way the work would appear when displayed.
However, this work could not be completed by digital tools alone. In the end, the skills of craftsmen and their understanding of materials were essential. The work was realized through both digital design and traditional making techniques.
Digital tools were especially important for checking the three-dimensional relationship between the circular blade, handle, guard, and the way the work would appear when displayed.
However, this work could not be completed by digital tools alone. In the end, the skills of craftsmen and their understanding of materials were essential. The work was realized through both digital design and traditional making techniques.
The most unique aspect is that it transforms the concept of the Japanese sword into a circular form while still preserving its identity as a sword.
A Japanese sword usually has direction. It suggests forward movement, cutting, and tension. In Noshudo Zero, that force is enclosed within a circle and transformed into introspection and harmony rather than aggression.
Another unique point is that, although it is circular, it is not intended to be only a sculpture. It was designed to maintain the presence and dignity of a Japanese sword.
A Japanese sword usually has direction. It suggests forward movement, cutting, and tension. In Noshudo Zero, that force is enclosed within a circle and transformed into introspection and harmony rather than aggression.
Another unique point is that, although it is circular, it is not intended to be only a sculpture. It was designed to maintain the presence and dignity of a Japanese sword.
This work could not have been realized by my idea alone. It became possible through dialogue and collaboration with craftsmen, specialists, and people connected to Japanese sword making.
I was responsible for the concept and design direction, including the overall meaning and formal direction of the work. However, realizing the object required advanced craftsmanship, material knowledge, and specialized technical skills.
In the world of traditional craft, design alone is not enough. Understanding the material, respecting the technique, and building trust with the people involved are all essential.
I was responsible for the concept and design direction, including the overall meaning and formal direction of the work. However, realizing the object required advanced craftsmanship, material knowledge, and specialized technical skills.
In the world of traditional craft, design alone is not enough. Understanding the material, respecting the technique, and building trust with the people involved are all essential.
Technology was used not to replace tradition, but to connect traditional craftsmanship with contemporary ideas.
3D CAD and computer graphics were useful for studying the difficult form of a circular sword. By checking balance, structure, and appearance in advance, the dialogue with craftsmen became more concrete.
However, the essence of this work is not digital technology alone. It could only be completed through traditional materials, techniques, and handwork. Technology played the role of a bridge between design imagination and craftsmanship.
3D CAD and computer graphics were useful for studying the difficult form of a circular sword. By checking balance, structure, and appearance in advance, the dialogue with craftsmen became more concrete.
However, the essence of this work is not digital technology alone. It could only be completed through traditional materials, techniques, and handwork. Technology played the role of a bridge between design imagination and craftsmanship.
This work was not born from numerical data or market analysis. It was born from the study of cultural meaning, symbolic form, the history of the Japanese sword, and the emotions of viewers.
My research focused on the form, structure, and cultural meaning of the Japanese sword, as well as how it would be seen in an exhibition context. I also considered the symbolism of the circle.
More than data, cultural understanding and intuitive questioning were important. I did not want to answer the question “Why make a Japanese sword circular?” only with form. I wanted the answer to have meaning.
My research focused on the form, structure, and cultural meaning of the Japanese sword, as well as how it would be seen in an exhibition context. I also considered the symbolism of the circle.
More than data, cultural understanding and intuitive questioning were important. I did not want to answer the question “Why make a Japanese sword circular?” only with form. I wanted the answer to have meaning.
The greatest challenge was deciding how far contemporary design could enter a cultural subject as respected as the Japanese sword.
A circular Japanese sword is a very bold idea. For that reason, I was careful that it should not appear disrespectful, light, or merely strange.
There were also physical challenges: how to realize the circular blade, how to connect it naturally with the handle and guard, and how to create tension when the work is displayed.
A circular Japanese sword is a very bold idea. For that reason, I was careful that it should not appear disrespectful, light, or merely strange.
There were also physical challenges: how to realize the circular blade, how to connect it naturally with the handle and guard, and how to create tension when the work is displayed.
I have participated in several international design awards, but I felt that Noshudo Zero was a work worth presenting to the world.
It takes a very Japanese theme, the Japanese sword, and expresses it through the universal form of a circle. I wanted to know how people from different cultural backgrounds would receive this work.
I felt that the A’ Design Award was a meaningful place to submit this work because it evaluates culture, product, craft, and concept from an international perspective.
It takes a very Japanese theme, the Japanese sword, and expresses it through the universal form of a circle. I wanted to know how people from different cultural backgrounds would receive this work.
I felt that the A’ Design Award was a meaningful place to submit this work because it evaluates culture, product, craft, and concept from an international perspective.
Through this work, I learned again the weight of designing something connected to culture.
In industrial product design, function, form, production, and communication are important. But in Noshudo Zero, respect for history, spirituality, and craftsmanship was also essential.
I realized that design is not only about creating a new shape. It is also about how to carry existing value into the future. This experience became a major step in my growth as a designer.
In industrial product design, function, form, production, and communication are important. But in Noshudo Zero, respect for history, spirituality, and craftsmanship was also essential.
I realized that design is not only about creating a new shape. It is also about how to carry existing value into the future. This experience became a major step in my growth as a designer.
Noshudo Zero is not only an award-winning work for me. It is an important project that asks how design can face culture.
The Japanese sword carries strength, beauty, technique, and spirituality. Transforming it into a circle was not an act of destroying tradition. Rather, it was an attempt to look at its essence from another angle.
Through this work, I would like to show that even a small studio or an individual designer from a regional manufacturing area can create design that reaches the world, if there is a clear question and sincere collaboration.
The Japanese sword carries strength, beauty, technique, and spirituality. Transforming it into a circle was not an act of destroying tradition. Rather, it was an attempt to look at its essence from another angle.
Through this work, I would like to show that even a small studio or an individual designer from a regional manufacturing area can create design that reaches the world, if there is a clear question and sincere collaboration.
Grand Interview about Noshudo Zero Symbolic Blade
The circular form did not originate from a desire to create a new aesthetic, but from a strong sense of discomfort with the initial premise of the project: the idea of a “future sword.”The Japanese sword is already a highly refined object, matured over centuries of history. Associating it with the notion of “future” immediately felt contradictory to me. To better understand this tension, I first encountered real swords and spoke directly with swordsmiths. Through this process, my initial discomfort only grew stronger.If one were to simply add elements to express “futuristic” qualities, it would easily drift toward exaggerated forms similar to those seen in games or animation, ultimately reducing the sword to something closer to a toy and stripping away its inherent dignity.Instead of adding, I began to consider whether it was possible to contain the essence of the sword.I focused on the moment where two blades meet tip to tip — a state of maximum tension. By connecting this relationship continuously, I arrived at a closed form. The circle emerged as a natural result.This is not merely a stylistic decision, but a logical conclusion that internalizes the energy and relational structure of the Japanese sword.The result is something that is unmistakably a Japanese sword from any perspective, yet something no one has ever seen before.
This work is not a denial of the sword, but an extension of it.Through discussions with swordsmiths, I came to understand that the Japanese sword has historically existed not only as a weapon, but also as a guardian presence — a symbol of protection, honor, and spiritual discipline.In practical combat, other weapons were often more efficient. This suggests that the value of the sword lies not solely in its function, but in its symbolic and psychological dimensions.I chose to reinterpret that aspect — shifting the direction of force from outward to inward.In this work, the opponent is not an external enemy, but oneself. It represents the act of confronting inner uncertainty or weakness, and forming a clear sense of determination.The Japanese notion of “holding a sword within one’s heart” is expressed here as form.
The loss of material across three attempts was not simply a technical failure; it fundamentally altered the meaning of the work.At the beginning, I did not fully grasp the level of difficulty involved. However, by observing the forging process, I came to understand the depth of its precision and repetition.The material used was reclaimed iron from shrines and temples — highly pure and extremely valuable. Losing such material carries a weight beyond mere technical failure.Despite this, the swordsmiths continued.Their persistence reflected not only a commitment to tradition, but a willingness to push its boundaries.In this context, failure itself became an essential element.Because of it, the work carries a tangible sense of weight and history.
When encountering the work, the first impact is intended to be purely visual and immediate. The circular form creates a sense of unfamiliarity that interrupts expectation.This initial moment of surprise is important. It draws attention before any explanation is needed. Only after this moment does the viewer begin to question what they are seeing.As they move closer, the reflective surface gradually reveals another layer — not the object itself, but their own image within it. This transition from observation to self-recognition is central to the experience.In this way, the sequence moves from surprise, to curiosity, to contemplation.In its permanent display in Seki City, I wanted the work to function without dependence on explanation. It should be understandable through presence alone.The object does not explain itself, but instead creates the conditions for the viewer to arrive at their own understanding.
The relationship was clearly both confrontational and resonant.In the early stages, there was mutual respect. However, as the process developed, differences in values and sense of time became apparent. In particular, there was a significant gap in expectations regarding speed and decision-making.At a certain point, I directly questioned whether maintaining the current approach would truly allow the project to carry forward into the future.This led to confrontation.However, that moment became a turning point.By clearly acknowledging each other's positions and responsibilities as professionals, the project began to move forward with much greater momentum.Without that confrontation, this work would not have been realized.
The boundary between machine processing and handwork was a central issue in this project.Originally, there was a clear objective to compensate for the shortage of craftsmen through the use of machinery. However, through observation, I realized that machinery had already been introduced in certain areas.At the same time, I encountered objects that merely resembled swords in appearance, which created a sense of discomfort.In contrast, when I witnessed true hand forging, its value became immediately evident. I concluded that the core of the sword could not be replaced by machines.As a result, the essential aspects of the blade were entrusted entirely to handwork, while machining was applied only to supporting components where appropriate.Additionally, precise physical models produced through machining helped bridge communication gaps with the swordsmiths and proved extremely effective.Machines did not replace craftsmanship; they functioned as a tool for translation.This work emerged not from opposition, but from mutual understanding.
I do not see this as a contradiction, but as something very natural, especially within a Japanese sensibility.There is a cultural tendency not to emphasize effort directly, but to embed everything within the object itself.Although the process was extremely demanding, I did not want that difficulty to become the main narrative.What mattered most was the moment of encounter.If the viewer is momentarily struck and loses words, that moment is enough.Everything else can be left unspoken.The work holds a strong presence, yet ultimately dissolves into the internal experience of the viewer.It is completed within the viewer, and therefore exists in as many variations as there are people who encounter it.
According to the swordsmiths involved, there are no recorded examples of a circular Japanese sword.This is understandable, as from the perspective of function and efficiency, a linear form is the natural outcome. There is no practical reason to pursue such a difficult shape.In that sense, this is a form that would not normally be chosen.That is precisely why undertaking it carries meaning.For swordsmiths who have long refined their craft within established frameworks, stepping beyond that boundary represents a significant shift and a source of pride.This project demonstrates that tradition contains flexibility.If it can inspire even a small number of people to think, “I want to try,” then it has achieved something important.
The Japanese sword carries profound cultural significance.In the present day, however, its visual image has spread widely, often detached from its process and context, especially through global media and popular culture.I wanted to avoid contributing to superficial reinterpretations.Instead, this work focuses on condensing the essence of the sword itself.It is not an addition from the outside, but a reconstruction from within.At the same time, it was necessary to create a point of attraction.The unfamiliar form intentionally creates a sense of curiosity, while maintaining a clear connection to its origin.The guiding principle was simple:never separate form from its origin.
This experience has been transformative for me, both as a designer and as an individual.Being involved with something as central as the Japanese sword is not a common opportunity.Working within a completely different cultural and production framework, and successfully guiding the project to realization, has given me a strong sense of confidence.At the same time, it has changed how I relate to my own work.I have come to trust my thinking more deeply, and to express that confidence more clearly.While it is difficult to define exactly what comes next, I know that this experience will influence everything I do moving forward.This is not a conclusion, but a new beginning.