Eisuke Tachikawa

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

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.

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.

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.

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.