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Blocks Lamps Lighting Fixture by Rio Jiunyu Chen |
Home > Winners > Design #168998 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
RC: The main principle behind my design is to merge emotional memory with architectural thinking. I draw inspiration from personal experiences—moving between Taiwan, Chicago, and New York—and from the visual language of urban planning and popular culture. My work seeks to create objects that feel both familiar and reflective, grounding users in a sense of place and time. I believe design should tell stories, evoke emotion, and offer thoughtful engagement through material choices, form, and process. That’s where beauty and meaning intersect.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
RC: My main focus in designing the Blocks Lamps was to create a deeply personal yet universally resonant object. I wanted to translate memories of cityscapes into sculptural lighting, using warm materials to evoke comfort and reflection. The goal was to blend emotional storytelling with architectural form.
FS: What are your future plans for this award winning design?
RC: I plan to expand the Blocks Lamp collection by exploring new scales, functions, and materials—possibly venturing into furniture and larger installations. I’m also developing a limited edition that pays tribute to New York City, continuing to evolve the narrative and emotional depth embedded in each piece.
FS: How long did it take you to design this particular concept?
RC: The initial concept for the Blocks Lamp took about three months, evolving from simple block forms into a fully developed lighting collection. Each iteration involved sketching, modeling, material testing, and refinement. The process was both intuitive and deliberate, shaped by personal experiences and architectural inspirations along the way.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
RC: The Blocks collection began as a self-initiated exploration of form and emotion. I used squares, cubes, and blocks to symbolize moving boxes—visual metaphors for my experiences transitioning between cities and countries. It was a way to process personal movement while shaping the foundation for a new design language in my studio practice.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
RC: All Blocks Lamps are handmade by me in Brooklyn, NY. Each piece is unique due to the natural variation in wood grain and the hand-stamping process I use, which adds a personal, tactile warmth to the object. I currently produce them myself and plan to continue doing so.
FS: What made you design this particular type of work?
RC: I designed the Blocks Lamp as a way to merge emotional storytelling with functional design. Moving between Taiwan, Chicago, and New York left deep impressions on me, and I wanted to capture those feelings in physical form. Blocks—simple, architectural, and symbolic—became the perfect vehicle. Their modularity allowed me to explore composition and memory, while lighting added warmth and life. It’s a reflection of my design philosophy: building narratives through form, material, and emotional resonance, grounded in both craft and concept.
FS: How did you come up with the name for this design? What does it mean?
RC: The name Blocks carries multiple layers of meaning. Beyond representing moving boxes, it also symbolizes mental blocks—obstacles I’ve encountered throughout my life and creative journey. It reflects the challenges we face, whether physical or psychological, and how we overcome them. Additionally, the name evokes the concept of a city block, tying the design to urban landscapes. This is why the lamps evolve into a city-like arrangement, with each block contributing to a larger structure. Blocks encapsulates both personal struggle and the growth that emerges from it, much like building a city or overcoming obstacles.
FS: What is the most unique aspect of your design?
RC: The most unique aspect of the Blocks Lamp design is its hand-stamped pattern on mulberry paper, which captures the natural wood grain and evokes the passage of time. This tactile process, combined with the use of repurposed scrap wood, gives each piece a one-of-a-kind narrative, merging craftsmanship with emotional storytelling.
FS: What is the role of technology in this particular design?
RC: Technology in this design lies in the subtle transformation of materials and processes. The transition of wood grains onto mulberry paper becomes a poetic visualization of time—squares echo growth rings, and moving boxes evolve into layered patterns. The precision in cutting and repurposing scrap wood also reflects a technical approach rooted in sustainability. While not overtly digital or mechanical, the design embraces a quiet form of technology—one that honors material life cycles, craft techniques, and the narrative potential of process-based design.
FS: How did you decide to submit your design to an international design competition?
RC: After exhibiting at the Stockholm Furniture Fair, I was encouraged by the enthusiastic response from an international audience. It made me realize that my work resonated beyond local circles. Although I hadn’t seriously considered entering design competitions before, the positive feedback in Stockholm gave me the confidence to take that step. Submitting to an international design competition became a way to challenge myself, share my story on a broader stage, and connect with a global community of designers and makers.
FS: What did you learn or how did you improve yourself during the designing of this work?
RC: Designing the Blocks Lamp taught me patience, precision, and the value of thoughtful craftsmanship. The repetitive, time-consuming processes—like hand-stamping patterns and folding and assembling the paper lampshade—became meditative moments that deepened my appreciation for detail. I learned how even the smallest decisions in pattern placement or material handling could significantly affect the final outcome. This project sharpened my sensitivity to material behavior and reinforced my belief that the emotional impact of an object often comes from the care embedded in its making.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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