Rio Jiunyu Chen

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Rio Jiunyu Chen ("RJC") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

RJC : I received my Master's degree in Designed Objects from the School of the Art Institute of Chicago, where I began merging architecture, urban planning, and object design into a cohesive practice. My design background is rooted in both hands-on craftsmanship and conceptual exploration. Before graduate school, I explored different mediums, from drawing and cardboard modeling to product design. This journey shaped my focus on home objects that speak through materiality, narrative, and form—bridging everyday use with architectural thinking.

DL: What motivates you to design in general, why did you become a designer?

RJC : Design allows me to communicate ideas, emotions, and narratives through tangible forms. I became a designer to bridge imagination with utility—transforming thoughts into objects that people can connect with. What motivates me is the power of design to evoke feeling, spark dialogue, and shape the environments we live in.

DL: Did you choose to become a designer, or you were forced to become one?

RJC : I chose to become a designer—it was a natural path shaped by curiosity and creativity. From a young age, I was drawn to making things, from sketching cars to crafting objects out of cardboard. Over time, that creative impulse evolved into a design practice. It was never forced; it felt like discovering a language I was always meant to speak.

DL: What do you design, what type of designs do you wish to design more of?

RJC : I design objects that sit at the intersection of memory, place, and emotion—often through lighting and small-scale furnishings. Recently, I’ve been drawn to larger scale furniture pieces that can shape space more boldly. I wish to explore more of these—functional forms that still carry the intimacy and storytelling found in my smaller works.

DL: What distinguishes between a good designer and a great designer?

RJC : A good designer creates functional and aesthetically pleasing work, but a great designer goes further—embedding social responsibility into every decision. Great designers consider the impact of their materials, production processes, and messaging. They understand that design influences how we live and think, and use their skills to advocate for empathy, sustainability, and meaningful change in the world.

DL: What makes a good design a really good design, how do you evaluate good design?

RJC : A good design really shows care—care for the people using it, the environment, and the world it lives in. It’s more than just solving a problem; it tells a story, feels intuitive, and is made with thoughtfulness. I look for clarity, material honesty, and whether it expresses something deeper—something that stays with you.

DL: What is the value of good design? Why should everyone invest in good design?

RJC : Good design enhances our daily lives by creating intuitive, thoughtful, and lasting experiences. It’s not just about how something looks, but how it functions, communicates, and respects its users and the environment. Investing in good design means valuing quality over quantity, reducing waste, and supporting responsible production. Well-designed objects age gracefully, carry emotional resonance, and improve well-being. Ultimately, good design reflects care—toward people, context, and the future—and that makes it worth every investment.

DL: What would you design and who would you design for if you had the time?

RJC : If I had the time, I would design a series of public furniture pieces for community spaces—parks, sidewalks, transit stops—where people from all walks of life could pause, rest, and interact. I'd love to collaborate with local governments or nonprofit organizations to create objects that invite reflection, play, or togetherness in urban environments.

DL: What is the dream project you haven’t yet had time to realize?

RJC : My dream project is to build a public installation that combines light, sound, and tactile materials—something immersive that lives outdoors and changes throughout the day. I imagine it being part sculpture, part shelter, part communal gathering spot. A place where design softens the pace of life and sparks curiosity.

DL: Who are some other design masters and legends you get inspired from?

RJC : I draw inspiration from a wide range of designers and thinkers. Ettore Sottsass, for his bold use of color and form; Enzo Mari, for his socially driven approach to design; and Isamu Noguchi, for his poetic merging of art and function. Their work reminds me that design can be both deeply conceptual and beautifully human.

DL: How could people improve themselves to be better designers, what did you do?

RJC : I think being a better designer starts with being a more observant, empathetic person. I try to stay curious, ask more questions than I answer, and remain critical of my own assumptions. Spending time making things by hand also grounds my thinking—it forces slowness and attention. I believe good design grows from patience, humility, and the courage to unlearn.

DL: How do you define design, what is design for you?

RJC : Design, to me, is a state of mind—an intentional way of thinking, observing, and planning. It’s the process of translating abstract ideas into tangible forms that can carry meaning, serve purpose, and connect with people. It’s how I make sense of the world and offer something back to it.

DL: What helped you to become a great designer?

RJC : What helped me the most was being open to discomfort—moving countries, switching scales, changing materials. Those transitions forced me to adapt, to listen more carefully, and to think beyond my own habits. Also, surrounding myself with people who challenge me, and choosing slowness in a fast-paced world, taught me to design with intention.

DL: What’s your next design project, what should we expect from you in future?

RJC : My next project focuses on expanding the Blocks collection into larger-scale furniture pieces. Expect a blend of functionality with personal storytelling, where each piece will continue to explore the themes of movement, memory, and place. I’m also excited to dive deeper into sustainable materials and more interactive designs.

DL: What’s your ultimate goal as a designer?

RJC : My ultimate goal is to create work that resonates emotionally while holding social and material responsibility. I want my designs to quietly accompany people in their daily lives—bringing comfort, provoking thought, or offering moments of pause. If they can feel cared for through an object, then I’ve done my job.

DL: How does design help create a better society?

RJC : Design has the power to shape society by making everyday experiences more thoughtful and meaningful. It can influence how we interact with our environment, how we communicate, and how we understand the world around us. Through careful attention to detail and intention, design can improve accessibility, sustainability, and emotional connection, creating spaces and objects that contribute to a more empathetic and connected society. When design considers people and the planet, it becomes a force for positive change.

DL: What are you currently working on that you are especially excited about?

RJC : I’m especially excited about expanding the Blocks collection into larger-scale furniture pieces. This new direction will allow me to explore how these familiar forms can shift and shape larger spaces, while still retaining the intimacy and personal storytelling that defines my work. It’s a challenge I’m eager to dive into.

DL: What would you like to see changed in design industry in the coming years?

RJC : I would love to see a shift toward more sustainable and ethically sourced design practices. Designers should prioritize long-term impact over short-term trends. There's a growing need to create objects that are not only functional and beautiful but also responsible, both in terms of materials and production processes. More collaboration between designers, manufacturers, and communities can lead to solutions that support environmental and social sustainability. The industry needs to embrace a more holistic approach, where the value of design is measured not just by aesthetics, but by the positive change it can bring.

DL: How long does it take you to finalize a design project?

RJC : The time it takes to finalize a design project really depends on the complexity of the concept. For something like the Blocks collection, the first few iterations took about three months—from initial sketches to final models. After that, refining and expanding the collection took additional months. It’s a journey of constant evolution, where each phase adds new layers of thought and refinement.

DL: When you have a new design project, where do you start?

RJC : I usually start by observing—people, environments, emotions. I ask what’s missing or overlooked. Then I sketch, sometimes with words first. I might tape shapes on the wall or stack objects to see forms in real space. It’s intuitive at first, but always grounded in material, function, and feeling.

DL: Do you think design sets the trends or trends set the designs?

RJC : I think it’s a continuous loop—design can set trends, but it’s also shaped by them. We don’t design in isolation; we’re in constant conversation with culture, economics, and technology. A good designer listens to the world, then responds with intention—sometimes ahead of the curve, sometimes challenging it entirely.

DL: What kind of design software and equipment do you use in your work?

RJC : I use Rhino 3D for digital modeling—it allows me to translate sketches into tactile forms quickly. But my process always returns to hand tools and physical prototyping. I rely on Japanese masking tape, scrap wood, and basic shop equipment to build models. I also document materials and textures obsessively, treating each detail as a building block of the story I’m trying to tell.

DL: What is the role of the color, materials and ambient in design?

RJC : Color, materials, and ambient light are the soul of a design. They set the mood, evoke emotions, and enhance the tactile experience of a piece. Colors can communicate energy or calm, while materials add texture, weight, and meaning. Ambient light brings everything together, transforming the experience from functional to emotional, creating atmosphere and connection with the user. Together, they tell the story of the object beyond its purpose.

DL: When you see a new great design or product what comes into your mind?

RJC : When I see a new great design, I think about the story behind it—the process, the materials, the emotions it evokes. I’m always curious about how it challenges conventions and communicates its purpose. A great design should feel like a dialogue with the user, one that’s intuitive yet thought-provoking. It’s about how the object resonates beyond its form, how it fits into daily life, and how it reflects the designer’s vision.

DL: Who is your ideal design partner? Do you believe in co-design?

RJC : Besides my personal design practice, I've had a practice with Pakistani designer Rahma Shahid. We managed international design workshops to highlight global and local social topics and challenges using creative force and means.

DL: Which books you read had the most effect on your design?

RJC : Design as Attitude is a good one.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

RJC : If I could meet anyone, it would be Ettore Sottsass. As a fan of the Memphis Movement, I’m fascinated by his approach to pattern making and material development, which defined postmodern design. His trips to India and the spiritual experiences that influenced his work are something I’d love to dive deeper into. I’d love to pick his brain on how those journeys shaped his creativity and design philosophy.

DL: When you were a little child, was it obvious that you would become a great designer?

RJC : As a child, I was always fascinated by how things were made, often deconstructing toys and imagining how they could be improved. While it wasn't immediately obvious that I would become a designer, my curiosity and passion for problem-solving were clear early on. I spent countless hours drawing, building, and experimenting—activities that naturally evolved into my design practice. My love for architecture, shapes, and materials was the foundation for what would later become a career in design. It was less about knowing I would be a designer and more about the constant drive to create.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

RJC : I hope people know that every object I design carries a piece of my story—of movement, longing, and joy. I don’t see design as a polished answer, but as a conversation. My work might look playful or soft, but it’s rooted in care, material sensitivity, and a belief that objects can carry emotion.