Exclusive Interview Revealed: How Japan Creates “Unforgettable” Scenic Trains That Passengers Don’t Want to Leave

Text & Photos / Excerpted from “Don’t Get Off!: Japan’s Happiness-Filled Scenic Trains,” edited by Nikkei Design, translated by Chen Baiyao, published by Wheatfield Publishing

Exclusive Interview with Designer – Mitoaka Eiji

How do you design a train that can revitalize a region?

▲ Eiji Mitoaka, Head of Don Design Institute.

▲ Interior of JR Kyushu’s limited express “Yufuin-no-Mori.”

Nikkei Design (hereafter ND): What is the most important thing in creating a scenic train for regional railways?

Mitoaka: It’s about crafting truly unique train cars. Most local lines reuse existing second-hand carriages—for example, the positions or sizes of windows are fixed due to budget constraints that don’t allow any changes to such elements. So, you can’t alter them at all and must focus on aspects like seats, lighting, flooring, or walls. If we calculate one car at around 30 million yen, that covers the interior fittings, as well as repainting the exterior and creating logos or train numbers. If necessary, you can also custom-make brochures, tickets, or even bento boxes.

Since it’s a unique train, even with a limited budget, never use off-the-shelf items. And because it’s unique, it will attract media coverage and generate buzz, making even local residents want to ride it. Design isn’t about what the designer personally thinks is beautiful—the most important thing is to pour your heart into creating something that can’t be found anywhere else, to win customers’ hearts, and to see their satisfied smiles. That’s when design finally finds its true meaning.

▲ “Asoboi!” (JR Kyushu), a limited express connecting Kumamoto Station and Miyaichi Station.

▲ The all-white “Asoboi!” features parent-child seating called “The Little Black Dog Seat.”

ND: When designing the train cars, are there certain things you aim to achieve?

Mitoaka: You shouldn’t just express your own ideas, but rather objectively translate the region’s history, culture, or economic values into design language—or create a story. Of course, there are various other ways to express it. The designer’s role is to materialize the expectations of the people, so that local residents can proudly say, “This is my city, my train.” Therefore, more important than impressing tourists is igniting the willingness of local residents along the route to ride the train—or whether it can earn the love of the local people. I strive for this in my designs as well.

If passengers aren’t interested in a train that even locals don’t want to ride, then only a train integrated with the region can catch the eye of tourists. Just like food produced and consumed locally, the same concept applies to people and culture. If service staff can also speak the local dialect, it further conveys the essence of the place.

Creating a scenic train is like making a magazine that showcases the values along the route—complete with a cover, table of contents, and main text. Just as with a book, we compile the region’s values into the form of a train, using time and technology to the fullest within the budget to achieve something truly unique. In other words, we’re crafting a treasure for the town.

▲ “Tama Densha” (Wakayama Electric Railway) features cat-shaped seats inside.

▲ Wakayama Electric Railway’s “Kishi Station – Tama Station Hall,” notable for its cypress bark roof adorned with cat ears.

ND: What does a good train car design that even local residents appreciate look like?

Mitoaka: Whether a design is good or retro or modern doesn’t actually depend on taste—it’s about how far you consider the user’s perspective. It shouldn’t cater to or benefit the operator, but even if it’s not in the operator’s favor, you should strive to stand with the users. This kind of thoughtful effort communicates itself to users even without explanation. When users feel, “This level of considerate design must be costing too much,” they’ll give you praise. On the contrary, what designers think is “beautiful” or “good” often doesn’t move users’ hearts. What trains need is design that goes beyond convenience or economy—and without genuine thoughtfulness, it’s hard to convey the necessity of the design.

There’s plenty of so-called train design across Japan, and some of it is crude. Creating trains with such an attitude and neglecting passengers is really unacceptable. You shouldn’t leave everything up to the manufacturer, letting the manufacturer take full control—even before the designer has drawn a sketch... Designers are the working class; without opening your senses and focusing wholeheartedly, you definitely can’t create something good. This is an era where trains also seek added value. Without proper planning, customers won’t even want to buy it, and if the service process makes them feel something is lacking, it’s bound to get negative reviews.

ND: As for trains in the realm of public design, how do you approach your thinking?

Mitoaka: Public design starts with train design as well. Public facilities like streets or stations also reflect the consciousness of local residents, and I believe the standard of public design also equals the national strength of a country. The future of Japan shouldn’t be about competing economically, but about competing culturally.

However, having designers design streets is difficult—for example, trying to convince every resident to agree on how this place should be designed is virtually impossible. But designing a train only requires decisions from the railway company, the manufacturer, and the designer.

▲ The exterior of Tama Densha features illustrations of 101 “Stationmaster Tama.” Not just the train’s interior and exterior, but even the station hall has been designed, giving the feel of visiting a theme park.

ND: In terms of revitalizing a region, what potential does a scenic train hold?

Mitsuo Kishi: Operating sightseeing trains just once a week simply isn’t cost-effective. Originally, local railway lines struggle to be financially viable. To put it bluntly, public transportation is infrastructure built with taxpayers’ money. In areas with small populations, there are also people who don’t drive, and the state should provide public transport to ensure convenience. It’s truly undesirable to discontinue a line solely because it’s unprofitable.

Sightseeing trains can have potential only when based on this premise. The Kishigawa Line of Wakayama Electric Railway, famous for “Station Master Tama,” has undergone great changes, attracting passengers from all over the world. JR Kyushu’s “ARU Train” leverages Japan’s excellent industrial capabilities to refurbish old carriages for reuse, redesigning them to breathe new life into the trains, resulting in vehicles that deeply move passengers. Starting with railways, everything as a whole can revitalize the region.

In Japan, you’ll find rivers or forests everywhere, with beautiful scenery all around. The streets themselves are part of the tourism experience—diverse and fascinating attractions. Sightseeing trains are like picture frames that capture the most charming rural landscapes or the beauty of local areas.

ND: Why is train design capable of promoting regional revitalization?

Mitsuo Kishi: No matter how magnificent or beautiful a station is, a station, after all, cannot move. But a train can travel from one end of the track to the other. Along the route, you often see people waving at the train or elderly individuals in wheelchairs coming specially to see it. On sunny days, people gather to watch the passing trains, perhaps having tea or chatting, creating opportunities for interaction.

Designing a train may not require a huge amount of money, but it changes the flow of people, bringing vitality back to the streets. Design is actually an element that revitalizes town streets.

【Mitsuo Kishi’s Three Design Principles】
● Create a one-of-a-kind train carriage
● Develop a town treasure that local residents love
● Make design an element of a thriving town

※Visited in July 2015

● Mitsuo Kishi’s design spreading across Japan, centered on Kyushu
(Year)
1988　AQUA EXPRESS／JR Kyushu
1992　Tsubasa Limited Express／JR Kyushu
1995　Sonic Limited Express／JR Kyushu
2000　Kamome Limited Express／JR Kyushu
2004　Kamome Shinkansen (Sonic)／JR Kyushu
Ishibashi & Shinpei／JR Kyushu
Hayabusa Wind Limited Express／JR Kyushu
2005　Dream Yasuragi／Ibara Railway
2006　Strawberry Train／Wakayama Electric Railway
2007　Toy Train／Wakayama Electric Railway
2009　Tama Train／Wakayama Electric Railway
SL Hitoyoshi／JR Kyushu
Kaiun Yamakuni／JR Kyushu
Fuji Mountain Climbing Train／Fuji Kyuko
2011　Ibusuki no Tamatebako Limited Express／JR Kyushu
Super Express Asoboi!/JR Kyushu
Take the Super Express A Train!/JR Kyushu
ALPS EXPRESS/Fuji Sanroku Railway
2013 Orange Dining Car/Hisatsu Orange Railway
Seven Stars in Kyushu/JR Kyushu
Tango Akamatsu & Tango Aomatsu Trains/Kyoto Tango Railway
2014 ROKUMON/Shinano Railway
Tango Kurotsuga Train/Kyoto Tango Railway
2015 Limited Express Yufuin no Mori/JR Kyushu
JR KYUSHU SWEET TRAIN “ARU Train”/JR Kyushu