Eisuke Tachikawa

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Eisuke Tachikawa ("ET") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

ET : 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.

DL: What motivates you to design in general, why did you become a designer?

ET : 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.

DL: Did you choose to become a designer, or you were forced to become one?

ET : 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.

DL: What do you design, what type of designs do you wish to design more of?

ET : 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.

DL: What should young designers do to become a design legend like you?

ET : 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.

DL: What distinguishes between a good designer and a great designer?

ET : 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.

DL: What makes a good design a really good design, how do you evaluate good design?

ET : 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.

DL: What is the value of good design? Why should everyone invest in good design?

ET : 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.

DL: What would you design and who would you design for if you had the time?

ET : 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.

DL: What is the dream project you haven’t yet had time to realize?

ET : 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.

DL: What is your secret recipe of success in design, what is your secret ingredient?

ET : 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.

DL: Who are some other design masters and legends you get inspired from?

ET : 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.

DL: What are your favorite designs by other designers, why do you like them?

ET : 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.

DL: What is your greatest design, which aspects of that design makes you think it is great?

ET : 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.

DL: How could people improve themselves to be better designers, what did you do?

ET : 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.

DL: If you hadn’t become a designer, what would you have done?

ET : 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.

DL: How do you define design, what is design for you?

ET : 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."

DL: Who helped you to reach these heights, who was your biggest supporter?

ET : 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.

DL: What helped you to become a great designer?

ET : 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.”

DL: What were the obstacles you faced before becoming a design master?

ET : 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.

DL: How do you think designers should present their work?

ET : 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.

DL: What’s your next design project, what should we expect from you in future?

ET : 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.

DL: What’s your ultimate goal as a designer?

ET : 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.

DL: What people expect from an esteemed designer such as yourself?

ET : 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.

DL: How does design help create a better society?

ET : 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.

DL: What are you currently working on that you are especially excited about?

ET : 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.

DL: Which design projects gave you the most satisfaction, why?

ET : 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.

DL: What would you like to see changed in design industry in the coming years?

ET : 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.

DL: Where do you think the design field is headed next?

ET : 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.

DL: How long does it take you to finalize a design project?

ET : 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.

DL: When you have a new design project, where do you start?

ET : 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.

DL: What is your life motto as a designer?

ET : “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.

DL: Do you think design sets the trends or trends set the designs?

ET : 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.

DL: What is the role of technology when you design?

ET : 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.

DL: What kind of design software and equipment do you use in your work?

ET : 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.

DL: What is the role of the color, materials and ambient in design?

ET : 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.

DL: What do you wish people to ask about your design?

ET : 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.

DL: When you see a new great design or product what comes into your mind?

ET : 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.

DL: Who is your ideal design partner? Do you believe in co-design?

ET : 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.

DL: Which people you interacted had the most influence on your design?

ET : 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.

DL: Which books you read had the most effect on your design?

ET : 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.

DL: How did you develop your skills as a master designer?

ET : 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.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

ET : 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.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

ET : 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.

DL: What is your favorite color, place, food, season, thing and brand?

ET : ・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.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

ET : 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.

DL: What makes your day great as a designer, how do you motivate yourself?

ET : 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.

DL: When you were a little child, was it obvious that you would become a great designer?

ET : 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.

DL: What do you think about future; what do you see will happen in thousand years from now?

ET : 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.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

ET : 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.