Interview with Eisuke Tachikawa

Eisuke Tachikawa ("ET") interviewed on Tuesday, 21 January.

Could you please tell us about your experience as a designer, artist, architect or creator?

ET : I have been working as a designer for about 20 years, engaging in a wide range of fields, from architecture, graphic design, and product design to branding and social system design. My passion lies in exploring the relationship between nature and local communities. One of my most meaningful projects was the "OLIVE Project," launched after the Great East Japan Earthquake in 2011, which emphasized the importance of disaster preparedness design. Academically, I studied at the University of Tokyo, where I developed an interdisciplinary perspective that continues to inform my work as the founder of NOSIGNER.

How did you become a designer?

ET : My path to becoming a designer began with my studies in architecture. While specializing in architecture at university, I explored the design of spaces and their impact on people’s lives, which led me to realize that design’s potential extends far beyond architecture to encompass fields such as graphic design, product development, and community revitalization. As a child, I enjoyed picking up discarded items, repairing them, and giving them new value. This early habit eventually grew into a desire to improve the world through design, paving the way for my career as a designer.

What are your priorities, technique and style when designing?

ET : My design process revolves around three key elements. First, understanding context—delving deeply into the background and challenges of each project. Second, prototyping—I combine hands-on techniques with digital tools, emphasizing real-world testing. Third, empathy for the future—I constantly consider how design influences society and human behavior. These principles guide me toward creating sustainable and impactful designs.

Which emotions do you feel when designing?

ET : The design process is always filled with excitement and curiosity for me. The initial phase of discovering ideas is a joy of exploring the unknown. Seeing the form take shape through prototyping brings a sense of accomplishment, and witnessing the final design resonate with people is deeply moving. For me, design is a way to connect with the world and a source of profound fulfillment.

What particular aspects of your background shaped you as a designer?

ET : Much of what shaped me as a designer came from learning beyond design itself. My interest in science, nature, and philosophy has added depth to my work. Collaborating with local communities on projects has also taught me the value of empathy and collaboration. These skills have become the foundation for creating designs that are not just aesthetically pleasing but also sustainable and socially impactful.

What is your growth path? What are your future plans? What is your dream design project?

ET : My growth path involves continuously learning and tackling societal challenges through design. Currently, I’m focusing on the ADAPTMENT Project, which aims to explore how design can help us adapt to climate change. We look to nature’s evolutionary processes for inspiration to create disaster-resilient cities and well-designed communities. In the long run, I hope to expand these ideas globally and establish a new standard for coexisting with nature. My dream project is to blur the boundaries between natural and built environments, fostering neighborhoods where people genuinely feel enriched. This might include off-grid housing, circular economy systems, and an “ecosystem-like” approach to urban planning that integrates everything from education to community development.

What are your advices to designers who are at the beginning of their career?

ET : My primary advice is to find a topic or field that genuinely sparks your interest and pursue it wholeheartedly. Even if it seems niche, delving deep into that area will cultivate a unique perspective and help you stand out. Next, don’t be afraid to fail; create prototypes and experiment as much as possible. Through hands-on exploration and iterative learning, you’ll clarify what you truly want to create. Also, engage in dialogue with a variety of people. Design is rarely a solitary endeavor. Interacting with diverse viewpoints and expertise often opens up new possibilities and fuels creativity.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

ET : What truly matters is to always ask yourself, “Who am I designing for, what problem am I solving, and how does this lead to a better future?” Focusing solely on eye-catching spectacle or media buzz might gain short-term attention, but it often ends up being consumed quickly without leaving any meaningful long-term impact. To create designs that hold value over broader spatial and temporal scales, it’s essential to delve deeply into how they interact with society as a whole and the natural environment. Personally, I focus on themes like disaster preparedness and community revitalization, which have enduring significance over time. To leave a lasting impact, we need to look beyond mere spectacle and consider how our designs can genuinely transform people’s lives and behaviors.

What is your day to day look like?

ET : I start my mornings by spending quality time with my wife and our two children. Their childhood passes so quickly, and I treasure sharing breakfast and helping them get ready for school. After that, I dive into meetings—either in the office or from home—and work on ongoing projects. My afternoons are usually filled with focused sessions with my team or client discussions, and I often take a quick walk to clear my mind if I get stuck. Balancing work and family life fuels my creativity, as those moments of connection can spark fresh ideas. In the evenings, once the kids are asleep, I typically review the day’s work and plan for the next, often jotting down ideas in a quiet space.

How do you keep up with latest design trends? To what extent do design trends matter?

ET : While I pay attention to design trends, I focus on discerning their underlying essence. Technology and styles evolve over time, but I believe the fundamental purpose of innovation and the core principle of improving people’s lives through design remain constant. Instead of chasing every trend, I use them primarily as a lens to understand where society might be heading. In my view, the essence of design and the goal of innovation transcend trends and remain unchanged. I always prioritize the central questions—“Who am I designing for? What problem am I solving? What experience am I creating?”—and integrate trends selectively when they genuinely add value to these core objectives.

How do you know if a product or project is well designed? How do you define good design?

ET : When determining whether a product or project is well-designed, I apply the principles of “Evolutional Creativity,” which I personally advocate. In particular, I focus on four spatiotemporal perspectives that help dissect the design: 1. Anatomical Observation Break the design down into its constituent elements—materials, structure, functionalities—and analyze how they interact. A close examination reveals the design’s level of completion and sophistication. 2. Ecological Observation Observe how the design interacts with society and the environment. How does it work alongside users, communities, and related systems? This is where its sustainability and overall value become clear. 3. Historical Observation Investigate its historical context and predecessors to see how the design has evolved. By studying past successes and failures, we can evaluate what new perspectives or value this design contributes today. 4. Futuristic Observation Consider how the design might adapt and develop in response to future social and technological changes. The key question is whether it can retain or even enhance its value over the long term. By synthesizing these viewpoints, we gain a multidimensional understanding of where the design came from, where it stands now, and where it’s heading. I believe this is the key to identifying truly outstanding design and forms a major pillar of Evolutional Creativity.

How do you decide if your design is ready?

ET : I believe there is virtually no true “completion” in design, much like in natural evolution. Design perpetually holds the potential to adapt to changing external environments or user needs. At the same time, I do find it important to recognize a state of long-term, wide-ranging adaptability as a sort of milestone. In concrete terms, I check: Long-Term Perspective: How flexible is the design in responding to potential technological or societal changes in the future? Wide-Ranging Perspective: Does it maintain its core value across different cultures, user groups, and environmental conditions? A design that meets these criteria is closer to a “best solution” for the present while still leaving room for evolution. Even if it’s released as a “completed” design, it remains open to updates and improvements when new needs or insights surface. Ultimately, extending a design’s lifespan depends on not clinging too tightly to the idea of “completion,” but rather embracing change and evolution as an integral part of the design process.

What is your biggest design work?

ET : One of my most significant design achievements is the “Tokyo Bousai” project. It stemmed from the “OLIVE Project,” which I initiated after the 2011 earthquake to disseminate disaster preparedness knowledge. The Tokyo Bousai handbook was distributed to eight million people, providing a catalyst for many to think more seriously about disaster readiness—a deeply rewarding outcome. Another ongoing endeavor I regard as my “largest work in progress” is the ADAPTMENT Project, focused on climate change adaptation. By drawing inspiration from evolutionary processes in nature, we aim to apply these concepts to urban design and community building. Although still in its early stages, it carries enormous potential and significance in my view.

Who is your favourite designer?

ET : I have a deep admiration for pioneers like Buckminster Fuller, who seamlessly combined design, science, and social issues. His geodesic dome exemplifies a simple, yet sustainable and highly innovative system. If I could speak with a past visionary, he’d be at the top of my list—I’d love to discuss space and the structure of future societies with him. Among contemporary designers, I’m drawn to those who embrace human-centered philosophies and also consider the broader societal impact of their work. It’s hard to pinpoint one single name, but I’m consistently inspired by those who push boundaries through interdisciplinary collaboration and harmony with nature.

Would you tell us a bit about your lifestyle and culture?

ET : I consider myself a multidisciplinary, listening-oriented designer, engaging with a wide range of issues—from disaster preparedness and community revitalization to education and product design. Because I treat most of these pursuits as hobbies, there’s almost no clear boundary between my work and everyday life. For instance, I live in a home I designed using recycled materials, sketch daily with a pen and notebook I created, and even enjoy foods I’ve helped design. By taking this approach to living—shifting my perspective from merely using things to actually making them—I find the resolution of my life experiences naturally increases. Rather than viewing design as just a job, I see it as an ongoing extension of my everyday activities.

Would you tell us more about your work culture and business philosophy?

ET : In my workplace, we regard continuous learning, striving to create the best possible outcome, and embracing curiosity as the essence of our work itself. Regardless of the project’s scale or domain, we place great importance on the process of gaining new insights, always aiming for excellence while cherishing the fun and surprise that come along. For individuals who share this mindset, I believe it’s a very comfortable environment. Each team member brings fresh ideas, and our culture encourages mutual learning through projects. Even when things don’t go as planned, we view those moments as valuable lessons for the future. Ultimately, this approach fosters higher-quality design and sustains the team’s collective strength.

What are your philanthropic contributions to society as a designer, artist and architect?

ET : As the head of NOSIGNER, I lead a design firm dedicated to solving social issues through design. We tackle diverse challenges—from disaster preparedness and community revitalization to climate adaptation and education—through a philanthropic lens. Here are some of our key contributions: 1. Disaster Preparedness Design ・Right after the 2011 earthquake, we launched the OLIVE Project, an open-source initiative sharing practical tips and knowledge for surviving and coping with disasters. ・We also led the art direction for Tokyo Bousai, a comprehensive disaster preparedness handbook distributed to over eight million Tokyo residents, raising widespread awareness. 2. Climate Change Adaptation (ADAPTMENT Project) ・We are currently applying principles of natural evolution and adaptation to urban planning and community development, aiming to create more disaster-resilient societies. ・Through workshops and lectures, we collaborate with local governments and research institutions to educate communities and students on climate adaptation strategies. 3. Local Revitalization & Community Design ・Working with local governments and NGOs, we help develop local brands and enhance tourism resources, organizing programs that rediscover a region’s strengths. These projects foster not only economic growth but also stronger community bonds. ・Some of these initiatives are done pro bono or at low cost, increasing opportunities for residents and students to learn and take proactive roles. 4. Education & Youth Support ・We conduct lectures and workshops at universities and professional schools, nurturing the next generation of designers and creators. ・Through internships and collaborative projects, we offer real-world, problem-solving experiences to young people, encouraging them to use design to address societal challenges. All these efforts reflect NOSIGNER’s philosophy of using design not merely for aesthetic improvements, but as a tool for creating better futures. By broadening the role of design, I believe we can engage more people in meaningful societal contributions.

What positive experiences you had when you attend the A’ Design Award?

ET : Because the A’ Design Award gathers a wide range of designers and works from around the world, it allowed me to reflect on my design approach from a broader perspective. What stood out most was realizing how many people, regardless of country or culture, share a keen interest in design that aims to make society and the future better. I personally benefited in three main ways: 1. Global Perspective Through the perspectives of other participants and judges, I was able to learn how design is interpreted in different cultural contexts and how sensitivities toward social issues vary across these regions. 2. Opportunity for Objective Evaluation My usual feedback loops involve colleagues and local stakeholders, so receiving input from an international panel and audience provided a fresh, more objective lens on the strengths and weaknesses of my work. 3. Confirmation of Design Philosophy The A’ Design Award supports social contribution and sustainability, aligning well with my belief that design is a tool for solving societal problems. It was enlightening to see how much this philosophy resonated on a global stage. For me, the biggest takeaway wasn’t the award itself but the process of mutual understanding and learning. Reaffirming my commitment to using design to drive social change has further energized my future endeavors.

Eisuke Tachikawa Profile