Rio Jiunyu Chen

Specialized in Lighting Design.

Rio Jiunyu Chen

About Rio Jiunyu Chen

Rio Chen is a Brooklyn-based Taiwanese designer working at the intersection of architecture, objects, and popular culture. His work explores spatial narratives through furniture, lighting, and material experimentation, often transforming everyday structures into sculptural forms. With a hands-on approach to craft, Chen integrates printmaking, woodworking, and metal fabrication into his designs. His work has been exhibited internationally, reflecting a continuous dialogue between urban landscapes and domestic spaces.

  • Winner of the A' Design Award.
  • Specialized in Lighting Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Lighting
Blocks Lamps Lighting Fixture

Blocks Lamps Lighting Fixture

Lighting Design

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Interview with Rio Jiunyu Chen

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
I’ve always been drawn to the way objects shape our everyday lives. As a child, I loved cars and built cardboard models, which later evolved into a passion for design. I studied Designed Objects at the School of the Art Institute of Chicago, where I developed an architectural approach to making. My work often reflects my movement between Taiwan, Chicago, and New York—each city influencing my material choices and form language. Design, for me, is a way to tell stories across time and space, and I’ve always seen it as both a personal and cultural tool for connection.
Can you tell us more about your company / design studio?
My studio is a one-person practice focused on creating home objects that blend architectural thinking with emotional storytelling. Each piece reflects personal memories, cultural observations, and thoughtful craftsmanship. I explore how material, form, and narrative can come together to create objects that feel both grounded and imaginative.
What is "design" for you?
Design, to me, is a way of thinking and communicating—an intentional process of shaping how we live, feel, and connect. It bridges the functional and the poetic, turning ideas into tangible experiences. Good design doesn’t just solve problems; it tells stories and creates meaning through material, form, and context.
What is your favorite material / platform / technology?
My favorite material is wood—especially reclaimed or scrap wood—because of its natural texture, history, and unpredictability. I often pair it with mulberry paper to create soft, ambient lighting that highlights both warmth and imperfection. I enjoy working with wood by hand, embracing its grains and irregularities as part of the design language. This tactile, material-driven approach allows me to create deeply personal objects that carry stories, memory, and place, while also leaving room for spontaneity and discovery in the making process.
When judging a design as good or bad, which aspects do you consider first?
When judging a design, my first consideration is how much it cares about people. I look for how this care is expressed in the design—whether through materials, form, function, or the overall experience. It's not just about solving a problem, but how thoughtfully the designer addresses human needs, emotions, and interactions. Today, design problems are more complex than merely fulfilling a functional requirement. A good design shows care in every aspect: the choice of materials, the sustainability of production, the shipping process, and the way people engage with it over time. Design should always enhance people’s lives.
From your point of view, what are the responsibilities of a designer for society and environment?
Designers hold significant responsibility for both society and the environment, as our work impacts how people live, think, and interact with the world. Every decision—whether it’s choosing a material based on cost over ethics or selecting a sustainable option—ripples through society. We often feel that as individual designers, whether in large corporations or independent practices, our influence is limited. However, if we collaborate and unite our efforts, we can amplify our collective power to advocate for more ethical choices and a better future. Designers must be conscious of the long-term consequences of their work on people and the planet.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
My last exhibition was at the Stockholm Furniture Fair in February 2025, where I showcased my Blocks lamps as part of the Greenhouse exhibition. For my next show, I’ll be joining a group of NYC designers to present a unique souvenir design celebrating our city. I’ll be debuting a limited edition of my Blocks Lamp, specially designed to pay tribute to the vibrant energy and spirit of New York City.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
I would describe my design style as minimalist, yet deeply expressive. My work is driven by the relationship between form, material, and memory, often inspired by my experiences moving between Taiwan, Chicago, and New York. I explore this style to evoke a sense of place and emotional resonance, focusing on tactile materials like wood and paper. The main characteristics of my style are clean lines, subtle textures, and a strong narrative element. My approach combines architectural thinking with hands-on crafting, allowing me to create objects that are both functional and emotionally meaningful, blurring the lines between art and design.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
I live in Brooklyn, New York, but I’m originally from Taiwan and received my graduate degree in Chicago. Moving to the US gave me a great chance to experience the international design stage. My cultural heritage deeply influences my work, especially in my appreciation for craftsmanship, materiality, and subtlety. Taiwanese design traditions emphasize harmony with nature, which reflects in my use of natural materials and minimalist forms. Living in New York, I’m inspired by its dynamic, diverse energy, pushing me to experiment with new ideas. The challenge lies in balancing cultural authenticity with global trends, but it drives me to innovate.
Can you talk a little about your design process?
My design process is a blend of exploration and intuition. I begin with hand sketches and physical prototypes, often using materials like tape and wood to quickly visualize forms. Once a concept takes shape, I move to digital tools like Rhino for refinement. I then return to hands-on making, adjusting based on tactile feedback. The process is fluid, with constant back-and-forth between the physical and digital, allowing the design to evolve naturally. Each step is focused on creating something both meaningful and functional.
What is your "golden rule" in design?
My golden rule in design is to stay honest—to the materials, the process, and the story I’m trying to tell. I believe good design comes from a place of sincerity, where every decision serves a purpose and reflects a deeper intention. I avoid unnecessary embellishments and instead focus on how form, function, and feeling intersect. Whether it’s a lamp or a piece of furniture, I want each object to carry emotional weight and a sense of quiet presence in people’s lives.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
My toolbox includes a lot of yellow Japanese masking tape—soft to the touch, easy to peel, and visually pleasing. I start most projects with hand sketches and tape-based mockups, enjoying the tactile immediacy of working with my hands. For digital tools, I use Rhino for 3D modeling once I’ve developed enough initial drawings. It helps me refine forms before quickly returning to physical prototyping. My process is a constant back-and-forth between analog and digital, allowing ideas to evolve fluidly.
How long does it take to design an object from beginning to end?
The Blocks collection began as a form study—starting with simple shapes like squares, cubes, and boxes. Over time, it evolved into a lighting series, reflecting my interest in exploring different product types, not just one category. The first two lamp designs took about three months each, from concept development to final models. As the collection expanded, the next three lamp types were completed over another three-month period. Each piece involved iterative prototyping, material exploration, and careful attention to the emotional quality of light.
What type of design work do you enjoy the most and why?
I enjoy designing objects that tell stories—especially those rooted in memory, place, and cultural context. I’m drawn to work that involves both hands-on making and conceptual thinking, where materials and form carry emotional weight. This balance allows me to create objects that feel both intimate and universally connected.
What are your future plans? What is next for you?
I plan to expand the Blocks collection into new forms and scales, exploring furniture and larger lighting pieces. I'm also interested in collaborations that blend design with storytelling across different mediums. Ultimately, I hope to continue building a cohesive design universe that evolves alongside my personal and creative journey.
How can people contact you?
Welcome to visit https://riochen.com/ or contact me via email at info@riochen.com or drop me a message on Instagram @riochendesign

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