The purpose of the “Great Hanshin-Awaji Earthquake + Creative Timeline Mapping Project” is to gain knowledge and insight for the future though collecting and researching works dedicated to earthquake victims as well as talking to their creators and document their histories on a website.
In this section we would like to share what we have learned from our ongoing mapping project, summary of the entire project and discoveries made by each of the group meetings.

Hirokazu Nagata

Chairman, NPO Plus Arts / Planner, Producer

Taking a glance at the timeline mapping the history of the Great Hanshin-Awaji Earthquake relief programs conducted by artists, designers, and architects, one can tell that these efforts are ongoing, right after the devastating earthquake until this very moment. The timeline, while it proves the creators’ dedication for responding to victims who face different changes day by day, reveals that there is no easy way out for the restoration and reconstruction from the tragic event. Such attempt reminds us of the commitment needed for creative projects in disaster stricken areas; they should be extended beyond instant results but for causes that sustainably benefit victims for five, ten, and twenty years.
Further, if we look at each project closely, it is apparent that the nature of such creative projects are also evolving along with the changes of the community needs. Of particular note is the progress in the kind of support provided for victims. Whereas many charity initiatives conducted immediate response focused on emotional care, this has shifted dramatically after a decade, to those aimed at passing the lessons learnt onto younger generations or to people residing outside of the affected areas. In other words, understanding the ever-changing needs of the community and addressing them in the most appropriate way is a matter of utmost importance in developing relief initiatives. In this aspect, the role of intermediary organization capable of deeply analyzing post-disaster community issues while offering support when and where they are needed is essential and holds a key for the development of future relief programs.

Hisako Hara

Professor, Osaka Electro-Communication University / Art producer

+Art field member

From the repose of the soul and healing to expressions of experiences and memories. In the period right after the…

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Hiroyuki Kawai

Professor, Kobe Design University

+Design field member

Activities are concentrated five and ten years after the disaster Activities concentrated among “The Kobe 21st Ce…

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Osamu Tsukihashi

Associate Professor, Kobe University / Architect

+Architect field members

Recovery Period→Regeneration Period→Development Period “Recovery Period”: Temporary housing, public facilities an…

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Project Member

Internet starts It is difficult in some cases to refer back to the activity records because the earthquake happen…

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Taro Tamura

Director of Institute for Human Diversity Japan / Chief Director for General Policy Planning of Post-Disaster Reconstruction

The larger the scale of a disaster, the longer it takes to reconstruct in the aftermath. It feels especially long, after…

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Masashi Sogabe

Architect / MIKAN

I moused over the colorful shapes spread out on the chronological table. The green square I innocently clicked was a tab…

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Bruce Miller

Ambassador of Australia to Japan

I was touched by the “Great Hanshin-Awaji Earthquake + Creative Timeline Mapping Project” since I was stationed in Japan…

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Koichi Yanagimoto

Archivist / Design producer

From my personal standpoint as an archivist, what is crucially important regarding such archives is how the data should …

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Tasuku Mizuno

Attorney / Representative director of “Arts and Law”, “Creative Commons Japan”

As a lawyer specializing in copyright and Internet-related information laws, I feel the importance of such a broad range…

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