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ANCHOR KOBE

  • Writer: Shinjiro Tanaka
    Shinjiro Tanaka
  • Jun 20, 2021
  • 2 min read

Updated: Apr 2


ANCHOR KOBE

Kobe, Japan

April 2021


Client: City of Kobe

Agent: WASABI (NOMAL Inc.)


This mural was created for ANCHOR KOBE, a space designed to foster interaction, creativity, and new ideas within the city.


The composition is built on a minimal geometric structure, integrating elements derived from both the identity of Kobe and the ANCHOR KOBE brand. Within the design, the letters “A” and “R” from the logo are embedded, following the guideline of forming shapes that evoke the surrounding mountain landscape.


Rather than presenting these elements explicitly, they are subtly distorted and extended beyond the boundaries of the wall. Their angles are adjusted so that they are not immediately recognizable, allowing the work to exist between visibility and concealment.


Circular forms overlap throughout the composition, symbolizing connections and relationships. Within these intersections, the emblem of Kobe City is quietly embedded—revealing itself only through closer observation.


The visual language is intentionally restrained, using the brand’s color palette to maintain coherence with the space. However, within this structured system, a single hand-drawn line is introduced.


This line contrasts with the geometric precision of the composition. It carries a subtle irregularity—a human trace that resists becoming purely mechanical. It represents the presence of individuals within a system, and the importance of imperfection in creating meaningful interaction.


Conceptually, the line also suggests the blending of differences. When contrasting elements overlap, they create new conditions—much like how individuals, each distinct, can come together to generate new ideas.


The mural reflects the belief that creativity emerges not from uniformity, but from difference. It is intended as a space where people can intersect, exchange, and evolve—forming connections that extend beyond the visible structure.









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