Interviste con Akira Nakagomi

2002　　Completed the Master Course of Civil and Architectural Engineering, Hosei University

2002-2014 Worked at TOKUJIN YOSHIOKA DESIGN

2015- Established AKIRA NAKAGOMI DESIGN

My father was a carpenter, so I was interested in making things and design from an early age. I studied architecture at university, but became interested in product design, which is more familiar to me, and became a designer.

1. to be beautiful

2. to be moving.

3. that you will want to use it for a long time.

I goal is to maximize the characteristics and beauty of materials to create beautiful product designs that become heirlooms. At the same time, he considers new values and their relationship to society through experimental design.

I try to create new designs that combine digital tools, the latest technology, and the handiwork of craftsmen.

The stage of coming up with an idea, designing it, and brushing it up is very exciting.

I feel a sense of happiness when a product becomes a better product through design and cooperation with various craftsmen and other people.

My father was a carpenter, and I was interested in making things from an early age because I was exposed to tools and other things from a young age.I also think it is important to have experienced many inspiring things, not only in design, but also in film, literature, photography, culture, and so on.

These various valuable experiences have helped me to create my own unique identity.

my goal is to create a design that will surprise and engage children.

Young designers are encouraged to experience many things that move and inspire them, not only in design.

We believe that those precious experiences will be expressed into your unique and wonderful design.

It is important to enjoy designing and designing. If you don't enjoy designing or designing, there is a compromise or mistake somewhere in the process, and you need to have the courage to discover it and redo it.

Design and paperwork in the morning, a walk and design research at lunch, then design and design work from there until the evening. Ideas are often considered late at night or early in the morning.

We do not consciously follow trends.

I only research information that comes to me naturally and interests me.

On the other hand, I try to reinterpret old techniques in the modern age.

The most important thing is to be impressed.

This excitement can be in the form of a story behind the product, a technological innovation, or a new form.

I believe that a good design is one that can move people.

This is the time limit for the presentation of the design, etc.

There is no end in sight as we are always thinking of ways to improve the design and always thinking of ways to make it better.

“Object”. The design of this partition is to make the image of a drip-proof partition into something that will add color to daily life.After the COVID-19 has ended, the partition will not be discarded after its role has been completed, but rather designed to become an object that will be cherished and cherished.

Tokujin Yoshioka's designs are very much an emotional experience and will stay with me forever.

I live in Japan. The Japanese culture has greatly influenced my idea of designing with the best use of materials and the simplest structure possible. One of the advantages of designing in Japan is that it is easy to design something that will be loved for a long time, but it may take time for people to find it.

I develop my own designs.

I seek partners who are interested in many things, not just design.

I can not only enrich people's lives, but also help them through design.

1. It is very stimulating and motivating to see the work of excellent designers from all over the world.

2. It is important that better designs are spread throughout the world.

3. I am very honored! I feel very happy to be designing.

"Design" is not only about enriching life but also sometimes serving as a spice that inspires and becomes a memorable treasure.

This product is designed as a product intended for emergency situations, but we've also put emphasis on it becoming a product that enhances everyday life, not just for use during emergencies.

I have plans to turn it into a product.

About 4 months.

A group of fellow designers and I were seeking inspiration for an exhibition to see if we could use the power of design to solve the problems that the COVID-19 pandemic had caused in our living environment.

I am considering various possibilities.

The challenge the design seeks to address is the limited usability of traditional disaster preparedness products. While Japan experiences frequent natural disasters, most existing emergency supplies are designed solely for emergency use and are often stored away and forgotten during everyday life.

To tackle this challenge, our design introduces a product that serves a dual purpose. The innovation lies in utilizing honey, a natural and long-lasting food item with high nutritional value and sterilizing properties, as an integral part of the design. The honey is stored in a glass container shaped like honey dripping, which adds a visually appealing element to the product. This glass container is placed on a wooden base equipped with a rechargeable LED light.

During normal times, the product functions as a decorative lighting piece, creating a warm and gentle ambiance with the honey-inspired illumination. However, in times of emergency, both the honey and the wooden base serve essential functions. The honey can be consumed as emergency food, providing sustenance and nutrition. The wooden base, with its built-in LED light, can be used as a flashlight, providing illumination when needed. It also features a flashing mode that can be used as an SOS signal.

By combining everyday usability with disaster preparedness, our design presents a fresh and innovative approach to address the problem. It encourages individuals to incorporate emergency preparedness into their daily lives, ensuring that essential supplies are readily available in times of disaster. Rather than being stored away exclusively for emergencies, this product can be actively used and enjoyed as a decorative item, enhancing both the aesthetics of everyday life and preparedness in emergencies.

Tokujin Yoshioka/ Thomas Heatherwick/Olafur Eliasson/Yvea Brunier

Furniture / Museum / Hotel

I am turning honey, a food product, into a lighting.

It is named after the glass container with a shape resembling dripping honey.

Rhinoceros/Grasshopper/Maxwellrender

This involves glass containers with a form that resembles honey dripping and using honey as illumination.

This product was created at a glass factory in Saga Prefecture, known for its advanced glassblowing techniques, with a history of 170 years.

Verification of design/materials/forms and creation of data for production.

I conducted research on emergency food options, studying how those foods could be conceptualized as a product, including their form.

It took time to determine the most conceptually communicative form when using honey as illumination.

When I showed my work at the exhibition, it was very well received, so I decided to try the international competition.

That by taking a problem seriously and exploring ways to solve it without giving up, a way will open up. And that what we pursue in this way will be accepted by people.

No, there is not.

I goal is to maximize the characteristics and beauty of project materials to create beautiful product designs that will become heirlooms. At the same time, they consider new values and their relationship with society through experimental design.

The goal was to create a partition that would add color to people's lives by design, rather than the dark image of the drip-proof partition,and a beautiful object that will be cherished for a long timeafter the COVID-19 pandemic are over.

I am planning a variation.

A group of fellow designers and I were seeking inspiration for an exhibition to see if we could use the power of design to solve the problems that the COVID-19 pandemic had caused in our living environment.

I produce and sell our own products.

Due to the influence of Covid19, there are many partitions in living space. Most of these partitions are temporary and cheaply designed. Therefore, we decided to develop a product that focuses on both aesthetics and function, like an art piece, in order to turn the negative image of partitions for Covid19 into a product that adds color to our lives. The circular acrylic is a beautiful shape, and the mechanism to support the acrylic was verified many times. We also designed the partition to be most beautiful when it is used as a partition in a connected state.

Tokujin Yoshioka/ Thomas Heatherwick/Olafur Eliasson/Yvea Brunier

Furniture / Museum / Hotel

While other Splash Proof Partition only function to prevent the spread of Covid19, "Object" differs in its concept as a product that will add color to people's lives even after the Covid19 is over.

I named it "Object" so that it would be a product that would color our lives like an art piece object, not only during the covid-19 pandemic but also after the covid-19 pandemic is over.

Rhinoceros/Grasshopper/Maxwellrender

This is where the two circular acrylics line up nicely when the partitions are connected.

I have not done so.

Verification of design/materials/forms and creation of data for production.

I research and visited stores and restaurants to find out what kind of anti-corona splash-proof partitions are available. As a result of our research, we found that there are many temporary splash-proof partitions that pursue only function, based on the awareness that "Covid‑19 may end someday. Therefore, our goal was to design a partition like an art piece that would create a space even after the end of Covid‑19 Our goal was not to make the space lonely by the Corona partition, but to make the space gorgeous by the splash-proof partition.

It was difficult to find a supplier who could bend brass beautifully.

When I showed my work at the exhibition, it was very well received, so I decided to try the international competition.

That by taking a problem seriously and exploring ways to solve it without giving up, a way will open up.

And that what we pursue in this way will be accepted by people.

No, there is not.

2002　　Completed the Master Course of Civil and Architectural Engineering, Hosei University

2002-2014 Worked at TOKUJIN YOSHIOKA DESIGN

2015- Established AKIRA NAKAGOMI DESIGN

My father was a carpenter, and watching him from an early age sparked my interest in manufacturing and design. I studied architecture at university, but when I became interested in product design, which was more familiar to me than architecture, I learned about Honey-pop, which was designed by Tokujin Yoshioka. I then decided to become a designer because I wanted to design products that would move and surprise people.

I chose to become a designer myself.

We have designed sofas, chairs, tables, flower vases, clocks, etc. We would like to design boats, automobiles, and other objects of a size that encompass people.

Regardless of design, I think it is important to seek out and experience many moving and gratifying experiences.

We believe that a good designer is not only able to design superficially, but is also able to lead things in the direction of betterment through his/her designs.

It is not superficial, but something that improves our lives. It is also something that gives us new values, etc.

Good design enriches and calms our minds. Such a design will be used for a long time, thereby eliminating wasteful consumption.

I would like to design toys that will interest children in materials and mechanisms.

Transparent wall clock. The numbers appear only where the hands pass by the clock.

It's about loving design and continuing to design.

Tokujin Yoshioka/ Thomas Heatherwick/Olafur Eliasson

Standard Chair(Jean Prouve) I am impressed by the structurally reasonable shape, such as the thickening of the back legs, which carry a heavy load, in the seat area, and the overall beautiful form of the chair.

“Object”. The design of this partition is to make the image of a drip-proof partition into something that will add color to daily life.After the COVID-19 has ended, the partition will not be discarded after its role has been completed, but rather designed to become an object that will be cherished and cherished.

I think that we should try to be sensitive to what moves us and what we think is beautiful, not only in design but in all things in life, and observe and record them.

I think I would have been a cook.

Design is not about superficial beauty, but about enriching life by approaching it from every part.

My children.

Experiencing the perspectives of not only designers, but also artists and photographers at various exhibitions led to rich expression.

The hard but interesting part is not only to do a good design, but also to get people to cooperate in order to make it happen.

I think we should present the attractiveness of the work we design to reach as many people as possible、rather than asserting yourself as the designer.

My next project is to develop products to support disaster and emergency evacuation. I would like to design products that are useful for people who need help and that can enrich their lives even in such emergency situations.

I want to design space-related products.

Things that make life better.

We can not only enrich people's lives, but also help them through design.

It is the ability to output with a 3D printer in a variety of materials.

The living environment changed drastically due to the COVID-19 pandemic, and I participated in a project that tried to turn it in the right direction through the power of design.

I am very happy to have received this award for the product I completed there.

Coexistence of the latest technology and traditional craftsmanship.

Designs that incorporate more technology.

About 3 to 6 months.

Interviewing clients, as well as understanding and organizing their environment.

I want to design products that make people feel emotion and richness.

I think there are both. However, I think that historical designs negate the trends of their time and show a major new way forward.And I think it will arise again as a new trend.

I believe that technology can save time, allowing for more verification and more accurate design.

Rhinoceros/Grasshopper/Maxwellrender

I believe that material is structure and the greatest expression of design.

Color is the essence of the design, and it also supports the user's operation.

New values and long-lasting designs

I think about the life scenery that will be enriched by using the product and the image that the designer aimed for in designing it.

A knowledgeable and skilled manufacturer is the ideal design partner.

Children. Children's perspectives are always fresh and they see things honestly.

I am reminded of many things by their questions.

Yvea Brunier

landscape arcitect paysagiste

It's about loving design and continuing to design.

It may take time, but I believe it is possible.

My favorite places are the sea, mountains and old cities.

My favorite season is summer.

The fact that my child casually folded some origami, and I developed an idea and designed it.

Whenever my goals become unclear, I look at the work of my favorite designers and designers to motivate me to get closer to them.

No, I never thought I would become a designer.

We may be in a world where what people think of or photograph can be immediately reproduced and held in their hands.There may be no designers.

I will continue to design products that create new values.

My father was a carpenter, and I was interested in making things from an early age because I was exposed to tools and other things from a young age.

Akira Nakagomi, born in 1977,established AKIRA NAKAGOMI DESIGN in 2015.

His incorporates new concepts based on the characteristics of materials and manufacturing methods, and her activities range from industrial design products to furniture, graphics, and interior design. His goal is to maximize the characteristics and beauty of materials to create beautiful product designs that will become family heirlooms. At the same time, they consider new values and their relationship with society through experimental design.

I believe "design" they are not only to enrich our lives, but also to be spices that sometimes inspire us, or treasures to be remembered.

I like works that I can be moved by and want to cherish for many years.

This is Tokujin Yoshioka's Honey-pop.

By spreading out the layers of paper, a silhouette of a chair appears, and by hardening the seat into your own shape, you can complete the work, which is a surprising and moving experience.

This flower vase is completed by bending thin stainless steel.

brass/stainless steel/stone/acrylic/paper

I feel most creative in the moments when I come up with fun and interesting ideas.

I goal is to maximize the characteristics and beauty of materials to create beautiful product designs that become heirlooms. At the same time, he considers new values and their relationship to society through experimental design.

I feel the tension and the anticipation of what is to come.

I feel a sense of accomplishment and joy at having achieved what I designed.

Believe in myself. Communicate that feeling to those around you and have them understand it.

I judge a good design by whether it can make things better, not by its superficial beauty.

I believe that designers should use their design skills to make things better and avoid making things that are self-indulgent and wasteful. We believe that by creating products that will be loved for a long time, we can avoid wasting resources and take responsibility for the environment.

New technologies have made it possible to manufacture in small lots and have reduced the difficulty of entering the design field, resulting in an increasing variety of designs. In the future, design will become more segmented, and design skills will be used not only for superficial design, but also for processes and ways of thinking.

Exhibition in Tokyo in June 2021. The next exhibition will be held in Tokyo in November 2022.

Sources of inspiration are not limited to design alone; I record what I experience and what moves me or makes me happy, and then I analyze these elements and how I can reproduce them.

I goal is to maximize the characteristics and beauty of materials to create beautiful product designs that will become family heirlooms. At the same time, they consider new values and their relationship with society through experimental design.

I live in Japan. The Japanese culture has greatly influenced my idea of designing with the best use of materials and the simplest structure possible. One of the advantages of designing in Japan is that it is easy to design something that will be loved for a long time, but it may take time for people to find it.

I design, design, present, and check the production process.

Instead of just choosing a designer with a good design, it is better to listen to the designer's beliefs and choose a designer with whom you can often talk and have an experience that will create new values.

First, we interview the client about what he or she is trying to achieve, and then we examine whether the goal is correct and whether there is anything the client himself or herself is not yet aware of.

Then, we consider the appropriate materials, and search for the essence of the work to reach the feelings of as many people as possible, and repeat many considerations.

i-mac/Solid brass/Studio Olafur Eliasson(book)/Landi Chair/ TO(watch)

Work in the morning, take a walk or do design research at noon, and work into the evening. In the evening, I also take a walk and think about ideas, etc.

Young designers are encouraged to experience many things that move and inspire them, not only in design.

We believe that those precious experiences will be expressed into your unique and wonderful design.

It is a good thing to observe things carefully and discover new things. The bad thing is that I think about such things all the time.

It is whether what you design will impress you or whether you will love it for a long time.

I believe it is a matter of observation.

Rhinoceros/grasshopper/maxwellrender/Studio Olafur Eliasson(book)/Marc Newson(book)/Dieter Rams: The Complete Works(book)/KLIMT(book)

We consult with the contractor at the rough design drawing stage, and design the product while listening to the characteristics of the materials and the factory's technology.

About 3 months

How did you think about it?

The most important experience was when the factory told us it was technically difficult and we had to go through several meetings to get it done with everyone's help.

Furniture brands and myself.

I love beautiful and inspiring design work. Such works of design are not for consumption, but to be treasured for a lifetime.

Development of disaster and emergency products

I develop my own designs.

I can't talk yet.

You can contact us via email.

akira@akiranakagomi.com

When approaching this design challenge, I noticed that many disaster prevention items prioritize functionality to such an extent that they lack the aesthetic appeal needed for daily use. Particularly in Japan, while disaster preparedness is crucial, these items often end up stored away in cabinets, sometimes forgotten entirely.Facing this challenge, I realized the necessity of transforming emergency supplies from "items to be hidden" into "objects worthy of display." Honey proved to be the perfect medium for realizing this vision - not only for its practical qualities of long-term preservation and high nutritional value but also for its natural beauty with its transparent amber color.Through collaboration with master glassblowers, we captured the elegant form of honey in mid-drip, combining it with the warmth of wood to create a piece that serves as both an emergency supply and a proud element of interior design. The design process involved careful consideration of both practical requirements and aesthetic elements to ensure neither aspect compromised the other.The key breakthrough came in understanding that emergency preparedness doesn't have to be separate from our daily lives. By creating something beautiful that people want to display prominently in their homes, we ensure that emergency supplies are always within reach while simultaneously enriching the everyday living environment. This approach represents a fundamental shift in how we think about disaster prevention items, making them an integral part of our daily lives rather than items we hope never to use.

To achieve this distinctive shape, we worked closely with a glass workshop in Saga Prefecture that holds 170 years of history. The primary technical challenge was capturing the natural movement of dripping honey while meeting the requirements of a functional container.The breakthrough came through developing an innovative method where we created a wooden mold exactly matching the dimensions of the final wooden base, and performed the glassblowing directly over it. This approach allowed us to maintain precise measurements while achieving the organic form we sought. The process required multiple iterations and close collaboration between designers and master glassblowers to perfect.Several technical challenges had to be overcome. First, maintaining consistent glass thickness throughout the piece was crucial for both structural integrity and visual appeal. We developed a specific glassblowing technique that allowed for careful control of the glass distribution during the forming process. Second, creating the smooth transition between the pour spout and the main body required exceptional skill and precision.The process involved a unique combination of traditional craftsmanship and modern digital measuring techniques. Each piece required careful temperature control during the blowing process, as the organic shape meant that different sections of the glass needed to cool at slightly different rates to maintain the desired form. Through numerous prototypes and refinements, we eventually achieved a repeatable process that consistently produces the desired form while meeting all functional requirements.This marriage of traditional glassblowing techniques with modern design requirements represents a significant technical achievement in the field of functional glass art. The final product not only captures the essence of dripping honey but also serves as a testament to the possibilities that emerge when traditional craftsmanship meets contemporary design thinking.

The selection of honey as the core material for this design was driven by its remarkable versatility. Honey is an ideal emergency food resource, capable of being preserved for years while maintaining its high nutritional value and natural antibacterial properties. Simultaneously, its translucent amber color creates a warm, inviting illumination when light passes through it, making it perfect for everyday lighting applications.This choice deeply reflects the Japanese design philosophy of "mottainai" (avoiding waste) and the aesthetic principle of finding multiple meanings and uses within a single object. Just as a tea bowl in the Japanese tea ceremony embodies both beauty and functionality, Honey Drop Lighting aims to create tools that seamlessly bridge the gap between everyday aesthetics and emergency preparedness.The design also responds to Japan's geographical reality as a disaster-prone nation. By creating a disaster prevention item that people want to display prominently in their homes, we maintain constant disaster awareness while enriching living spaces. This approach aligns with the Japanese aesthetic tradition of finding beauty in practical objects and the cultural emphasis on harmony between form and function.Furthermore, honey holds a special place in Japanese culture, where natural materials are highly valued. Its golden color and organic origin resonate with the Japanese appreciation for natural beauty, while its long shelf life reflects the cultural value placed on sustainability and longevity. The dual functionality of honey in this design - as both an illuminating medium and emergency food source - exemplifies the Japanese concept of "ichigo ichie" (making the most of every element) in modern design.The result is a product that embodies the Japanese design principle of achieving maximum impact through minimal means, where every element serves multiple purposes while maintaining aesthetic harmony. This multifaceted approach to design, where beauty and utility coexist without compromise, represents a distinctly Japanese solution to the challenge of emergency preparedness in contemporary life.

The development of the wooden pedestal involved several critical engineering considerations to create a component that seamlessly integrates multiple functionalities. Our primary challenge was incorporating the LED lighting system and power source while maintaining the natural beauty of the wood and ensuring practical functionality in both normal and emergency situations.The engineering process focused on several key aspects:Power System Integration:Designed a rechargeable battery system that provides sufficient power for both ambient lighting and emergency useDeveloped a charging circuit that prevents overcharging while maintaining battery longevityIntegrated power indicators and charging ports discretely within the wooden structureLED Configuration:Carefully calculated LED placement for optimal light distributionSelected LEDs that provide both gentle ambient lighting and bright emergency illuminationEngineered heat dissipation solutions to protect the wood and extend LED lifespanStructural Design:Balanced the base weight and dimensions for stability during normal useCreated an ergonomic form factor suitable for handheld use in emergenciesDeveloped a precise connection point for the glass container that ensures secure placement while highlighting the honey's illuminationMaterial Engineering:Selected wood species that combine durability with aesthetic appealTreated the wood to resist moisture while maintaining its natural appearanceEngineered internal cavities for electronics without compromising structural integrityUser Interface:Integrated touch-sensitive controls that maintain the clean aestheticDeveloped multiple lighting modes for different situationsCreated an intuitive switching mechanism between ambient and emergency lighting modesThe final design successfully balances these technical requirements while maintaining the artistic vision, creating a multifunctional piece that serves both as an elegant display stand and a reliable emergency tool.

We conducted extensive experiments with various types of honey to understand their optical and nutritional properties. The research process involved several key phases:Light Transmission Studies:Tested different honey varieties for light diffusion propertiesMeasured light transmission rates through varying honey depthsAnalyzed how crystallization affects light distributionDocumented color temperature variations with different honey typesNutritional Analysis:Evaluated nutritional content across honey varietiesAssessed preservation stability under various conditionsTested sugar content and energy densityExamined antibacterial propertiesPractical Considerations:Monitored crystallization rates over timeStudied viscosity changes at different temperaturesExamined how environmental factors affect honey propertiesTested container filling and dispensing characteristicsResults and Findings:Acacia honey produced bright, clear illumination but crystallized quicklyBuckwheat honey created warm, amber tones but was too dark for optimal lightingWildflower honey offered the best balance of properties:Moderate transparency for ideal light diffusionStable crystallization characteristicsRich nutritional profileExtended shelf lifePleasant amber color that creates warm illuminationTemperature Management:Developed guidelines for optimal storage temperaturesCreated recommendations for maintaining honey qualityEstablished parameters for preventing premature crystallizationThis comprehensive testing process led to selecting wildflower honey as the optimal choice, providing both beautiful illumination and practical emergency nutrition while maintaining stable properties over time.

Balancing practical emergency requirements with aesthetic appeal was the central challenge throughout this project. Our approach focused on maintaining the core concept of creating "emergency equipment you want to use daily" while carefully considering each design element.The design process involved several key strategies:Form Following Dual Functions:Every design decision had to serve both practical and aesthetic purposesAesthetic elements were refined to enhance, not compromise, functionalityEmergency features were integrated seamlessly into the overall designMaterial Selection:Chose materials that naturally combine beauty with practicalitySelected honey for its dual role as illuminant and emergency foodUsed wood and glass for their timeless appeal and durabilityUser Experience Design:Created intuitive transitions between daily and emergency useEnsured emergency functions remained easily accessibleMaintained visual harmony in both active and passive statesTechnical Integration:Concealed technical components without compromising accessibilityBalanced power efficiency with lighting qualityDesigned for long-term reliability while maintaining aesthetic appealCultural Context:Incorporated Japanese design principles of simplicity and functionalityRespected traditional craftsmanship while meeting modern needsCreated a piece that enhances living spaces while providing securityThe final design achieves this balance by making emergency preparedness an integral part of daily life, rather than treating it as a separate consideration. This approach actually enhances both aspects: the beauty makes people more likely to keep it accessible, while the practical features add depth and purpose to its aesthetic presence.

Our research into Japanese emergency preparedness revealed several critical insights that significantly influenced the final design of Honey Drop Lighting:Key Research Findings:Most emergency supplies are stored away and often forgottenMany households have expired emergency suppliesPower outages are a primary concern during disastersPeople prefer multipurpose items over single-use emergency goodsEmergency supplies often lack aesthetic considerationBehavioral Patterns:Strong initial motivation for emergency preparedness often wanes over timeVisual reminders increase sustained emergency awarenessPeople are more likely to maintain items they use regularlyAesthetic appeal significantly influences where items are kept in homesEmergency Response Requirements:First 72 hours are critical in disaster situationsLight sources are essential emergency toolsNutritional supplies need long shelf lifeItems should be easily accessible and portablePower backup solutions are crucialDesign Implementation:Created visible, everyday placement to prevent forgettingIncorporated rechargeable lighting system for reliabilitySelected honey for its long shelf life and nutritional valueDesigned for intuitive use during emergenciesBalanced aesthetic appeal with practical functionalityCultural Considerations:Incorporated Japanese aesthetic sensibilitiesRespected traditional craft techniquesAddressed specific regional disaster risksConsidered typical Japanese living spacesThese research insights led to a design that naturally integrates into daily life while maintaining constant disaster preparedness, addressing both practical needs and psychological barriers to emergency preparedness.

The material selection process for Honey Drop Lighting involved careful consideration of multiple factors to ensure both long-term functionality and aesthetic excellence:Glass Container Design:Selected high-quality borosilicate glass for:Superior thermal resistanceOptimal light transmissionFood-grade safety standardsCrystal-clear transparencyEngineered precise thickness for:Structural stabilityEnhanced light diffusionProtection from UV radiationPrevention of honey degradationWooden Base Materials:Chose sustainably sourced hardwood for:Natural beauty and warmthStructural durabilityResistance to environmental changesOptimal weight distributionApplied specialized treatment for:Moisture resistanceTemperature stabilityEnhanced longevityPreservation of natural appearanceSealing Components:Selected premium cork material for:Airtight sealingNatural aestheticsEasy handlingLong-term durabilityEngineered precise fitting for:Complete honey preservationPrevention of crystallizationEasy access when neededMaintaining freshnessHoney Preservation Considerations:Implemented design features for:Temperature stabilityLight protectionMoisture controlCrystallization preventionMaintained optimal conditions for:Visual clarityNutritional preservationFlow characteristicsColor stabilityAll materials were selected and engineered to work in harmony, ensuring both the practical preservation of honey and the maintenance of the product's visual appeal over extended periods.

Winning the Platinum A' Design Award has profoundly influenced my perspective on creating products that seamlessly blend practical necessity with artistic expression. This recognition has reinforced several key principles in my design philosophy:Design Impact:Validated the approach of solving practical problems through beautiful designDemonstrated that emergency preparedness can be aesthetically pleasingShowed how artistic expression can enhance functional objectsReinforced the value of multifunctional design solutionsCultural Integration:Highlighted the importance of incorporating cultural elementsDemonstrated how traditional craftsmanship can address modern needsShowed the universal appeal of combining beauty with functionalityEmphasized the role of design in preserving cultural valuesFuture Directions:Inspired exploration of new ways to blend art and utilityEncouraged pushing boundaries in functional designMotivated further innovation in emergency preparednessReinforced the importance of sustainable design practicesDesign Philosophy:Strengthened belief in design as a problem-solving toolEmphasized the value of emotional connection in practical objectsReinforced the importance of user-centered designHighlighted the role of beauty in everyday objectsProfessional Growth:Provided validation for innovative design approachesOpened new perspectives on product developmentEncouraged continued exploration of dual-purpose designsReinforced commitment to meaningful design solutionsThis recognition has ultimately strengthened my commitment to creating designs that not only serve practical purposes but also enrich people's lives through their artistic merit.

Looking ahead, I believe Honey Drop Lighting represents a paradigm shift in how we approach disaster prevention items, potentially influencing future innovations in several key ways:Design Philosophy Evolution:Shifting from "stored for emergencies" to "integrated daily use"Encouraging the fusion of aesthetic value with practical functionalityDemonstrating how emergency items can enhance living spacesSetting new standards for multifunctional designCultural Impact:Inspiring a more harmonious approach to emergency preparednessPromoting the integration of traditional craftsmanship in modern solutionsEncouraging local material usage and production methodsDemonstrating how cultural values can inform practical designFuture Innovation Directions:Opening new possibilities for dual-purpose emergency itemsEncouraging exploration of natural materials in emergency productsPromoting sustainable approaches to emergency preparednessInspiring integration of smart technology with traditional materialsProduct Development:Demonstrating viable approaches to premium emergency productsEncouraging consideration of long-term user engagementPromoting quality and durability in emergency itemsShowing how beauty can enhance functionalitySocial Impact:Changing perceptions of emergency preparednessMaking disaster readiness more accessible and appealingEncouraging regular interaction with emergency itemsPromoting conscious design in everyday objectsThis design approach could lead to a new generation of emergency products that naturally integrate into our living spaces while maintaining their critical functionality.

The development of Object emerged from a critical observation of how the pandemic transformed our living spaces. During initial research, I noticed that most COVID-19 partitions were designed with a temporary mindset, creating sterile and uninviting environments. This observation led me to question whether we could transform these necessary barriers into enduring pieces of art.Our conceptual development focused on three key elements: material selection, aesthetic permanence, and functional innovation. The choice of circular acrylic was deliberate, as its geometric perfection creates harmony while serving its protective purpose. The brass support structure was selected not only for its structural integrity but also for its ability to develop a beautiful patina over time.One of our major challenges was achieving the perfect gradient in the acrylic panels. Through experimentation, we discovered that varying the density of the color gradient could create different atmospheric effects depending on lighting conditions. This dynamic interaction with light transforms the partition from a functional object into an environmental art piece.The modular connection system was another crucial development. Rather than treating each partition as an isolated unit, we designed them to create new artistic compositions when combined. This approach allows for flexible spatial arrangements while maintaining aesthetic integrity.This design philosophy represents a broader vision about creating objects that transcend immediate utility. By incorporating principles of art and permanent aesthetics into necessary objects, we can reduce waste while elevating everyday experiences. Object demonstrates that even practical items born from crisis can be reimagined as enduring contributions to our visual environment.

The selection of materials and forms was the result of careful consideration and experimentation. The circular form creates a softer, more welcoming presence compared to traditional rectangular partitions. This shape minimizes the perceived barrier effect while maintaining effective protection.The choice of acrylic as the primary material was crucial as its transparency allows natural light transmission while offering protection, and its ability to hold subtle color gradients. We developed two distinct variants: one with smoked acrylic for modern, minimalist spaces, and another with color gradients that create more dramatic visual effects. The gradient technique required significant experimentation to achieve the perfect balance of color intensity and transparency.The brass support structure serves multiple purposes beyond its functional role. Its warm metallic tone creates a sophisticated contrast with the acrylic, adding depth to the overall composition. The brass elements were carefully proportioned to achieve visual lightness while ensuring structural stability. Over time, brass develops a natural patina, allowing the piece to evolve aesthetically as a permanent art piece rather than a temporary installation.The combination of these materials and forms reflects our commitment to creating objects that transcend immediate utility while honoring principles of timeless design. Each element was selected and engineered to contribute to both the immediate functionality and long-term artistic value of the piece, ensuring its relevance and appeal well beyond its initial purpose as a protective barrier.

Our extensive research into existing partition solutions revealed a critical gap in the market that profoundly influenced our design approach for Object. Visiting restaurants, offices, and public spaces showed that most existing solutions were characterized by three major limitations: temporary materials, purely utilitarian design approaches, and a lack of consideration for long-term spatial aesthetics.The observation of these temporary barriers provided valuable insights into what we wanted to avoid and what opportunities existed for innovation. Most existing partitions were made from lightweight plastics or simple acrylic sheets with basic support structures, often attached using temporary fixtures or provisional bases. While these solutions met immediate safety requirements, they contributed to visual clutter in carefully designed spaces, increased plastic waste, and served as constant reminders of disruption to normal life.A particularly enlightening discovery was how these temporary barriers affected people's psychological well-being. Traditional partitions created a sense of isolation and sterility in spaces designed for social interaction and comfort. This observation became a crucial turning point in our design process, leading us to focus on creating a solution that would bridge safety requirements and environmental psychology.These insights collectively shaped our decision to pursue a design that transforms temporary inconvenience into permanent spatial enhancement. The research phase helped us bridge the gap between immediate necessity and enduring design value, resulting in a product that continues to contribute positively to spaces long after its protective purpose is fulfilled.

The development of Object's modular connectivity system presented complex challenges in maintaining both functionality and visual elegance. The primary engineering challenge lay in creating a connection system that would be both structurally sound and visually minimal. Traditional partition systems often rely on obvious mechanical connections that interrupt the visual flow, and we aimed for a different approach.One of the most critical aspects was maintaining perfect alignment between connected units. The circular form, while visually striking, presented unique challenges in ensuring that multiple units would align perfectly when connected. We developed a sophisticated calibration system within the base structure that allows for minute adjustments, ensuring that when two or more units are joined, they create a seamless visual flow.The system also needed to address practical concerns such as stability and ease of assembly. We engineered the connection points to distribute weight evenly across the structure, preventing any stress on the acrylic panels. The brass supports were carefully calculated to maintain structural integrity whether the unit stands alone or is part of a larger configuration.The success of the modular system ultimately lies in its ability to create new aesthetic possibilities while maintaining the original design's integrity. When multiple units are connected, they form larger geometric compositions that enhance the artistic impact while maintaining functional effectiveness. This adaptability allows Object to serve both as individual statement pieces and as components of larger architectural installations.

Receiving the Gold A' Design Award has profoundly influenced my perspective on product design, reinforcing the importance of creating solutions that transcend immediate functionality to address broader cultural and social needs. This international recognition has validated our approach to transforming utilitarian objects into enduring pieces of functional art.The award has particular significance in the context of the pandemic, where many solutions focused solely on immediate safety concerns. Object demonstrated that protective equipment could be reimagined as a catalyst for positive spatial transformation. This recognition has encouraged me to further explore the intersection of necessity and aesthetic permanence in my design practice.Furthermore, this acknowledgment has emphasized the importance of considering the complete lifecycle of products born from crisis situations. Rather than accepting temporary solutions, we should strive to create enduring value that continues to enhance spaces and experiences long after the initial need has passed.This recognition has opened new dialogues with international designers and organizations about the role of design in crisis response and long-term spatial enhancement. It has reinforced the importance of investing time in research and development to create products that not only solve immediate problems but also contribute to the aesthetic and cultural fabric of our environments.

The integration of the wooden flower vase feature represents a thoughtful evolution in our design philosophy, transforming a protective barrier into a living, breathing element of spatial design. This addition was inspired by key observations and design principles that enhance the product's long-term value and adaptability.The concept emerged from our observation that traditional partitions often created static, lifeless boundaries between spaces. By incorporating a flower vase element, we introduced a dynamic, organic component that brings nature into the designed environment. The wooden vase feature serves multiple purposes: it acts as a counterpoint to the industrial materials of acrylic and brass, adds warmth through its natural material, and creates an opportunity for seasonal decoration and personalization.From a functional perspective, the vase feature transforms the partition from a purely protective element into an active contributor to spatial atmosphere. Users can change flowers seasonally, creating dynamic displays that reflect the changing rhythms of nature and add life to interior spaces. This adaptability ensures the product's relevance beyond its protective function, as it becomes an integral part of interior decoration and space planning.This addition has proven particularly valuable in hospitality and residential settings, where the ability to incorporate fresh flowers or dried arrangements adds a layer of sophistication and personalization to the protective barrier. The feature has extended Object's lifecycle well beyond the pandemic context, transforming it into a permanent piece of functional art that continues to enhance spaces through its combination of protection, aesthetics, and natural elements.

My background in experimental design played a crucial role in pushing the boundaries of material applications and manufacturing techniques in Object's development. This experience provided the foundation for innovative problem-solving and material exploration that was essential to achieving our design goals.The development of the gradient effect in the acrylic panels was perhaps the most direct application of my experimental design experience. Traditional manufacturing methods couldn't achieve the subtle color transitions we envisioned, so we developed a proprietary technique through extensive iterations and careful testing. This process involved experimenting with different application methods, temperatures, and color compositions to achieve the perfect balance of transparency and color distribution that would create the desired atmospheric effect while maintaining the material's protective properties.Working with brass presented its own set of challenges that required experimental approaches. The precise angle and curvature of the brass supports needed to be exactly right to achieve both structural stability and visual lightness. We experimented with various bending techniques and heat treatments to develop a manufacturing process that could consistently produce the precise curves required while maintaining the material's structural integrity.This experimental design background enabled us to view each challenge as an opportunity for innovation beyond immediate problem-solving. This mindset contributed to Object's unique character as both a functional barrier and an enduring piece of art.

The sustainability aspect of Object represents a fundamental shift in how we approach the design of protective equipment, emphasizing the transformation from temporary utility to permanent artistic value. This transition strategy was carefully considered from the earliest stages of development, incorporating multiple layers of sustainability thinking.The primary sustainability feature lies in the product's inherent adaptability and longevity. Unlike conventional protective barriers designed for temporary use, Object was engineered with a dual-life cycle in mind. The first phase serves its immediate protective function during pandemic conditions, while the second phase transforms it into a permanent artistic installation. This approach directly addresses the environmental concerns of disposable barriers by creating a product that maintains its value and utility well beyond its initial purpose.The material selection process was crucial to this sustainability strategy. Materials were chosen not only for their immediate functional properties but also for their ability to age gracefully and maintain their aesthetic appeal over time. The brass components, for instance, develop a natural patina that enhances their beauty, while the high-grade acrylic maintains its clarity and color stability for years.Looking ahead, we envision Object continuing to evolve in its role as permanent installations in various settings. The pieces may be integrated into architectural projects, used as room dividers in flexible office spaces, or become focal points in residential interiors. This adaptability ensures that the product represents a more sustainable approach to design that considers both immediate needs and long-term environmental impact.

Through the development of Object, we gained profound insights into how necessity and beauty can enhance each other when thoughtfully integrated. This project challenged the conventional wisdom that emergency solutions must prioritize function at the expense of aesthetics.One of our key discoveries was that incorporating beauty into necessary objects has a significant psychological impact on users. Traditional protective barriers, while functional, often created feelings of isolation and anxiety. By contrast, Object's aesthetic elements – the subtle color gradients, the warmth of brass, and the organic circular form – helped reduce these negative psychological effects while maintaining the same level of protection.The project also brought insights about the temporal nature of necessity. While most protective equipment was designed with the assumption of temporary use, we discovered that creating beauty in necessary objects opens up possibilities for long-term value.Moreover, people's response to Object differed markedly from standard barriers. They were more likely to maintain it properly, position it thoughtfully in their spaces, and consider it part of their interior design rather than a temporary inconvenience. This behavior shift suggested that beauty can actually enhance the longevity and effectiveness of necessary objects.

Object suggests a paradigm shift in how we approach protective elements in interior spaces, pointing towards a more integrated and aesthetically considered design philosophy. This evolution in thinking has implications that extend far beyond the pandemic context, potentially influencing the broader field of interior architecture and spatial design.Most significantly, we expect to see a fundamental shift away from the binary thinking that separates protective elements from decorative ones. Object has demonstrated that safety features can be seamlessly integrated into the aesthetic language of a space. This integration suggests a future where protective elements are considered from the earliest stages of interior design, rather than being added as afterthoughts.Furthermore, Object's modularity highlights the importance of flexibility in future spatial design. As spaces increasingly need to adapt to different uses and safety requirements, we anticipate growing demand for protective elements that can be reconfigured while maintaining their visual harmony. This could lead to new approaches in movable architecture and adaptable spaces.Ultimately, Object represents a new way of thinking about protective design that could influence how we approach similar challenges in the future. Whether responding to health concerns, security needs, or environmental protection, the principle of combining functionality with enduring aesthetic value provides a framework for creating solutions that enrich rather than compromise our spatial experiences.