臺灣廟宇建築多以木式結構為主,而神轎設計便是參照廟宇牌坊、屋樑等結構樣式轉化而來。樑柱製作工程俗稱為大木作,負責設計與施工者稱為大木匠師;在宋代《營造法式》一書中又將門、窗、斷隔、欄杆、外檐裝飾、防護構件、地板、天花等四十二種木雕工法統稱為小木作,在臺灣又作鑿花[3]。於展場中央的轎子在視覺上如同一台新式、變異的「龍車鳳輦」[4],除了延續著經典的轎頂與小木作結構樣式,又以簡約且較為實用性的設計概念,將轎前的桌裙桌、戶橂[5]一處向前景延伸,使其整體造型如同轎車引擎般的凸出,車頭上方以隸書落有「羅漢車」大字,木板中央有一貓型浮雕,其雙手下方刻有雙層火焰,貓身後方綻放著烈日般的光譜向四周延伸,周圍遍布九隻富含多樣表情與動勢的貓星人,時而俯臥,時而橫躺的翻滾於雲霧縹緲之間,轎頭彷彿千陽號[6]般的具備自我意識,揭示著欲航向未知旅程的衝勁蓄勢待發。特別值得留意的是,《羅漢車》中並無供奉任何神像,此時的觀者不得不開始思考此神轎存在於此場域之中的意義,以及其信仰中心何在?對於臺灣人的信仰模式,桑高仁(Paul Steven Sangren, 1946-)曾觀察到:
[7] Sangren Paul. History and magical power in a Chinese community. Stanford University Press, 1987. 原文: "When Taiwanese say they worship a deity because it is ling, the relevant issue is not whether one ‘believes’ in a particular deity or not, but which deities are most ling in the relevant social context. Moreover, the degree of ling possessed is assigned not merely on the basis of personal experiences of prayers answered and ignored …… the ling attributed to any entity is specified by a complex set of structurally interconnected contrasts. The pattern of these contrasts is the product of operations of an essentially symbolic or logical sort. In addition, deities and particular images of them must be authenticated as ling in local historical tradition. The kinds of historical events that provide this authentication pertain, broadly speaking, to social structure. Ling, or power, is thus a pivotal idiom; it is defined or constrained by both general cultural logic and by a historically unfolding logic of social relations in particular contexts. "