Ngā Uiuinga me Ionut Sur

The main focus was to design a light that is unique, that is close as possible to being alive. A light that is complex both in the story and construction, but also simple and clean.

The main goal is to reach production.

One year, including the working prototype.

The project was born form my desire to create an interactive light that would reflect the idea of light, knowledge and mathematics.

I am very interested in finding a company that would produce the design and also in maintain my involvement in the refining of the project for customer use, especially because this design is only the first in a series of five interactive lights that I plan in designing.

I enjoy industrial design very much, especially light design because I can combine my experience as a woodworker and as a designer. Lighting design allows me to play with different materials and fully express an idea in an artistic way.

The name was chosen during the first phases of design, and the rest of the project evolved from there. From the start my goal was to design a project that reflects the idea of light as knowledge and the myth of Prometheus is the beast way in doing so.

Paper, pen, compass, carpenter's square, 3D modeling software, 2D software, plaster (for the mold), sandpaper, acrylic laser cutter, vacuum forming press, adhesive welding, arc welder, belt sander, power combitool, soldering station, epoxy, etc.

The project is entirely designed by me.

Laser cutting machines play a crucial role as well as 3D and 2D modeling software.

A big influence in choosing a direction was the book: “How Round Is Your Circle?” Where Engineering and Mathematics Meet by John Bryant and Chris Sangwin.

Firstly was finding “the right shape” that would best convey the message. Also a big challenge in this design was finding a reliable and simple system to power the motion of the segments. The system required needed to be an existing one, maintenance-free; simple and compact; reduced weight; to have a fluent motion and to be able to close the segments without the use of electrical power.

It was more a confirmation of my belief that no matter how difficult a project appears at the beginning, every problem has its own solution, you only have to work hard enough.

For more information on the working prototype please visit: http://surionut.wix.com/prometheus-ilight

I studied Design starting from High School (High School of Art in Romania) and followed with the University of Art and Design up to my masters degree in design.

I’ve always been drawn to problem-solving. Design allows me to take complex challenges and break them down into intuitive and effective solutions. Seeing something I’ve created make a difference in someone’s life is incredibly motivating, whether it’s simplifying an interface or creating a product that makes tasks easier

I definitely chose to become a designer. Ever since I was young, I’ve been drawn to creativity and problem-solving. Design felt like a natural path for me, and every step along the way has confirmed that it’s what I’m passionate about.

Industrial Design

To become a great designer, focus on mastering the fundamentals first. Then, keep evolving by learning new tools and trends. Always be curious, open to feedback, and willing to push boundaries.

A good designer focuses on meeting the brief—delivering solutions that are functional and aesthetically pleasing. A great designer goes beyond that: they challenge the brief, consider the larger context, anticipate future needs, and create work that evokes emotion, tells a story, and inspires. Great designers have a combination of technical skill, empathy for the user, and the courage to take risks and innovate.

A good design becomes a really good design when it achieves simplicity, functionality, and emotional resonance. It’s not just about how it looks but how it works, feels, and interacts with its audience. I evaluate good design by asking:

Does it solve the problem it was intended to?

Is it intuitive and accessible for its target audience?

Does it evoke the intended reaction, whether joy, trust, or inspiration?

If the design communicates effectively and leaves a lasting impression, it has succeeded.

Good design isn’t just about aesthetics—it’s about creating meaningful connections. A well-designed product or experience enhances usability, builds trust, and increases engagement. For businesses, good design translates to stronger brand loyalty, higher customer retention, and a competitive edge. By investing in good design, you’re not just creating something functional or beautiful; you’re creating something valuable and memorable that stands the test of time.

I hope to start working (for some years now) on a floor lamp, also interactive, but the project is very complex because it involves a lot of moving parts.

My secret ingredient is empathy. Truly understanding the needs, emotions, and goals of the people you’re designing for unlocks the most innovative and effective solutions. Combine that with curiosity, a love for problem-solving, and the willingness to iterate endlessly until it feels right—that’s the recipe for success.

I’m deeply inspired by Dieter Rams for his principles of simplicity and functionality, Paula Scher for her boldness in typography, and Eileen Gray for her timeless approach to furniture design. Each of them embodies a unique perspective, and their work reminds me that design isn’t just about aesthetics—it’s about creating meaning and impact.

I’m fascinated by Massimo Vignelli’s work on the New York City subway map. It’s a masterpiece of clarity and structure, proving that good design can simplify even the most complex systems. I also admire Jony Ive’s work on Apple products—minimal, elegant, and completely user-centered. These designs resonate with me because they balance beauty and functionality effortlessly.

My greatest design is The Prometheus pendant light featured in this competition. It wasn’t just about creating something visually appealing—it engaged users, streamlined a process.

To improve as a designer, you need to stay curious and keep learning. Study great design from the past, keep up with current trends, and seek feedback from others. I personally improved by experimenting constantly, taking on challenging projects, and being open to critique.

Probably what I am doing now I run a business and a lot of CNC work.

Design is the process of solving problems creatively while considering both functionality and aesthetics. For me, design is about creating experiences and making life better, whether it’s through visual communication, a product, or an environment. It’s about connecting people and ideas through thoughtful, purposeful creation.

Continuous learning and curiosity were crucial. I always sought inspiration from different fields. Feedback from peers and clients helped refine my skills, and staying open to criticism was invaluable for growth.

Self-doubt was a major obstacle early in my career. I also faced challenges like tight deadlines, resource limitations, and sometimes convincing clients to trust a bold vision. Overcoming these challenges taught me resilience, adaptability, and the importance of clear communication.

Designers should present their work with a clear narrative. Start by explaining the problem, followed by the process and choices that led to the solution. Visual aids like mockups, prototypes, or sketches are essential to make the presentation engaging. Most importantly, always tie the design back to the goals it addresses.

A interactive floor lamp, it will be named Icarus and will have full motion of the wings.

My ultimate goal is to create designs that leave a lasting impact—solutions that are innovative, inclusive, and timeless.

People expect a unique vision, professionalism, and the ability to translate abstract ideas into tangible outcomes. They also expect attention to detail, innovative thinking, and the ability to solve challenges while maintaining the integrity of the project.

Design shapes the way we interact with the world—it solves problems, enhances accessibility, and fosters inclusivity. By creating user-centric solutions, design can promote sustainability, equality, and innovation, ultimately improving the quality of life for everyone.

Nothing really.

The project featured here, because it was created purely for the love of design.

I’d like to see a greater focus on sustainability and ethical practices in design. Additionally, more emphasis on diversity, inclusion, and accessibility is essential. It would also be great to see tools and technologies becoming more accessible to new designers, breaking down barriers to entry.

The design field is moving toward deeper integration with AI, automation, and data-driven decision-making. There’s also a growing emphasis on sustainability and designing for digital-first experiences.

It depends on the project, 2 hours up to 1 week.

I start by deeply understanding the client’s needs, goals, and target audience. Research is essential—I gather insights about the industry, competitors, and user behavior. From there, I brainstorm ideas, sketch concepts, and create a roadmap for the project.

Design with purpose, innovate with empathy.

It’s a balance. Great design often sets trends by pushing boundaries and introducing fresh perspectives. However, designers are also influenced by cultural, societal, and technological trends, which shape how designs evolve and resonate with audiences.

Technology is a critical enabler in the design process. It helps streamline workflows, expand creative possibilities, and bring ideas to life with precision. Whether it’s prototyping, 3D modeling, or using AI tools, technology allows me to work more efficiently and explore innovative solutions.

I use a mix of tools depending on the project. For 3D work, tools like 3Ds Max come in handy. My equipment includes a high-performance computer and a lot of CNC machining.

They are fundamental to creating mood, identity, and functionality in a design. Colors evoke emotions and convey messages, materials define texture and durability, and the ambient enhances the overall experience by setting the right atmosphere. Together, they create harmony and purpose in the final outcome.

I wish people would ask more about the story and thought process behind the design. Every detail has a reason, and it’s exciting to share how the research, challenges, and creative decisions came together to solve a problem or convey a message.

I think about the process behind it—what inspired the designer, the challenges they faced, and the solutions they came up with. I also reflect on how it could inspire my own work or push me to think differently.

My ideal design partner is someone who is open-minded, collaborative, and has complementary skills. Co-design is incredibly valuable because it brings diverse perspectives to the table, often leading to richer and more innovative outcomes.

Mentors and colleagues who challenged me to grow had the most influence. Working with diverse clients and users also shaped my approach, as their feedback and unique needs pushed me to refine my thinking and adapt my designs to serve real-world purposes.

Books like "The Design of Everyday Things" by Don Norman profoundly influenced my understanding of user-centered design. "Steal Like an Artist" by Austin Kleon inspired me to embrace creativity fearlessly, and "Thinking, Fast and Slow" by Daniel Kahneman helped me see how psychology intersects with design.

I honed my skills through a combination of formal education, continuous practice, and learning from real-world projects. Seeking constructive feedback, experimenting with different styles, and staying curious about emerging trends played a huge role. Collaborating with talented peers also expanded my perspective.

I would love to have a conversation with Leonardo da Vinci. His ability to merge art, science, and design is unparalleled, and I’d be fascinated to hear his thoughts on creativity and innovation in today’s world.

Awards and recognition are rewarding because they validate the effort and thought I put into my work. However, fame isn’t the goal—it’s about staying grounded, continuing to create meaningful designs, and staying true to the craft.

Color: Deep blue, as it represents calmness and creativity.

Place: Kyoto, Japan, for its balance of tradition and modernity.

Food: Anything Italian, especially handmade pasta.

Season: Autumn, because it inspires me with its colors and mood.

Thing: My sketchbook—it’s where every idea begins.

Brand: Apple, for its commitment to design simplicity and functionality.

Once, I presented a design to a client with placeholder text that I forgot to replace. The placeholder text read something silly like "Insert brilliance here." The client loved it and thought it was intentional—it became the project’s tagline!

Seeing progress, whether it’s a small breakthrough in a project or positive feedback from a client, makes my day. I stay motivated by reminding myself of the impact design can have and surrounding myself with inspiring visuals, music, and stories.

Looking back, yes. I was always drawing, building things, and finding creative ways to solve problems. Whether it was designing imaginary cities or creating costumes, I was always experimenting with forms and functions.

In a thousand years, I imagine a world where design is seamlessly integrated with nature, and technology becomes invisible—fully intuitive and empathetic to human needs. Perhaps design will even extend to other planets as humanity expands its reach!

I want people to know that every design I create comes from a place of passion and purpose. I believe in the power of design to tell stories, solve problems, and connect people. Outside of work, I’m just someone who loves exploring the world, learning, and constantly growing.

My passion for design was born in my father's woodworking shop; because of the limited resources available to us we were forced to always improvise and think creatively. This led me to develop a passion for problem solving and acted as the foundation stone for my future as a designer.

I especially enjoy industrial design, because of the challenges and the complexity.

Any design that was completed without any compromises.

It was a calendar witch presented (through drawings) the Art Nouveau architecture of my home town. This was in my first year of high school.

I enjoy working especially with wood and plastic. Wood because as a material is alive and demands respect; plastic because is very easy to use.

All the time.

When designing I try to focus on all the aspects at once, from ergonomics to marketing. If I focus only on a single aspect, problems soon emerge.

For me the greatest feeling is when I can hold in my hands the project that has been "trapped' in my head.

When it fully accomplishes its purpose.

Functionality

Design to solve problems, not to create new ones.

The future of design? As long as humanity will evolve, design will evolve at the same rate. Design will stop only when humanity will stop.

Best way of describing my style would be "old school".

The best advice is: Work, Work, Work. The rest will soon follow.

I can only think of positive ones.

Good research and the Golden Ratio.

I think the most important skill is drawing.

It is important to start the day with a well organized schedule.

It depends on the project.

I am looking for a creative and challenging environment.

Because of my current environment I develop all my designs myself. But I enjoy teamwork very much.

email: surionut@ymail.com /

telphone: +40 0726 140 048

The story of Prometheus and more exactly the actual moment the knowledge was given to mankind is what started the hole project. The entire purpose of the Pendant Light is too capture and convey the transfer of knowledge, the differences in perception form the 2 halves, the changes in consciousness that occurred.

It is important to signal the differences between the 2 worlds in order to mark the actual moment, the interaction and transfer. With and without knowledge are 2 opposite positions to the extreme.

The aesthetic of the project was entirely generated using a pocket calculator. Not a single sketch, only a starting sphere and a diameter.

That was the most difficult part, finding a system that can operate without batteries, limit switches, sensors etc. The main problem with a dynamic pendant light is that you have a switch that simply cuts the power when off. The pendent light can do what ever when the power is on, but once you flip the switch off the power is gone. The spring return actuator is perfect for this job because it uses electrical power to open the pendant and also to charge a spring and when you have no power it simply releases the stored energy in the spring.

The 2 materials represent the 2 worlds, the wood: a earthly existence. The gold: a divine existence. You can't get some thing more earthly than wood and more divine than gold.

No influence in particular. It is not a matter of influencing any thing, just capturing a crucial moment in the evolution of the human conscious.

I wanted to create a dynamic design because it presented a real challenge, there are not that many moving pendant lights. It is difficult enough to design something simple yet complex, but is exponentially more difficult to design some thing dynamic and clean.

That was a challenge because the technical part requires space for the moving parts and the aesthetic part requires slim shapes and narrow profiles. The result is always a compromise between the 2.

I don't think in terms of influencing anything, this is not my goal. One thing is certain it is very difficult for me to go back from this point forward in terms of static / dynamic design

The project is designed with manufacturing in mind from the start. Every element is ready for production, no changes needed because I have enough experience in manufacturing too now the importance in designing something ready for production.