We had the distinct pleasure to interview award winning designer taichi hirata about their original and creative Food Van design work. taichi hirata is an award-winning communication designer, that makes our world a better place with their original food van works.
taichi hirata ("TH") answered Design Interview ("DI") questions about their award-winning work Wagon Remodeling Food Van. Interview questions prepared by Frank Scott.
TH : The design stems from a desire to reinterpret the everyday through quiet observation. I am drawn to what is often overlooked — the unspoken and hidden needs that exist between people, places, and time. The Wagon Remodeling Food Van began as an exploration of how a nostalgic typology — the Japanese stone roasted sweet potato food wagon — could evolve into a contemporary mobile retail solution. Rather than merely replicating tradition, I sought to extend its spirit: the gentle encounter on the street, the fleeting moment of warmth, the architecture of movement itself. My main principle is to design not by adding, but by revealing — to uncover layers of meaning that already exist within our surroundings. Through subtle shifts in structure, material, and light, I try to create spaces that make us pause and re-see the ordinary.
TH : The main focus was to make people notice — to shift attention from the product itself to the person behind it. In Japan, the stone roasted sweet potato food wagon is a nostalgic winter icon, yet it has long existed as an anonymous presence; who sells it has never really mattered. I wanted the design to reveal this hidden individuality — to make the act of selling visible as an expression of identity and care. At the same time, being situated in Kyoto, I envisioned it as a gentle source of light — like a lantern softly illuminating the cold and quiet winter streets. Beyond its function, the wagon was designed to bring a sense of warmth and awareness, connecting people through both its presence and its glow.
TH : Receiving this award made me feel that my way of thinking about design was not mistaken. It reaffirmed that even quiet, subtle ideas can resonate with others. This recognition encourages me to keep designing with the same sensitivity — believing that a gentle design can still have a strong voice.
TH : The schedule was quite tight — it took about three months from basic design to completion. Since then, the wagon has been continuously refined, going through several updates up to its fourth generation. Each version has allowed me to adjust details and improve usability, treating the project as an evolving design rather than a fixed object.
TH : The project originally came as a commission from a friend of one of our team members. At first, it seemed slightly outside my field, since I had mainly been designing architecture — things that do not move. But once I began to think about it, I realized how closely it connects to architecture: structure, light, material, and the experience of space. It was a refreshing opportunity to approach architectural thinking through mobility.
TH : The design is not intended for mass production. Each wagon is custom-built and deeply connected to its specific context, making it difficult to reproduce even with the same drawings. While it could technically be adapted for larger-scale production, this project was never about replication. My focus was on creating a singular, site-specific work — closer to architecture than product design — something that quietly evolves with each new interpretation.
TH : Above all, I decided to take on this project because it simply felt exciting. The process of choosing materials and exploring what we could do — slightly expanding the range of our skills as a team — was deeply enjoyable. As with all my works, I always hope to invent at least one new idea each time, no matter how small. That sense of curiosity and discovery is what keeps my design practice alive.
TH : I’m not directly influenced by any particular designer. I often get ideas from what I see during fieldwork in the city or while traveling — small details, traces of how people and places have changed over time. I find those everyday scenes and anonymous spaces quietly inspiring, and they often stay with me when I design.
TH : The design was created for independent vendors and small business owners who value authenticity and connection with their customers. At the same time, it was also meant for the people who encounter it on the street — for anyone who might pause, notice the light, and feel a quiet sense of warmth. In that sense, the design is less about a specific market and more about creating small moments of awareness in everyday life.
TH : Each element of this design may not be entirely new on its own. However, by layering and recombining familiar components — materials, proportions, and light — I was able to create something that feels new as a whole. The uniqueness of the project lies not in individual parts, but in how they coexist and form a coherent atmosphere that hadn’t been seen in this context before.
TH : The original title of the project was Food Wagon Remodeling, loosely inspired by a work of Coop Himmelb(l)au. Somewhere during the award submission process, the name changed to Wagon Remodeling Food Van — not by deliberate choice, but naturally, almost on its own. I found that process rather interesting; how something can take on a slightly different form once it leaves your hands.
TH : I used a combination of digital modeling and hand sketches throughout the process. Rather than relying on a single tool, I moved back and forth between analog and digital methods to refine the proportions, light, and overall balance. For me, the most important tool is always the eye — observing how the design feels in both drawing and physical space.
TH : I aimed to create a design with both presence and warmth — something that could be recognized from a distance, yet feel intimate and inviting up close. Through its structure, light, and sense of space, it seeks to bring a quiet but memorable atmosphere to the street.
TH : I collaborated with the team at room 404(404号室, Kyoto Japan), who were responsible for both project production and construction. Together, we conducted research on the development of the outer membrane material and the optimization of the structural frame. Their technical expertise and experimental approach played a key role in refining the design and realizing the final form.
TH : Technology in this project was closely tied to material research. For the outer membrane, we aimed to find a material that balanced durability, weather resistance, translucency, color tone, and ease of maintenance. Together with room 404, we tested and refined several options until the surface could express both functional performance and a subtle, gentle atmosphere.
TH : The project was not driven purely by numerical data, but by observation and experimental research. We studied how the wagon would interact with light, weather, and daily use, and worked with room 404 to test materials and structural solutions through prototypes. Of course, we also referred to technical data such as solvent compositions and material properties during the development process. In addition, we observed how the structure aged and weathered throughout the year, incorporating updates and refinements over four successive generations. This continuous process allowed the design to mature through real use and time.
TH : Beyond the tight schedule, one of the main challenges was working within a limited budget. We had to simplify complex three-dimensional joints and details to make them efficient to fabricate while maintaining spatial precision. Achieving that balance was not easy, but it led to new ideas and a clearer expression of intent. I was also greatly supported by the craftsmanship of the builders — their skill and intuition helped translate subtle design decisions into tangible form.
TH : It actually started quite casually. My team and I had uploaded the project to Behance just to share our work, and it was later discovered by the organizers of the A’ Design Award. Being invited to submit it formally was a pleasant surprise — it felt like an unexpected opportunity for the project to reach a wider audience.
TH : Through this project, I learned how design can engage with people more openly. Unlike most architectural works, which are often private and rarely seen beyond their façades, this mobile design moved through the city and encountered a wide range of audiences. The unexpected amount of feedback and interaction made me realize how design can quietly resonate with everyday life — not only as a built form, but as a shared experience.
TH : Through this interview, I had the opportunity to reflect on this project from many different perspectives. It reminded me of the intentions, challenges, and quiet discoveries that shaped the work. I truly appreciate the chance to revisit and articulate them once again — thank you.
