Interviste con Chen Kuan-Cheng

The main inspiration behind the Flip chair design was the serene feeling of sitting on a grassy field, where one can experience the natural softness, warmth, and gentle breeze. The goal was to capture the essence of that experience and translate it into an organic and dynamic form, symbolizing the elegant movement of blades of grass in the wind.

The main focus of the design was to create a chair that embodied the natural flow and tranquility of sitting on a grassy field. The goal was to provide users with a unique and comfortable sitting experience, reminiscent of lounging lazily on a custom-shaped patch of grass. The aim was to combine aesthetics, functionality, and a sense of immersion in nature.

Future plans for the Flip chair design might include showcasing it in design exhibitions, exploring opportunities for collaborations with furniture manufacturers or retailers, and potentially bringing it to the market for sale or licensing.

The development of this specific concept took approximately one year, from April 2020 to August 2021.

The decision to design this particular concept was driven by a personal pursuit of inspiration. The goal was to capture the essence of sitting on a grassy field and translate it into a unique chair design that would provide users with a memorable and immersive experience.

Currently, we are producing our works independently and selling them as crafts, but we also welcome different ways of cooperation such as leasing production rights, or cooperating in mass production, etc.

The motivation behind designing this particular type of piece was to create a design that evoked a sense of tranquility, nature, and relaxation. The aim was to provide users with a unique sitting experience that brought elements of the natural environment into their everyday lives.

While various designers and designs may have influenced the creative process, the Flip chair design aimed to create its own unique identity, drawing inspiration primarily from the experience of sitting on a grassy field.

The target audience for the Flip chair design includes individuals who appreciate innovative furniture design, seek a unique sitting experience, and have an affinity for nature-inspired aesthetics.

The Flip chair design differentiates itself through its inspiration from the experience of sitting on a grassy field, the incorporation of organic and dynamic forms, and the use of steam bending techniques to achieve the desired contours. These elements combine to create a distinct and immersive sitting experience.

The name "Flip" was chosen to reflect the concept of the chair's dynamic and organic form, inspired by the graceful movement of blades of grass flipping in the wind. It symbolizes the transformative and immersive experience the design aims to provide.

Design tools such as computer programming software, specifically Grasshopper, were utilized to simulate and refine the progressive and dynamic transitions in the chair's design. Traditional woodworking tools and techniques were employed during the steambending and shaping process, while specialized tools and fixtures were used to ensure precision in creating the desired curves and contours. Meticulous handcrafting techniques were employed during the assembly and finishing stages of the chair.

The most unique aspect of the Flip chair design is its ability to evoke the sensation of sitting on a grassy field through its organic form and flipped surface. The carefully crafted contours and the incorporation of natural elements create a truly immersive and distinctive sitting experience.

The Flip chair design was primarily developed by [Your Name or Design Studio Name], and it involved collaboration with skilled woodworkers and craftsmen. Their expertise in woodworking techniques and attention to detail played a crucial role in bringing the design to life.

Technology played a significant role in the design process of the Flip chair. Computer programming software, such as Grasshopper, was used to simulate and refine the chair's progressive transitions. Additionally, steam bending techniques employed advanced technology to shape the wood into the desired contours, replicating the natural curves found in a grassy landscape.

While the design of the Flip chair may have been informed by ergonomic and anthropometric considerations, there were no specific data or research studies directly influencing the design. The research primarily focused on exploring and understanding the experience of sitting on a grassy field, as well as studying woodworking techniques and material properties.

The design of the Flip chair presented dual challenges in terms of creativity and production. Capturing the fluid and natural flow of sitting on a grassy field required innovative design approaches. Additionally, finding the most effective production methods to achieve the desired effect posed its own challenges. However, through the use of innovative techniques, collaboration with skilled craftsmen, and dedication to the design vision, these challenges were successfully overcome.

Submitting the design to an international design competition was a decision made to gain recognition and exposure for the Flip chair design. Participating in competitions allows for the design to be showcased on a broader platform, enabling it to reach a wider audience and potentially attract opportunities for further development and collaboration.

The process of creating the Flip chair design provided valuable lessons in terms of combining artistic vision with practical functionality. It enhanced the understanding of material properties, woodworking techniques, and the importance of balancing aesthetics with ergonomics. Additionally, the project offered opportunities for collaboration and honed skills in translating conceptual ideas into tangible and functional designs.

If there are any other specific questions or aspects you would like to know more about regarding the Flip chair design, feel free to ask, and I'll be happy to provide further information.

I first developed a strong interest in product design and furniture-making during my university years. Initially, I worked primarily with computer modeling and prototype fabrication while at school or in a corporate setting. Later, I had the opportunity to join a training program at the Caotun Craft Center, where I learned how to harvest, split, and bend bamboo. During those three months of hands-on training, I discovered the innate flexibility and resilience of bamboo, and I experienced the allure of “designing from the material itself.”

That formative period was when I realized that I wanted to focus on furniture and product design, particularly using bamboo. By physically engaging with the material—feeling its texture, elasticity, and moisture level—I developed a deep love for creating pieces that integrate traditional craftsmanship with modern design.

Kuan Design Studio is based in Taiwan and was founded by me, Chen Kuan-Cheng. We specialize in product and furniture design, with an emphasis on using Taiwan’s high-quality bamboo and traditional bamboo craftsmanship. Our main goal is to showcase how bamboo, as an eco-friendly material with a low carbon footprint, can be integrated into everyday furniture and household items. We aim to incorporate these crafts into mass production so that the beauty and practicality of bamboo can seamlessly become part of people’s daily lives.

For me, design is not merely about creating appealing visuals. It is a process of integration—bringing together the characteristics of the material, the user’s needs, aesthetics, and functionality. Design should solve problems, enhance the quality of life, and strike a meaningful balance between function, emotion, and beauty.

I especially love designing furniture because it’s something people interact with so frequently each day. Through furniture, I can showcase the inherent qualities and essence of various materials. Creating pieces that bring comfort and an emotional connection to people’s daily lives is incredibly rewarding.

If I were to talk about the classic design works I most admire and frequently reference, it would definitely be the furniture by Hans Wegner. Known as the “Master of the Chair,” Wegner designed pieces that hold a pivotal place in the history of Danish modernist design.

His creations showcase smooth lines and an ergonomic focus, perfectly embodying the concept of “less is more.” At the same time, he paid close attention to the fusion of materials and structure, often arriving at the most streamlined methods to create furniture that is both elegant and comfortable. For me, his furniture is not only a symbol of aesthetics but also a prime example that inspires deeper reflection on how design can be intimately integrated with everyday life.

Before founding my own studio, I worked on various products for clients. However, the first truly representative pieces of mine were the “Curved Bamboo Stool” and the “Silky Bamboo Lamp,” created during my training at the Caotun Craft Center. Although they weren’t mass-produced at the time, they were my first foray into using bamboo as the main material and signaled the beginning of my journey into bamboo and wood furniture design.

My favorite material is, of course, bamboo. It has excellent flexibility, toughness, and is eco-friendly because it grows very quickly. From a technological standpoint, I love combining computer-based parametric design with steam-bending techniques and traditional bamboo craftsmanship. This approach allows me to push the boundaries of what’s possible with bamboo.

I feel most creative when I’m in direct contact with nature or physically working with the material. Observing bamboo groves or other outdoor environments often sparks new design ideas. Actually handling and experimenting with the material—feeling its texture and responsiveness—often leads to fresh creative insights.

I place special emphasis on material properties and user experience. This includes the strength, flexibility, and environmental impact of the material, as well as the ergonomics, tactile quality, and emotional resonance for the user. I also pay close attention to the balance between aesthetics and structural integrity, making sure each piece can genuinely integrate into people’s everyday routines.

I often feel a sense of curiosity and excitement. There can be moments of pleasant surprise when trying out new techniques or materials, and when I see a sketch or 3D model gradually turning into a tangible object, I’m filled with enthusiasm and passion.

When a design is successfully produced—especially if it’s embraced by users—I’m thrilled. I feel gratified that I’ve managed to bring the charm of bamboo into people’s lives. I also feel a deep appreciation for the team, the craftspersons, and everyone involved in making the design a reality.

A successful design, in my view, must balance functionality and emotional appeal. It should address a specific need while also resonating with users on a deeper level—through storytelling, culture, or personal connection—so they feel a sense of ownership or attachment to the piece.

I consider whether it truly solves a problem and can be used over the long term. Some designs look stunning but don’t meet real-life usage requirements or are not durable enough. If it can’t be integrated into daily life or if it lacks functional purpose, it’s not a good design in my eyes.

Designers should strive to reduce waste, lessen the environmental footprint, and respect local cultures and traditional crafts. For me, responsible design means promoting a harmonious and mutually beneficial relationship between the production chain, the end-users, and the environment.

I believe the design field is shifting toward multi-disciplinary collaboration and sustainability. Advanced technologies (like 3D printing, parametric design, and AI) allow designers to explore new possibilities, but society is also paying closer attention to environmental issues and cultural roots. Hence, future design will likely focus on balancing “human and nature” and “local and global” considerations.

My last major exhibition took place in 2019 under invitation from the National Taiwan Craft Research and Development Institute, where I showcased the Flip Chair prototype. Currently, my studio is planning future exhibitions in Taiwan and possibly abroad, but details are still being finalized. We’ll announce them officially once everything is confirmed.

Most of my inspiration comes from observing nature, such as the “Flip Chair,” which was inspired by the feeling of “sitting on grass” and the way grass sways in the wind. I also draw a great deal of inspiration from the study of traditional bamboo craft. I believe that experiencing things firsthand—visiting bamboo forests, feeling sunlight filtering through leaves, or interacting with craft masters—helps spark new ideas.

My style integrates natural elements with a modern minimalist aesthetic. I try to infuse my pieces with an organic fluidity, while highlighting the warmth of traditional bamboo craftsmanship and the clean lines of contemporary design. I gravitated toward bamboo because of its pliable nature, allowing me to create lightweight, yet sturdy, furniture with beautiful curves.

I live in Taiwan, which has abundant bamboo resources and a rich history of bamboo and woodworking. Taiwan’s natural environment and local artisans deeply influence my designs. The major advantage is having easy access to high-quality bamboo and working closely with skilled craftspeople. A challenge, however, can be scaling up production and expanding marketing internationally, which often requires additional resources and outreach.

I usually begin by thoroughly discussing the client’s brand position, target market, and budget. Then I move into concept development and present initial sketches or 3D models. After refining these and developing a prototype, I collaborate with factories or craftspeople for test production. The key to a successful partnership is mutual understanding and shared goals, ensuring the final product merges both design aesthetics and market feasibility.

First, companies should be clear about their own needs, budgets, and brand direction. Then, they should give the designer enough creative space and trust. To evaluate a “good designer,” look at communication skills, design style, and executed work. If a designer shares similar values or brand ideals, that’s often a great sign that collaboration will produce meaningful results.

1.Research & Inspiration: Studying nature, production methods, and user needs.

2.Concept & Sketching: Developing initial ideas on paper or using 3D software.

3.Physical Prototyping: Building a prototype to test dimensions, structure, and material compatibility.

4.Refinement & Finalizing: Making necessary adjustments based on test results until the final design is achieved.

5.Production: Either small-scale or mass production, depending on market or client requirements.

If I had to list something, only one particular item comes to mind right now: my Herman Miller Aeron office chair.

This chair is a true classic in the world of office furniture, featuring ergonomic design, breathable mesh material, and a variety of adjustable details. All these elements allow me to maintain a comfortable sitting posture even during long design sessions. While I do have other items at home that I like, if I had to choose the one I “use most and that best represents the value of good design,” the Aeron chair is virtually irreplaceable.

In the morning, I usually handle design drawings, client communication, and project management. In the afternoon, I might visit the workshop to discuss prototypes or new ideas with the craftspeople and my team. After work, I try to unwind—exercise, go for a walk, or catch an exhibition—staying relaxed and drawing inspiration from everyday moments.

Experiment and engage with materials: Don’t limit yourself to computer-based design—work hands-on.

Stay open and curious: Explore a variety of fields and experiences to broaden your perspective.

Build a strong technical foundation: Good designs require knowledge of materials, structures, and processes.

Form lasting partnerships: Collaborate with craftspeople and suppliers you can trust; production details matter.

Be willing to ‘make’: Prototypes—successes or failures—provide invaluable lessons.

Positives: Constantly challenging your creativity, turning ideas into tangible realities, and possibly influencing society through your work.

Negatives: Facing uncertainties and pressures such as budget, time constraints, and technical obstacles. Creative blocks can be frustrating too.

My personal golden rule is: “Let the material speak, and let design return to the essence of everyday life.” No matter what medium you use, respect its unique properties. Ultimately, your product should be genuinely livable, not just something to display.

Aesthetic sense and creativity – the core of design.

Knowledge of materials and craftsmanship – to translate ideas into feasible products.

Communication and coordination – to engage with clients, craftspeople, and factories.

Project management and execution – ensuring concepts meet deadlines and quality standards.

Market and user insight – design should address real needs and resonate with users.

Software: Primarily Rhino and fusion for 3D design, as well as Adobe Illustrator and Photoshop for graphics and illustrations.

Hardware: Laser cutters, 3D printers, bamboo/wood processing machines. Of course, the most essential are hand tools such as saws, planes, and sandpaper.

Books and References: Technical books on bamboo crafting and woodworking, plus keeping an eye on domestic and international design journals.

Sources of Inspiration: Observing nature, visiting craft museums and exhibitions, and exchanging ideas with master craftspeople.

I break down projects into phased goals, set a clear timeline, and communicate it with my team and clients. If I hit a creative block, I’ll switch to smaller tasks or take a short break before returning to the primary design focus. This helps keep my thoughts fresh and flexible.

It depends on the scale of the project. A relatively simple piece might go from concept to prototype in one or two months, whereas more complex furniture or custom orders can take half a year to a full year. If mass production is involved, we need additional time for testing and revisions.

Many people ask, “Is bamboo really that durable?” or “Why choose bamboo?”

I typically explain that bamboo has naturally strong fiber structures that give it significant toughness and hardness. With proper processing, its durability is comparable to standard woods and can even surpass them in certain applications.

I believe working on the Flip Chair project for the National Taiwan Craft Research and Development Institute was a crucial experience. Not only did it push my design thinking beyond its previous boundaries, it also allowed me to explore the possibilities of combining parametric design and steam-bending techniques with bamboo craftsmanship.

In addition to private collectors and general consumers, I also collaborate with interior design companies, cultural and creative organizations, and environmentally conscious businesses. They’re all interested in eco-friendly materials or local crafts, aiming to introduce pieces with cultural value and aesthetics into their spaces.

I most enjoy the “from zero to completion” process—projects where I can infuse natural concepts and artisanal techniques. I love working side by side with master craftspeople, transforming digital models into tangible, functional products, and then seeing how those products make a positive impact on people’s daily lives.

Going forward, I hope to expand into international markets, so that more people can become familiar with Taiwan’s bamboo resources and design capabilities. I also plan to develop a more comprehensive furniture series, extending bamboo applications from chairs to tables, lighting, and even full spatial design. Simultaneously, I want to continue refining the feasibility of mass production and industrialization.

I run a small studio team that includes design assistants and craftspeople, and we also work with external manufacturers, engineers, and artists. While I handle the main creative concepts, we collaborate with professionals from different fields at various stages to refine and execute each project.

Right now, I’m exploring a series of furniture that combines bamboo strips with metal, hoping to spark new ideas by marrying bamboo’s natural warmth with the modern look of metal. I’m looking forward to presenting these designs to the public in the near future.

Feel free to reach out via Kuan Design Studio’s official website or social media platforms, or by emailing us directly. For details, just look up “Kuan Design Studio” or my name, “Chen Kuan-Cheng.”

I’d like to emphasize that bamboo is a highly eco-friendly and full-of-potential material. Through the efforts of my team and myself, I hope to see Taiwan’s high-quality bamboo and craftsmanship shine in the modern design world. Moreover, I hope more people will consider sustainability when selecting materials, so that design and the environment can coexist in harmony.