Interviews with Eisuke Tachikawa

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

My journey into design stems from a deep curiosity and a desire to expand the world’s potential. Even as a child, I questioned whether existing systems were truly the best solutions, often feeling that conventional education didn’t fully address the complexities of reality. At university, I immersed myself in a multidisciplinary exploration of architecture, environmental design, and technology while simultaneously delving into design thinking, art, and the study of societal challenges.

This foundation led me to establish NOSIGNER, a design firm dedicated to “updating” society through the power of ideas and design. Combining design, technology, and academic insights, my work aims to create systems that drive social evolution and inspire a better future.

I am deeply motivated by the belief that design can shape the future. It’s not just about crafting beautiful things—it’s about transforming hidden structures and systems to inspire new behaviors and create change.

For me, becoming a designer was driven by a moment of realization: “I can make the world a little more exciting and hopeful.” Design became the tool that allowed me to pursue this vision, and over time, I developed a playful approach to tackling societal challenges. It felt like the perfect medium to channel my lifelong curiosity and passion for creativity into tangible impact.

Without a doubt, I chose to become a designer. The field offers an unparalleled freedom to explore—whether it’s through artistic expression or addressing societal issues like an entrepreneur. As someone with an insatiable curiosity about the world, being a designer felt like the ideal path.

In truth, I was never forced or directed toward this career. I simply followed the things that excited and inspired me most, and they naturally led me here.

My work spans various fields—graphic design, product design, spatial design, branding, and more. However, at its core, I’m always drawn to designing systems and experiences that contribute to a better future.

I’m especially interested in applying my approach, “Evolution Thinking,” which draws inspiration from natural evolution, to tackle complex societal challenges. Moving forward, I hope to focus even more on areas like sustainability, education, and the revitalization of local communities—fields with immense potential for meaningful change.

First, develop a strong personal foundation—a vision for the world you want to create and the people you want to inspire. It’s also essential to cultivate curiosity across disciplines, from science and literature to business and biology, to expand your perspective and creative toolkit.

Second, practice articulating your ideas clearly. Being able to communicate your vision and values will attract collaborators and supporters who share your passion.

Finally, embrace experimentation and failure. The path to innovation is built on countless prototypes and iterations. By maintaining a fearless attitude toward uncertainty, you’ll uncover original solutions and forge your unique path as a designer.

A good designer solves problems effectively, creating solutions that are functional and visually compelling. A great designer, however, goes beyond problem-solving—they challenge existing frameworks and create entirely new paradigms that transform how people think and act.

In essence, being “good” is about finding answers, while being “great” is about asking bold questions that shape the future. Great designers have the courage to venture into the unknown and the vision to illuminate what’s possible.

When evaluating design, I focus on two key aspects: context and impact.

・Context: What challenges or needs inspired this design? How does it connect to its historical, social, or cultural backdrop?

・Impact: What changes does this design create? Does it evoke new emotions, behaviors, or perspectives in people?

A truly great design transcends aesthetics. It emerges from a thoughtful process and creates ripples of positive change, leaving a lasting imprint on society.

Good design has the extraordinary ability to reimagine the world.

・It inspires by introducing beauty and fresh ideas.

・It solves problems, making lives and societies better.

・It anticipates the future, creating sustainable systems and pathways.

The value of design lies not only in immediate benefits like revenue growth but also in its long-term contributions to culture, well-being, and innovation. It shapes the invisible—our shared atmosphere and cultural fabric—and is an essential investment for a brighter, more harmonious world.

If I had limitless time, I’d focus on designing holistic educational environments for future generations. From physical spaces to curriculum frameworks and even the cultural dynamics of learning, I’d envision an ecosystem where the entire world becomes a classroom.

I want to create experiences that ignite a lifelong love for learning and exploration, not just for children but also for adults. Ultimately, the goal would be to cultivate a society that thrives on curiosity and creativity, with positive ripple effects on the planet.

One of my dream projects is to design a new societal system on a global scale, drawing on the principles of evolution. By integrating the wisdom of natural ecosystems into human systems, we could create innovative, sustainable solutions to challenges like climate change, resource management, and community building.

This would involve not just designing products or services but rethinking entire cultural and economic frameworks. It’s an ambitious vision, but I believe that collaboration across disciplines and regions can bring it to life.

My secret lies in combining curiosity, resilience, and collaboration.

Curiosity fuels the search for new ideas and insights, while resilience allows me to navigate failures and uncertainty without losing momentum. Collaboration amplifies the impact of design, as working with diverse perspectives always generates richer solutions.

At the heart of it all is a willingness to continuously learn and adapt. Staying open to change and embracing the unknown is the true secret to staying relevant and impactful as a designer.

I draw inspiration from a wide array of visionaries, not only from traditional design fields. Figures like Buckminster Fuller and Isamu Noguchi are especially significant to me for their boundary-defying approaches. Fuller’s holistic thinking about global systems and Noguchi’s seamless integration of art, landscape, and public space broadened my perspective on what design can be. I’m also deeply moved by individuals like Kenya Hara, whose minimalist philosophy reveals the hidden potential of everyday life. My design influences aren’t confined to one discipline—scientists, educators, and entrepreneurs can also serve as “design masters” when they challenge norms and spark meaningful change.

Buckminster Fuller’s geodesic dome is my favorite design. I know of no other example where sustainability and innovation are so seamlessly fused into such a simple structure.

That’s a challenging question because I see design as an ever-evolving journey. However, if I must choose, I’m particularly proud of the projects where I’ve integrated “Evolutional Creativity” into complex social challenges—such as collaborating with local communities to revitalize regions through a combination of branding, product development, and educational programs. It’s “great” not because of sheer aesthetics, but because it catalyzed a shift in mindset and nurtured a shared sense of possibility. When design stirs people’s imagination and enables them to co-create their own future, that, to me, is greatness.

1. Stay Curious

Never stop asking questions—about society, nature, technology, or anything that lights a spark in your mind.

2. Experiment Fearlessly

Develop a habit of prototyping. Even small, scrappy prototypes can reveal big insights.

3. Embrace a Holistic Perspective

Learn from fields beyond design: biology, sociology, economics, etc. The broader your knowledge, the more innovative your solutions will become.

4. Reflect and Adapt

Regularly pause to review what you’ve learned. I keep a design journal and note down insights from every project, which helps me refine my process.

I might have ventured into some form of ecological research or anthropology. My interest in exploring human and natural systems has always been strong. Understanding how people interact with their environment—be it cultural or ecological—constantly fascinates me. Design ultimately became my chosen path because it allows me to actively shape those interactions, but if I weren’t in design, I suspect I’d still be investigating how to improve our relationship with the world, just through a different lens.

The way I perceive design is as a phenomenon that reflects humanity's ability to adaptively evolve things into forms that are both beautiful and functional. In other words, I see it as the very essence of human creativity. This is why design is not exclusive to the design industry—it is an innate capability within everyone. Design also possesses the power to anticipate the future, serving as a bridge between the existing "now" and the emerging "future." In that sense, design is a language that demonstrates possibilities, offering solutions to any challenge by saying, "This could be."

The people who have supported me the most are the friends and mentors from the creative communities I’ve been part of, as well as, above all, my wife and sons. My interactions and conversations with them have greatly refined my thinking. Teachers like Kengo Kuma, Masayuki Kurokawa, and Yuji Kishi have shown me, through various projects, what it means to maintain a creative and sustainable mindset.

I think “great” is subjective, but what has propelled me forward includes:

1. Continuous Learning: I consume knowledge voraciously—through books, documentaries, and conversations.

2. Collaboration: Working with interdisciplinary teams has stretched my imagination in ways I could never achieve alone.

3. Resilience: Failure is inevitable. Each setback taught me a new way to approach problems, pushing my designs to be more robust and nuanced.

4. Vision: Keeping a clear sense of purpose. When I know the “why,” it fuels my commitment to explore the “how.”

In the early stages, I struggled with the multidimensional nature of design. It’s not purely art; it’s also strategy, communication, and technology. There’s always more to learn, and that can be intimidating. I also faced the typical constraints of time, budget, and competing visions from stakeholders. But these limitations often became the soil in which creativity thrived. By facing them head-on, I learned to adapt and turn constraints into catalysts for innovation.

Designers should tell a compelling story—one that highlights the problem, the context, and the transformative potential of the proposed solution. It’s not just about showing prototypes or sketches; it’s about weaving a narrative that explains why your design matters and how it impacts people’s lives. Effective presentations engage the audience’s emotions as well as their intellect, ensuring they understand both the practical details and the broader vision.

I am currently working on a project called ADAPTMENT, which focuses on learning climate change adaptation strategies from the adaptive evolution of living organisms to create sustainable cities. This project aims to draw inspiration from nature to design urban master plans, develop the hardware of cities such as architecture, and shape the software of cities, including communities. The goal is to build cities that are resilient to natural disasters. The methodology has been established, and I hope to implement a concrete pilot project in a city in the near future.

My ultimate goal is to empower people to co-create the future. I want to expand the horizon of what’s possible, making design a universal language that fosters curiosity, inclusion, and resilience. Ultimately, it’s about building systems and experiences that allow individuals and communities to thrive—economically, socially, and ecologically.

People often expect innovative solutions and visionary thinking, but I believe they also look for authenticity and empathy. Being “esteemed” means there’s a certain trust placed in you to guide projects toward meaningful outcomes. I feel a responsibility to channel that trust into designs that genuinely benefit society and champion a better tomorrow.

Design can reveal opportunities hidden in constraints. It humanizes technology, simplifies complexity, and can inject new energy into stagnant systems. By focusing on empathy and holistic thinking, design unites people around common goals—reducing waste, improving accessibility, or nurturing shared cultural values. In essence, design doesn’t just solve problems; it reinvents the framework within which those problems exist, creating a ripple effect that leads to broader societal transformation.

I am currently developing an off-grid trailer house designed to function independently in terms of energy, water circulation, and other essential systems. The aim is to create a mobile, self-sufficient habitat that can be highly effective in disaster situations, providing shelter and resources where traditional infrastructure is unavailable or compromised.

What excites me most about this project is its potential to combine cutting-edge sustainable technology with practical, life-saving applications. By integrating renewable energy systems and efficient water recycling into a compact, mobile design, I hope this trailer house will serve as a prototype for resilient living spaces that can adapt to various environments and emergencies. It’s a project that reflects the intersection of innovation, sustainability, and real-world impact.

Projects that merge tangible impact with intangible hope give me the greatest satisfaction. For example, following the 2011 Great East Japan Earthquake, I worked with 200 volunteers on the OLIVE project, which aimed to share disaster preparedness design ideas. This initiative grew significantly, leading to the Tokyo Bousai project in 2015, a large-scale disaster preparedness book distributed to 8 million people. This journey continues today with the ADAPTMENT project and beyond. In such lifelong endeavors, while individual designs may reach completion, the projects themselves never truly end as long as the shared purpose remains alive.

I would love to see a deeper integration of ethical and ecological considerations into every design brief, from day one. Rather than treating sustainability as an afterthought, it should be a foundational principle of all design endeavors. I also hope the industry becomes more interdisciplinary, welcoming voices from science, policy, and communities to ensure the solutions we craft are resilient, inclusive, and forward-thinking.

I believe the most critical design issue we must address is adaptation to climate change. As large-scale disasters and extreme weather events become more frequent, design must go beyond aesthetics and functionality to play a key role in enhancing the resilience of communities and societies.

This is why I continue to work on the ADAPTMENT project. By learning from the mechanisms of evolution and adaptation found in nature, we aim to apply these principles to urban master plans and architecture (the hardware of cities), as well as to communities (the software of cities). The goal is to design cities that are resilient to disasters.

Future designers will need to respond flexibly and creatively to societal and environmental changes, offering new perspectives and methodologies for building a more resilient future. Design will serve as a "bridge" that redefines our social infrastructure and constructs systems that are not only sustainable but also capable of withstanding future challenges.

It varies widely depending on the project’s scale and complexity. A quick prototype might take a few days, while large-scale social innovation projects can span several years, evolving through multiple phases of research, ideation, testing, and iteration. Personally, I see design as an ongoing conversation rather than a finite task—there’s always room for refinement as contexts shift and new insights emerge.

I always start with immersion and empathy—diving deep into the environment where the solution is needed. This can involve interviews, on-site observations, or participatory workshops to fully grasp the context and the people involved. Only after understanding the nuances do I move on to brainstorming and concept development, ensuring my initial ideas are grounded in reality and co-created with the stakeholders.

“Stay curious, stay humble, and never stop asking how you can make things better.”

Curiosity keeps me exploring new frontiers, humility keeps me open to learning from others, and the quest to improve things drives me to push boundaries.

It’s a two-way dialogue. Designers can definitely spark trends by imagining new ways of living, but we also respond to societal shifts, technological advancements, and cultural movements. The most impactful design emerges where visionary thinking meets genuine human needs. Trends become meaningful when they resonate with deeper human values, and design can amplify that resonance, creating a virtuous cycle of inspiration and innovation.

Technology is both a tool and a bridge. It amplifies possibilities, allowing designers to prototype faster, analyze data more effectively, and connect with audiences globally. Yet technology alone isn’t a solution; it’s how we integrate it into human-centered experiences that truly matters. I often think of technology as an enabler, one that, when combined with empathy and creativity, can catalyze breakthroughs in how we live and interact.

I use Adobe Creative Suite (Photoshop, Illustrator, InDesign), as well as Figma for collaborative interfaces. For 3D modeling or prototyping, I often rely on Fusion 360, Rhino, or even Blender. Meanwhile, everyday tools like Asana help with project management and brainstorming. Of course, I’m also a big fan of pen and paper, Post-it notes, and physical sketch models—sometimes the simplest tools spark the most creative ideas.

They are the sensory gateways to an experience, influencing mood, perception, and behavior. Color can evoke emotions and cultural associations, materials can communicate values like sustainability or craftsmanship, and ambience can shape how people interact with a space or product. By thoughtfully orchestrating these elements, a designer can transform an ordinary setting into an immersive experience that resonates on both conscious and subconscious levels.

I love when people ask, “How might this inspire broader change?” or “What future does this design point toward?” It shows they’re thinking beyond the immediate function or appearance of a piece and are curious about its potential ripple effects. Design is a conversation with the future, and these kinds of questions open up the most meaningful dialogues.

I instinctively wonder about the story and process behind it. What challenge did the designers grapple with? Who collaborated on it? How might it shift social norms or behaviors? Great design makes me curious, prompting me to explore how it might spark further innovation or if it could be adapted to tackle other problems. It’s like discovering a new doorway leading to uncharted territory.

My ideal design partner is someone who consistently keeps the essential purpose of the project in sight and has the genuine determination to move it forward. Such a person maintains a humble, open heart—ready to learn and adapt as new challenges and insights arise.

I firmly believe in co-design because bringing diverse voices together fosters synergy, sparks creativity, and ensures that the outcome remains true to the project’s core mission. Collaborations flourish when each member is willing to question assumptions, embrace different perspectives, and stay focused on the higher goal that benefits all involved.

I’ve been deeply influenced by community activists, scientists, and educators who work at the grassroots level. Their dedication to real-world challenges—be it environmental conservation or social justice—reveals crucial insights about the limits and possibilities of design. Their passion shows me that the heart of design lies in empathy and a genuine desire to improve lives.

One of the books that profoundly influenced my approach to design is "On the Origin of Species" by Charles Darwin. This seminal work inspired me to develop the concept of Evolutional Creativity, where I draw parallels between the adaptive evolution of living organisms and the design challenges faced by society. Darwin’s observations on natural selection and the intricate relationships within ecosystems taught me that adaptability and resilience are key not only in nature but also in creating sustainable systems and solutions. This perspective continues to shape my design philosophy and methodology.

I believe that every complex challenge is composed of multiple, very simple tasks. This perspective has been a cornerstone of my growth as a designer. By breaking down daunting problems into manageable steps, I realized that even the most ambitious goals can be approached incrementally.

This belief reassures me that anyone, myself included, can move closer to becoming a great designer—one step at a time. With each project, I focus on mastering the fundamentals and learning from each iteration. Over time, these small steps accumulate into a deeper understanding and refined skills, enabling me to tackle increasingly complex challenges with confidence.

I’d love to converse with Leonardo da Vinci—a polymath who embodied the fusion of art, science, and engineering. His boundless curiosity and willingness to push conventional boundaries resonate strongly with me. I’d want to share ideas about how design can expand human potential and explore the unknown.

It’s an honor to be recognized, but awards are secondary to the impact a design can have. I see fame as a platform to further advocate for important causes—if used responsibly, it can amplify meaningful messages. But being “famous” also comes with the expectation to consistently deliver groundbreaking work, which can be stressful. Ultimately, I try to channel any acclaim into fueling deeper research, collaborations, and, hopefully, more transformative projects.

・Color: I’m drawn to deep greens, as they remind me of natural growth and renewal.

・Place: Any forest trail—the interplay of light, texture, and life sparks endless inspiration.

・Food: Fresh fruits from a local farm, representing a tangible connection to nature’s cycles.

・Season: Spring, because it’s brimming with possibility and renewal—an ever-present metaphor for design.

・Thing: A camera—where inspirations first see the light of day.

・Brand: I’m fond of brands like MUJI, which embrace simplicity and universality while still exploring subtle innovation.

One memorable and somewhat humorous experience was when I exhibited a light made of harusame (glass noodles) in London. The project was meant to showcase the possibilities of creating sustainable designs using unconventional, biodegradable materials. After the exhibition, I decided to eat the light—literally.

While it was a symbolic gesture to demonstrate the material's sustainability, it turned out to be a bit too ambitious. Unfortunately, I ended up with an upset stomach! The incident taught me two lessons: always be mindful of the limits of even the most creative ideas, and perhaps it’s best to keep edible designs clean and safe if you ever plan to eat them.

A great day starts with learning something new—whether it’s a fascinating research finding or an unexpected conversation with a passerby. Another essential motivator is seeing small sparks of enthusiasm in collaborators or end-users. When someone’s eyes light up at a new concept, it reignites my passion and reminds me why I do what I do.

I never thought I would become a designer when I was a child. However, I was the kind of kid who loved finding discarded items on the street, fixing them, and repurposing them for use. It was a small joy to breathe new life into things others considered waste.

Interestingly, what I enjoyed as a child hasn’t changed much. Even today, I integrate similar concepts into my work—for instance, designing office spaces using repurposed materials. Looking back, it feels like the curiosity and creativity I nurtured back then naturally evolved into the foundation of my design philosophy today.

I am deeply concerned about the increasing frequency and severity of natural disasters caused by climate change, as well as the rapid loss of natural environments due to unchecked development. These issues pose significant challenges not only for our present but also for future generations.

A thousand years from now, I hope humanity will have found a way to coexist with the planet in a more balanced and sustainable manner. To achieve this, it is essential for us, living in the present, to become good ancestors—to make decisions that prioritize the long-term well-being of the environment and future generations. The choices we make today will shape the possibilities available to those who come after us. It’s our responsibility to ensure that we leave behind a world where they can thrive.

I want to encourage everyone to believe in the creativity that exists within themselves. Design is not just a skill or a profession; it’s a way of thinking and a tool for creating hope and solutions. You have the power to shape a better future through your own ideas and actions.

Have the courage to be the source of hope—create designs that inspire, uplift, and solve real challenges. I firmly believe that each of us has the ability to make a meaningful impact through creativity. Trust in that power within you, because you truly can make a difference.

I studied architectural design until graduate school. But while doing research, I lost track of where the field of architecture started and where it ended.

For example, window glass may seem to be architecture, but it is also industrial design, or a bathroom sign may fit into graphic design. I started thinking that it was strange to divide design into categories in the first place; so while I was in graduate school, I started to study design on my own in addition to architecture, and then became independent.

That was the beginning of my activity as NOSIGNER.

As a designer who only takes on projects that strive to create a hopeful future, I work on design strategy consulting and projects dealing with various social issues while crossing diverse design fields such as architecture, art direction, and industrial design.

NOSIGNER is a design office only taking on projects that are meaningful for the future of our society.

We work on many design projects dealing with climate change adaptation, global environmental sustainability, disaster prevention, local culture, and pandemic resolution. The nature of our clients is therefore very unique. We are also honored to have received over 150 international design awards to date.

https://nosigner.com

It's a quasi-evolutionary capacity acquired by mankind.

I like to create strong, beautiful concepts and designs that can lead to significant social impact.

In terms of something made by another designer, I like Buckminster Fuller's geodesic dome.

In terms of my designs, I like “The Moon”, which is the world's first light made from the moon's 3D data. It's a shame that thousands of copies of this design were made all over the world, but that means that this concept was powerful enough to spread.

https://nosigner.com/the-moon

https://www.behance.net/gallery/52943991/ARBORISM

The first thing I designed was a table called "Arborism", which was designed using a fractal figure. Over 100 of them were used in the lobbies of Tokyo's Haneda Airport, amongst other places. It was a popular product, but as the brand that marketed it has gone bankrupt, I am looking for overseas companies to collaborate with.

I like to think about waste as a material. I like to think about how all kinds of waste can be converted into value.

The office space of our company NOSIGNER was also designed using demolition waste from construction sites in the building we occupy.

https://nosigner.com/regeneoffice

I feel most creative when I am conceptualizing an idea for a project, and a view that would change the world a little bit comes to my mind. I believe that a good design idea has the power to change every detail of the world.

We look for what can be achieved only through that project. To go with this principle, we focus on minimalist candor and on demonstrating social impact in a way that cannot be replicated elsewhere.

I try to be as unemotional as possible because I want to see the project emerge beyond my own feelings.

Once completed, I think about how I can take the project further forward. I feel like projects actually have no end or completion.

I believe it is when the project team can come together and strive for how they would want the world to be. A good concept or idea will help to define that vision.

It is essential that the design's quality is high and that the idea is interesting, but that alone is not sufficient. On the other hand, I don't think ideas created only to be interesting are of much value.

I want to see the birth of a beautiful idea that carries a proposal for social change that can only happen through this project.

I believe it is to design for a larger space and a longer time. In other words, to look at wider relationships outside the market and consumption, and create things that will properly serve the future. It sounds difficult, but it is also obvious.

I don't know what the future holds for design, but I can try to predict the direction it will take.

More and more people will become designers, and the purpose will be more valuable than the means of design; as the separation between design fields will melt away, creativity will merge with project design. Design work will be co-created with AI, and the value of creatives will be based on whether they can present a vision. There will also be more designers amongst corporate management.

In a time of great change, leaders in various sectors will need to be able to use design as a weapon of choice. In particular, the integration of science and design will become increasingly important.

I am a designer, but I also work as a company director for businesses in various fields, notably with a renewable energy company, and a company that revitalizes traditional local architecture into inns, while also investing in start-ups for future social innovations. Putting to practice future courses of design as quickly as possible is my way of experimenting.

In 2016, I held a solo exhibition at the Ginza Graphic Gallery in Japan. The theme was to contrast the phenomenon of biological evolution and design. From that exploration, I started reading various biology books and later developed my thoughts into the book Evolutional Creativity, published in 2021. This book won one of the most prestigious academic awards in Japan, the Shichihei Yamamoto Prize, and became a best-selling business book on Amazon Japan.

I would very much like to hold our next exhibition in 2023 since it would mark 10 years since NOSIGNER’s activities were incorporated as a company. I would love to hold an exhibition on Evolutional Creativity or on my own design work.

There are myriad inspirations, but the number one inspiration is the historical context of the project, its surroundings that you don't normally notice, or the observation of the project broken down into its elements in an anatomical way.

The job of the creator is to grasp the great flow that is already taking its course and to arrange it to be full of hope; I believe giving form to that flow is what feeds my creativity.

I feel that not having a design style is my style, as strongly imposing a style makes a project less genuine. It does not matter who designed the project if it is created in its most honest, unprecedented form. That is how great beauty and powerful ideas can emerge, which is why I value great frankness in my designs. I believe that the better the design is, the more other people will want to copy it.

I design in Yokohama, a city in Japan. I think I have received a lot of invisible influences from Japanese culture. In particular, I believe the sense of simplicity, as well as the ability to communicate while reading the surrounding atmosphere, are effective insights even for design.

On the other hand, I feel that the speed of change in Japan may have been slow in the last 30 years, as the social status of design is not very high and society tends to protect already established large companies.

We start the project and work together to develop the company's strategy before they launch a new brand or business; this is perhaps one of our strengths and characteristics.

The client company is positioned more as a partner in the project than as a client. I have held positions as an external director in about five companies, as I sometimes happen to join them as a manager.

You should first see if the designer understands your business, or at least faces it with a high level of curiosity; on the other hand, you shouldn’t commission a designer who only designs for his own expression.

On top of that, design is a concrete part of managing a business, so you may want to have a criterion of whether you would like to run a company with them. Also, look carefully at their design portfolio because they will rarely create better designs than the ones there. So make sure to always choose someone who creates designs you appreciate.

My process is as follows.

Research ⇒ Envision the future of the project to determine its direction ⇒ Build design concept hypothesis ⇒ Design mock-up ⇆ brush-up (many rounds of this back and forth) ⇒ Confirm design direction ⇒ Finalize design ⇒ PR etc. ⇒ Further imagine the future and loop back to the concept hypothesis.

If I can say so myself, the pens I designed are really easy to use thanks to the perfect balance of weight and the brilliant concept for the grip.

https://nosigner.com/plotter

Macbook Air M1. I like it because it is thinner and more beautiful than the latest ones.

I recently designed a beautiful wooden box for my Macbook. I like this tool because it keeps my desk clean.

I drink a lot of water and I love the AARKE soda maker because it is sustainable.

I like this polygonal mouse designed by a friend of mine. It's also useful as a clicker.

7am Wake up

8am Play with my sons

9am Book writing and design work

12pm Lunch by the sea in Yokohama, where my office and home are located

1pm Meet with clients

3pm Direct the design team

16.00 Meet with clients

6pm Direct the design team

7pm Return home and have dinner with my family. Play with my children a little.

20.00 Book writing and design work

21:00 Bath time with my family

23:00 Go to bed

Decompose and simplify your work as a professional. Don't try to do many different things at the same time, but hone in on one point up until you’re able to surpass the average professional. Then add more points.

At the same time, look for things you are interested in that other designers are not interested in.

By paying attention to these points, you will one day start to connect the dots between qualities you’ve already honed and still unknown design areas.

The positives are innumerable, especially the fact that we can keep on renewing the world.

There are very few negative points, such as the fact that there are more efficient ways to make money. However, creative work can fulfill your life with purpose.

There are two. The ability to observe and sense the unfolding about to occur in a situation, and the ability to change, to allow for madness to the point of destructiveness.

These two are usually in conflict, so it is better to hone both.

Adobe Creative Suite (Illustrator, Photoshop, Indesign)

3D Software (Fusion360, Twinmotion, Cinema 4D)

Project Management tools (asana, Google tools)

Analog tools (Plotter pens, Brush pens)

Books (Countless beautiful books)

In terms of thinking, we increase the density of thoughts during the early stage of the project to develop the concept and avoid creating unnecessary work afterward.

In terms of operations, we use a project management tool called “asana” to manage deadlines for each task while the project is ongoing.

It take around 3 to 6 months.

I’m often asked about the meaning of the word NOSIGNER.

It comes from NO-SIGN, meaning a designer who creates the invisible.

It is to continue to be flexible and honest enough to allow yourself to change.

Our clients include leaders who create change within large companies, scientists with the potential to win Nobel Prizes, the current head of a tea business with over 300 years of history, founders of listed companies, start-up founders, orchestra maestros, various NGOs, local artisans from local industries, national and regional civil servants, and many more. Also, more than anyone else, I am also my own client.

I like projects where I can imagine the future being sustainably transformed by beautiful ideas.

The book Evolutional Creativity was very well received, so we are now preparing an illustrated or essential edition based on the same concept. The book is currently set to be published in China, Taiwan, and South Korea, but other countries are still to come. We are currently looking for publishing partners in Europe and the USA.

I work in a team, but since I fully worked by myself at first, I still often make things with my own hands.

I recently invested and became the director of a company developing a semiconductor processor that transforms any sound software into amazing sound quality. It will revolutionize conventional sound technology to its very foundations, so I feel it has the potential to develop into a global sound format on par with Dolby.

We are also working on a branding strategy for a hydrogen carrier using a compound called MCH called SPERA. It is currently considered the safest and least expensive way to transport hydrogen, and demonstrations are underway in the Netherlands and Brunei. This innovation will transform the global energy cycle to be sustainable, so please keep an eye on it.

You can contact me at info[x]nosigner.com

*change [x] to @

I am a designer but also a creativity educator. Creativity is something everyone can learn.

Through my work with Evolutionary Creativity, I advocate for the idea that anyone can learn creativity from the phenomenon of biological evolution. I hope to diffuse it around the world so that learning creativity becomes a normal part of our society.

I look forward to collaborating with all of you.

Ston began not with the idea of a product, but with a question about why people take breaks at all. We noticed that a cigarette break, a coffee break, even a long sigh, all share one hidden gesture: a deliberate pause and a deep breath. The harmful part was never the pause itself, but what people reached for to justify it. Our vision was to give that universal moment a healthier object. We described the underlying experience as "updating the deep breath," and built an entirely new product category around it, which we named BREATHER. From there, every decision — the stone-like form, the rhythm of light, the tuned airflow — became an attempt to make a single deep breath feel intentional and restorative rather than incidental. Reaching the Silver A' Design Award confirmed that this quiet, behavioural reframing of an everyday ritual resonated with people far beyond its origin.

We wanted Ston to feel less like an electronic gadget and more like a stone you might pick up beside a river, so the body could not look manufactured. A seamless aluminium enclosure, formed by squeezing the metal into a single closed shell, let us remove the visible seams, screws and parting lines that normally reveal a device. The result is a continuous, cool, weighted surface that invites the hand to hold and turn it, the way one instinctively handles a smooth pebble. Technically this was demanding, because forming a fully enclosed organic aluminium volume resists the flat, panelled geometries that metalworking usually prefers. We accepted that difficulty deliberately: the integrity of the form is what allows Ston to read as a calm natural object rather than a tool, and that perception is essential to the rest and mindfulness the device is meant to encourage.

Conventional electronic cigarettes are engineered to imitate smoking: they reward a short, sharp draw with dense, visible vapour and a throat sensation. We tuned Ston in the opposite direction. By calibrating the air channel and the resistance of the draw, we encourage a slow, long, diaphragmatic inhalation — the kind of breath a person takes when they consciously try to relax. The vapour is intentionally subtle, because the value is not the cloud but the act of breathing itself. In effect, the device guides the body into the mechanics of a genuine deep breath, and then lets the user simply notice how that feels. This is why we describe the experience as closer to a deep breath than to smoking: the gesture, not the substance, is doing the therapeutic work, and the design's role is to make that gesture easy, natural and pleasant to repeat.

When we examined why people interrupt their day, two opposite needs kept appearing: the wish to sharpen up, and the wish to wind down. Rather than introduce unfamiliar compounds, we chose two substances people already turn to for exactly those moments. Caffeine, widely associated with focus and alertness, supports a "Power" experience for when someone needs to re-engage with a task. GABA, an amino acid associated with calm and relaxation, supports a "Calm" experience for when someone needs to release tension. Offering them as two clear modes lets a single ritual serve both states of mind, so one device can accompany the whole arc of a working day. Just as importantly, both are taken in through the breath as taste and aroma rather than through combustion, with no nicotine and no toxic ingredients, which keeps the experience centred on wellbeing rather than dependency.

The light on Ston is not decoration; it is a pacing cue. Drawing on breathing practices found in Zen meditation and yogic breathing, where attention is anchored to a steady inhale and exhale, we translated that rhythm into a gentle, breathing pattern of light. As the light slowly swells, the user is invited to inhale; as it fades, to exhale. By giving breath an external, visual metronome, the device quietly slows a person down without instruction or effort of will. It is widely understood that lengthening and regularising the breath shifts the body toward a calmer state, and we wanted that shift to happen almost automatically, in the few seconds of an ordinary break. The lighting therefore turns an abstract instruction — "breathe more deeply" — into something the hand and the eye can follow together, making a moment of mindfulness accessible to anyone, anywhere.

We began from a simple hypothesis: people feel most at ease in natural settings — forests, plateaus, the bank of a river — and the objects found there are organic, weighted and smooth. The stone form grew directly from that observation, and specifically from rock balancing, a practice that, like Zen or yoga, concentrates and calms the mind. A stone asks to be held, turned and steadied in the palm, and that small tactile ritual is itself grounding. By giving Ston the silhouette and heft of a river stone, we removed the low-level anxiety that surrounds most electronics and replaced it with the reassurance of something that feels found in nature. The form is therefore not styling but a kind of therapy: it signals rest before the device is even used, and it is also the origin of the product's name. Holding Ston should already feel like the first half of a deep breath.

The clearest early signal came from the market itself. Sold exclusively online, Ston sold out within hours of release and rose to the top of Japan's health-appliance rankings, which told us that a great many people were actively searching for a healthier way to take their break. Beyond the numbers, what we set out to enable was a shift in the meaning of the pause — from reaching for a cigarette to reaching for a breath. People have increasingly adopted it during work, where the old habit was a smoke break and the new one is a moment of deliberate breathing, which is exactly the substitution the design was built to make appealing. We think of Ston less as a device that asks people to give something up, and more as an invitation to trade a harmful ritual for a pleasant one. That positive framing seems to be what makes the change feel sustainable rather than restrictive.

Cigarettes leave behind one of the most pervasive forms of litter on the planet: discarded filters that contain plastics and leach harmful residues into soil and water, alongside the smoke and ash that affect everyone nearby. A central concern for us was that the everyday break should stop generating that kind of waste. Ston is built as a lasting object rather than something thrown away after a single use; the breath it offers produces no ash, no butt to discard and no second-hand smoke. By making the durable device the centre of the ritual and keeping the consumable parts as minimal as possible, we move the habit away from the constant stream of single-use waste that smoking creates. We see this as part of the design's responsibility: a break that is healthier for the individual should also be lighter on the environment, and throughout development those two goals reinforced one another.

Most technology is designed to capture attention; Ston was designed to return it to the body. Earning the Silver A' Design Award for a device whose entire purpose is to help someone breathe suggests there is real appetite for what is sometimes called calm technology — products that support rest rather than compete for our engagement. We believe the most interesting frontier in wellness technology is not adding more data, screens or notifications, but designing for subtraction: tools that quietly restore focus, slow the breath and open small pockets of recovery inside a demanding day. By establishing BREATHER as a category in its own right, we hope to show that the break itself can be designed, and that future wellness devices might be measured not by how much they do, but by how gracefully they help us do less. Treated as a design problem, rest is a vast and largely untouched field.

At our studio we treat design as a tool for social change, not only as a way to make things attractive. Public-health problems such as smoking are rarely solved by prohibition alone, because they are bound up with deeply human needs — for a pause, for relief, for a moment that belongs only to oneself. Our approach was to honour that need and redirect it: instead of telling people to stop, we offered a more appealing object that satisfies the same impulse in a healthier way. Ston embodies this philosophy by turning a harmful daily ritual into a restorative one through desire rather than restriction. We see the role of design as building the bridge that makes the better choice also the more attractive one. If a small, stone-shaped device can shift countless ordinary breaks toward wellbeing, that is precisely the kind of quiet, scalable social change we hope our work can create.

As the coronavirus pandemic spread, Yokohama's Chinatown, where my office is located, was deserted due to the nearby docking of the Diamond Princess cruise ship. Seeing the dire situation of local people and my favorite restaurants being driven out of business, I was inspired by my previous experience with the OLIVE project to start Pandaid.

We focused on designing compelling content by referencing existing information sources instead of conducting individual research. We also established a fact-checking team of doctors and researchers to ensure the accuracy of articles, as misinformation can spread during chaotic times.

During the lockdown, when people were inundated with grim and often overwhelming information, we prioritized making the content not only reliable but also accessible, engaging, and even enjoyable. By incorporating visually intuitive layouts, interactive elements, and clear, concise language, we sought to transform complex medical data into actionable guidance. The goal was to create a user-friendly platform that not only informed but also uplifted, providing a sense of ease and clarity in a challenging time.

We had native speakers of various languages among our volunteers, who took on leadership roles for their respective languages and countries. Their initiative and ability to involve others led to the project's expansion into multiple languages, which was very inspiring.

During the coronavirus pandemic, the challenges we faced were complex and diverse. Moreover, similar situations were occurring worldwide, making each small problem a significant design issue. I believe that new questions often spur new creations.

The key was creating a solution that could be realized even without physical materials in a setting where resources were scarce. If there were no protective gear, medical workers would have to risk their lives. I hope the experience and designs from this time will prove useful in any future pandemics.

It's challenging to quantify, but the number of views and the information utilized by healthcare facilities have been our pride. Personally, the most significant impact was seeing our information circulate and end up on the notice board of my condominium, posted by one of the largest property management companies for all the buildings they manage.

People unconsciously filter out heavy or rigid information, making important messages hard to convey. Incorporating fun and approachability into the information design was a crucial strategy.

Until now, the website was focused solely on coronavirus countermeasures, and I hadn't thought much about further development since the pandemic began to subside. It would be interesting to expand this into a project for preventing the spread of future infectious diseases.

The world operates in systems of similarity. Whether you realize that a problem in front of you is not just a small local issue but a simultaneous global challenge is crucial. Connecting the details of designs created in front of you with a global impact is essential for designing solutions that bridge local and global contexts.

When a massive earthquake struck in Tohoku, I was in Tokyo, I experienced significant shaking and a subsequent power outage. Overwhelmed by the desperate circumstances that followed, I started this project, which quickly gained traction. Many others, driven by a desire to help save lives that were being lost by the minute, joined in, providing a strong tailwind for the project's growth.

The name 'Olive' was inspired by the olive tree from the Old Testament, which symbolized hope for Noah's Ark during a flood. Interestingly, the name 'Olive' came to mind first, followed by the idea to incorporate it with the Japanese flag, and only then did I learn about its biblical significance. Perhaps, it was divine providence that guided us to this name.

The project began immediately after the disaster when rapid response was crucial as lives were being lost. This urgency led to the development of a simple, accessible system that could provide immediate help.

The editorial approach evolved in response to the incoming information, ultimately reaching virtually all Japanese citizens through resources like the Tokyo Disaster Preparedness Guide. We treated the knowledge as malleable rather than definitive, which was crucial for its ongoing evolution.

Immediately after the disaster, methods for constructing makeshift toilets and making sanitary napkins were particularly appreciated, highlighting the importance of maintaining basic hygiene in crisis situations. Five years later, this project led to the publication of the largest-ever disaster preparedness book distributed to all Tokyo residents, exceeding eight million copies.

By tracking how many people actually used the information provided, we saw the impact gradually expand from the early stages of disaster recovery. It's crucial to continue believing in and persisting with what is deemed important.

Given that this project started 13 years ago, it should evolve in response to changes in media. This initiative has grown into various projects, but to continue design projects for society, it's necessary to consider fundraising. Eventually, I hope to expand this project into a brand of disaster prevention products.

Design is about creating high-quality outputs, but during disasters like this, it's essential to put quality aside temporarily and focus on co-creation with many people. This collective intelligence proves invaluable in such times.

The key to creativity is the self-efficacy belief that one can change the situation. Being the project leader and showing people in Japan and worldwide that they can make a difference, even in the face of the largest disasters, can transform a sense of powerlessness into efficacy.

We have launched a project called ADAPTMENT, building on our disaster prevention efforts to create a comprehensive strategy for climate change adaptation. Given the increasing frequency of disasters, the importance of design for disaster preparedness and resilience will only grow. I hope our design efforts will inspire future designers.

The request came from a tobacco manufacturer looking for new ways to provide restful breaks without smoking. We created a device to assist with deep breathing. This project led to the establishment of a subsidiary that does not handle nicotine products, a development I'm proud of as it continues to expand.

We aimed to evoke the presence of a natural object rather than a man-made one, which led us to the challenge of replicating organic shapes through pressing. This complex processing resulted in a shape that naturally endears itself to users, unlike typical artificial products.

The lighting effects encourage prolonged inhalation, helping users regulate their breathing rhythm. And since it's free from toxic substances like nicotine, it offers a healthier alternative for taking breaks.

When striving for a design that feels natural in the hand and fosters a lasting attachment, we were inspired to mimic natural forms. This aligns with the Taoist concept of 'effortless action,' which deeply influenced the design.

We designed the device not only to encourage mindfulness, which is rooted in Zen practices of emptying the mind, but also integrated it with a charger that resembles stones stacked upon each other, creating a form that embodies tranquility and simplicity.

Yes, that was the intention. Tobacco is a vast industry, and shifting to health-conscious alternatives requires balancing elements like aromatherapy and mindfulness, ensuring trials address user needs. This product bridges wellness practices, offering an effective solution to support healthier lifestyles amidst complex industry challenges.

We started not with the shape but by clarifying the ideology behind the product, which positively influenced the entire process. Maintaining a coherent narrative through mindfulness and Zen has shaped a timeless and impactful design philosophy.

The organic and complex body shape was more challenging to press than anticipated. Despite multiple failures, we ultimately succeeded in creating this distinct form.

I hope it raises awareness of breathing while offering smokers, who smoke from habit, a meaningful alternative. By promoting mindful breaks, it helps redefine wellness practices and encourages innovation, providing tools for intentional relaxation and fostering a healthier approach to everyday habits.

Looking at my team in the office, not only smokers but also those who consume energy drinks are prevalent in the design industry. Offering a healthier alternative is essential, and design can effectively contribute to enriching this experience.