Lili Gendelman

I have been passionate about creating things for as long as I can remember. This lifelong interest led me to pursue formal studies in architecture – first earning my degree at Universidad Central de Santiago de Chile, and later obtaining a Master’s at Pratt Institute in New York. These experiences gave me a rich foundation in both technical skills and creative thinking. From early on, I was fascinated by how design can shape our daily lives, whether through buildings or everyday objects. The purpose of my designs is to improve people's quality of life, whether through a game or by designing a home. Design allows me to combine imagination with real-world impact in an inspiring way.

My design studio, CNC Objects, is a workshop founded to merge digital fabrication techniques with traditional carpentry. We launched the studio in 2022 with the vision of creating sustainable, innovative wooden products that marry the precision of CNC cutting with the warmth of handcrafted woodwork. At CNC Objects, we design everything, from furniture to toys – including our flagship product “Tri” – using environmentally friendly materials and processes. Our approach is very hands-on: we use modern technology to reduce waste and expand creative possibilities, but we also value the craftsmanship and tactile quality that comes from skilled hand-work. The result is a studio culture focused on pushing the boundaries of wood design in a way that is both contemporary and deeply respectful of traditional craft.

For me, design is fundamentally a way of solving problems and improving everyday life through creative means. It’s the balance of function, aesthetics, and meaning – a process of making things work better for people while also making them beautiful or engaging. Design isn’t just about styling something to look good; it’s about understanding needs and coming up with innovative solutions that have a positive impact. Ultimately, design is a form of communication and storytelling. Every object or space I design tells a story about how we live and what we value, so in my view “design” is the craft of shaping those stories in a thoughtful, purposeful way.

I enjoy designing objects that people can interact with and that bring joy or usefulness to daily life. Because of my background in woodwork, I have a particular love for creating wooden products – everything from entertaining toys to functional furniture. Projects that allow me to explore geometric forms and a bit of playfulness, like the Tri game, are especially fulfilling for me. I find it rewarding to design pieces that not only look aesthetically pleasing but also invite people to touch, play, or use them in a meaningful way. In essence, I love any design work that challenges me creatively and aligns with my sustainable, hands-on approach – whether it’s a simple home accessory or an interactive game, if it’s engaging and purposeful, I’m excited to create it.

My favorite design to date is definitely the “Tri” wooden game that I created. Tri holds a special place in my heart because it encapsulates so many values I care about: it’s sustainable, educational, and it encourages creativity and inclusivity. The game consists of simple triangular wooden pieces in six bright colors that can be combined to form endless shapes and structures. I designed it to be open-ended with no fixed rules, so children and adults alike can explore and play freely – it helps develop motor skills, creative thinking, and social interaction all at once. Seeing people of different ages and backgrounds come together around Tri and use their imaginations is incredibly rewarding. It’s a design that truly brings people joy and learning through play, which is why it’s my personal favorite.

In my early career as an architect, I contributed to several projects, but the first object I remember designing that went into production was a small wooden accessory made from leftover material at our CNC workshop. When we first started offering CNC fabrication services, we accumulated many off cuts of wood. I decided to turn one of those scraps into a functional design, it showed how even a discarded piece of wood could transform into a beautiful, useful object through design. That little object was not only my first product design in a business context, but also the spark that inspired the sustainability-focused approach I carry into all my work today.

Wood is by far my favorite material. I have a deep affinity for it because it’s natural, versatile, and brings a warmth and tactile quality to designs that are hard to replicate with other materials. I love exploring different species of wood and how they can be shaped, while showcasing their unique grains and textures. In terms of technology, I’m a big fan of digital fabrication tools – specifically CNC routing and laser cutting and engraving. These technologies allow me to achieve precise cuts and complex forms that would be difficult to do entirely by hand, and they help minimize material waste. I often combine those high-tech tools with traditional woodworking techniques. So in a way, my favorite “platform” is the intersection of modern technology and classic craftsmanship. This blend lets me innovate while still honoring the authenticity of the material.

I feel most creative when I’m in my workshop surrounded by materials and able to get hands-on. There’s something about the tactile process of sketching ideas on paper and then immediately prototyping with wood that really sparks my imagination. Often, my creativity peaks during quiet moments of experimentation – for example, in the early morning before the day’s distractions, or conversely late at night when it’s just me and my thoughts. I also find that stepping away from the screen and getting outside can trigger creativity. Spending time gardening, can lead to fresh ideas. In general, those moments of open exploration and play, are when my mind feels the most inventive and free.

When I’m designing, I tend to focus first and foremost on the functionality and purpose of the piece. I ask myself what problem it’s solving or what experience it’s creating, and I make sure that aspect is clearly addressed before anything else. Material and sustainability are also key considerations from the very beginning for me – I pay a lot of attention to choosing the right wood and figuring out how to use it efficiently with minimal waste. Of course, I also care about the form and aesthetics: I spend time refining the shape, proportions, and details so that the design is visually engaging and feels intuitive to use. In summary, I balance function, sustainability, and form throughout my process. But if I had to choose one aspect that I prioritize, it would be ensuring the design truly works well for its intended users and context.

Designing is quite an emotional journey for me. At the start of a new project I feel a surge of excitement and curiosity – it’s that thrill of possibility when I’m brainstorming and sketching ideas. During the design process, I often experience a state of focused flow where I’m deeply concentrated; time flies by as I’m experimenting with forms or solving problems. There are moments of frustration too, especially if I hit a tricky challenge or something isn’t working as envisioned, but that’s usually paired with determination to find a solution. Overall, the dominant emotions I feel are joy and satisfaction. There’s a genuine happiness that comes from bringing an idea to life. When I’m in a creative groove, I also feel a sense of calm and fulfillment – it’s like everything clicks and I’m reminded why I love being an architect (designer).

When a design is finally realized and I can see or hold the finished product, I feel a wave of pride and accomplishment. It’s incredibly rewarding to witness something that started as a sketch or a concept become a tangible reality. Along with pride, I often feel relief – especially if it was a challenging project – and gratitude towards everyone who helped along the way. There’s also a sense of joy and humility when I see others interacting with the design. For example, watching a child happily play with the Tri game that I designed fills me with delight and a bit of awe. It reminds me that what began as a personal idea now has a life of its own in someone else’s hands. That connection and seeing the positive impact on people is probably the most fulfilling emotion of all.

I believe a design is successful when it fulfills its intended purpose effectively and resonates with the people who use it. In practical terms, that means it solves the problem or meets the need it was created for in a meaningful way – if it’s a product, it should make someone’s life easier or more enjoyable; if it’s a toy like Tri, it should bring joy and learning. Beyond just function, a successful design also has an emotional appeal and aesthetic clarity. It should draw people in and make them feel something positive, whether that’s comfort, excitement, or inspiration. Quality and longevity are part of success too: if a design is well-made, durable, and crafted with sustainable principles, it will stand the test of time. Ultimately, a successful design is one that is both useful and loved. When users find real value in it and it has a positive impact, then I consider that design a true success.

The first thing I consider is how well the design works – in other words, does it fulfill its purpose and meet the needs of the user? If a design doesn’t function properly or solve the problem it’s meant to, it’s hard to call it “good” no matter how nice it looks. So I look at usability and functionality first: is it intuitive, efficient, and appropriate for its intended use? Next, I consider the innovation and execution of the design. I pay attention to the choice of materials and the quality of craftsmanship or manufacturing. A good design often has a clever insight or a well-thought-out detail that sets it apart, so I try to spot those elements. Finally, I think about the aesthetics and emotional impact – is it visually pleasing, and does it connect with people on a deeper level? In summary, I judge a design on a mix of practical and emotional aspects, starting with function and ending with form. A truly good design, in my eyes, is one that performs excellently and also feels right and meaningful to the user.

Designers have a significant responsibility toward both society and the environment. We’re in a position to influence how products are made and how they affect people’s lives, so we must be conscious of the broader impact of our work. For society, this means designing with people’s well-being and inclusion in mind – creating products that are safe, accessible, and genuinely improve quality of life. We should be thinking about how our designs can solve social problems or at least not create new ones. For the environment, our responsibility is to be stewards of sustainability. That involves choosing eco-friendly materials (for example, I opt for responsibly sourced wood and non-toxic finishes), minimizing waste in our processes, and designing for durability so that products last rather than quickly end up in landfills. We also have a duty to consider the entire lifecycle of a product, from production to end-of-life, and aim for solutions like recyclability or reuse. Additionally, I believe designers should promote ethical innovation – using our creativity to address environmental and social challenges. Whether it’s a game that encourages kids to step away from screens and engage with tactile play, or a piece of furniture that uses upcycled materials, we can contribute positively through what we create. In essence, our responsibility is to use design not just as a way to make things new, but to make things better for people and for the planet. Every design decision, from concept to completion, carries an ethical dimension, and being mindful of that is part of being a good designer.

I see the design field evolving in several exciting ways. Sustainability has become a core focus — designers today are far more conscious of environmental impact and social responsibility than in the past, and I believe this emphasis will only grow. The future of design will likely involve creating solutions that address big challenges like climate change, resource scarcity, and social equity, making sustainability a non-negotiable part of every project. Another major evolution is the integration of advanced technology into the design process. We’re already using tools like 3D printing, CNC machines, and even AI-driven software to aid in design, which allows for rapid prototyping and highly customized solutions. I think future designers will collaborate even more with technology, perhaps using AI for generative design or augmented reality to visualize concepts. However, I also see a counterbalancing trend: a resurgence of appreciation for craftsmanship and the human touch. In my own work I blend digital fabrication with hand-finishing, and I suspect the future of design will celebrate this fusion of high-tech and handmade to create products that are innovative yet authentic. Design is also becoming more user-centric and inclusive. There’s a growing understanding that good design must consider a diverse range of users and be co-created with input from communities. I expect future designs will be more customizable and adaptable to individual needs, possibly with the help of modular systems or mass-customization techniques. Overall, I think the future of design is one of holistic thinking: designers will need to think about systems rather than just isolated objects, considering how their work fits into larger social, technological, and environmental contexts. It’s an exciting time – we’ll be blending creativity with new tools, all while keeping humanity and the planet at the center of our focus.

My most recent exhibition was in September 2022 at the Autumn Fair in Birmingham, UK, where I had the honor of representing Chile. We showcased the Tri game and other sustainable wood designs as part of a special exhibition on eco-friendly products. It was an amazing experience to present my work on an international stage and to see the positive response from a diverse audience. As for my next exhibition, I am hoping to participate in or organize one in the near future. I don’t have a fixed date yet, but I’m exploring opportunities, perhaps at an upcoming design fair or a local design week event in Chile. I would love to showcase the new projects we’re working on at CNC Objects – for instance, any new toy designs or furniture pieces that expand on our sustainable design approach. An ideal scenario would be an exhibition focused on innovative sustainable design or educational toys, where I could share not just the final products but also the story and process behind them. So, while nothing is concrete on the calendar, I definitely have my eyes open for the right opportunity to hold the next exhibition and share my latest work with the public.

I draw inspiration from a variety of places, and I actively “feed” my creativity through continuous exploration. A lot of my design inspiration comes from nature and geometry. With my background in architecture, I’ve always been fascinated by the structures and patterns found in the natural world – anything from the shape of a leaf to the configuration of a honeycomb can spark an idea for a form or a structure in my designs. Working with wood, specifically, I often find the material itself inspiring: the grain, the texture, and the inherent warmth of wood can suggest a direction or feeling for a project. I also find inspiration in everyday life and people. Observing how people (especially children) interact with objects can give me ideas on how to make designs more intuitive or fun. In fact, watching kids play and learn was a big influence when creating Tri – I wanted to design something that catered to their curiosity and imagination. To keep my creativity fueled, I make sure to expose myself to a lot of art and design. I visit design exhibitions and museums whenever I can, and I love traveling to experience different cultures and their crafts. Even if I’m not traveling far, exploring local markets or artisan workshops in Chile can be inspiring. I also flip through design books and follow design blogs and social media to see what creatives around the world are doing. Sometimes inspiration comes from something as simple as a color combination in a mural on the street or an interesting mechanism in a vintage toy. Another important source of inspiration for me is technology and experimentation. I’ll play around with new tools or techniques in my workshop without a specific goal, just to see what happens. For example, experimenting with the capabilities of our CNC machine or trying a new joinery technique by hand can lead to unexpected ideas. In essence, my inspiration is fueled by a mix of nature, everyday experiences, cultural exposure, and hands-on experimentation. By staying curious and observant, I keep a steady stream of ideas flowing into my design process.

I would describe my design style as a fusion of modern simplicity with a touch of playfulness and traditional warmth. Because of my architectural training, I tend to favor clean lines, geometric forms, and functional clarity – there’s a minimalist underpinning to many of my designs. At the same time, I love to infuse my work with color and a sense of play, as seen in the Tri game and other pieces that invite interaction. There’s also a strong natural and handcrafted feel to my style, stemming from my use of wood and traditional carpentry techniques alongside digital fabrication. What led me to this style is the desire to bridge the gap between technology and craft. Studying and working in New York exposed me to cutting-edge contemporary design and the latest tools, while my Chilean background and years of working with wood kept me connected to traditional craft and natural materials. I realized I didn’t have to choose one or the other. Instead, I could combine them – using modern CNC technology to achieve precision and innovation, and then applying hand-finished details to give the work soul and character. This blending became the hallmark of my style. The main characteristics of my style include: •Innovative use of materials (especially wood) in sustainable ways. •Geometric, clean forms that are often modular or versatile. •A functional minimalism – I try to strip designs down to what is necessary, but ensure they are very user-friendly. •Playful or interactive elements – I like designs to invite engagement, whether it’s a game or a piece of furniture with a unique feature. •Bold yet natural aesthetics – for example, using bright colors but in a way that still shows the natural wood grain and respects the material. My approach to design is very much hands-on and user-focused. I usually start a project by identifying a clear goal or problem (what need am I addressing, or what experience do I want to create?). From there, I sketch and create rough models to explore ideas quickly. I embrace an iterative approach: I’ll prototype early, test those prototypes (sometimes literally putting a toy in a child’s hands, and refine the design repeatedly. Throughout, I adhere to my core principles of keeping the design innovative, sustainable, and functional. I also collaborate with others for feedback and expertise (for instance, getting input from a woodcraft expert on a tricky joint, or a teacher on an educational toy concept). In summary, my style is characterized by a modern-yet-warm aesthetic and my approach is about blending the best of new technology with the heart of traditional design, always in service of a useful, beautiful result for the end user.

I live in Santiago, Chile. The cultural heritage of Chile absolutely influences my designs. We have a rich tradition of woodworking and craftsmanship here, and that heritage instilled in me a deep appreciation for natural materials and handcraft. I find myself inspired by the textures, colors, and folklore of Chile – for example, the vibrant hues in our crafts and textiles or the geometric patterns in indigenous art often resonate in the playful yet structured aspects of my designs. Growing up amid Chile’s beautiful landscapes (the Andes, the forests, the coastline) has also given me a strong environmental consciousness that you can see in my focus on sustainability. There are definitely pros to designing in Chile. One big advantage is access to beautiful, sustainably sourced wood; Chile has a well-developed forestry sector (with certifications like PEFC/FSC for responsible management), so quality wood is readily available for my projects. There’s also a growing community of designers, artisans, and entrepreneurs here who value artisanal quality and innovation. This means I can collaborate with local craftsmen for hand-finishing, or work with other designers in a supportive network. The cultural mindset in Chile values resilience and creativity – perhaps born from having to solve problems with limited resources – and I think that has taught me to be resourceful and inventive in my work. Additionally, being somewhat removed from the main “design capitals” of the world can be a pro in that it allows my style to develop with a unique perspective, blending global influences I’ve been exposed to with a distinctly Chilean touch. Of course, there are also some cons or challenges. Chile is geographically far from many larger markets like North America or Europe, so gaining international exposure or exporting products can be logistically challenging and costly. In terms of resources, while we have good basics, certain specialized materials, high-end components or latest tech tools might not be easily accessible locally and often need to be imported, which can slow down a project. The design market here is growing but still relatively small, so finding a wide base of customers or clients for niche design products can be limiting, pushing us to look internationally. Additionally, sometimes I’ve felt a bit isolated from the bigger global design conversations simply due to time zones and distance – I can’t always attend major design events abroad without significant planning. That said, these challenges have a silver lining: they push me to be more creative and collaborative. If a specific material isn’t available, I find an alternative or invent a new approach. If I can’t easily travel to a fair, I leverage digital platforms to connect with the world. In many ways, living and designing in Chile has grounded my work in a strong sense of identity and sustainability, which I consider a tremendous benefit. The limitations, while real, have encouraged me to innovate within constraints and have made the successes – like seeing Tri appreciated internationally – even more meaningful.

When I work with companies, I approach it as a collaborative partnership. Communication is key from the very beginning: I make sure to listen carefully to the company’s needs, goals, and any constraints they have, so I can understand exactly what they’re looking for. Likewise, I value open dialogue throughout the project – I’ll regularly share progress, prototypes, or sketches and invite feedback, ensuring that the company’s vision and my design expertise are aligned. The process can vary depending on the project. Sometimes a company comes to me for a custom product design or a piece of furniture, and other times I might work with a company by providing CNC fabrication services for their own designers. In each case, we’ll typically start with a briefing or workshop to exchange ideas. I’ll then develop concepts and present them to the company, often in the form of sketches or 3D models. Once we agree on a direction, I move into creating prototypes or samples. I involve the company at milestones – for example, having them review a prototype or finish sample – so that there are no surprises at the end. I also try to educate and guide companies on design decisions, especially regarding materials and sustainability. If a company initially proposes something that isn’t environmentally friendly or might not work well, I’ll suggest alternative solutions that could achieve a similar result in a better way. I find that companies appreciate honesty and expertise, so I aim to be a partner who not only delivers what they ask but also adds value by improving on the brief if possible. In terms of working style, I’m reliable with timelines and budgets – I know companies often have strict deadlines, so I manage the project schedule diligently and keep them updated on progress. Professionalism is important: things like clear contracts, setting expectations, and maintaining a positive, solution-oriented attitude go a long way. Overall, whether it’s a large company or a small startup, I treat their project with the same care as I do my own. By being transparent, responsive, and quality-focused, I strive to make the collaboration smooth and successful. The goal is that by the end of the process, the company not only has a design they’re happy with, but also feels that working together was efficient and enjoyable.

Companies should look for a designer whose work inspires confidence, whose expertise matches the project, and with whom they feel they can communicate openly. Taking the time to select the right partner will set the foundation for a successful collaboration.

My design process typically begins with understanding the problem or need at hand. I spend time defining what I’m trying to achieve or solve: this could involve a conversation with a client, some quick research, or simply writing down the core goals for the project. Once the goal is clear, I move into an exploratory phase. I often start by sketching out ideas – sometimes in a sketchbook with pencil, other times as quick digital sketches on a tablet or computer. This is a loose and playful stage where I try different shapes, forms, and concepts without judging them too critically. I also gather inspiration and reference points: I might create a mood board of images, materials, or color palettes related to the concept. After generating a bunch of ideas, I’ll select the most promising concept to develop further. This is when I start getting into prototyping. Given that I work a lot with wood and digital fabrication, my first prototype might be made using our CNC laser cutter or router to cut out pieces quickly. I’m a big believer in iterative design, so I evaluate each prototype and iterate on it. I test the prototypes in context. I also welcome feedback from others at this stage – colleagues, potential users, or clients – because fresh eyes can catch things I might overlook. Based on what I learn, I refine the design: this could mean altering the dimensions, trying a different joint or connection method, adjusting the aesthetic details, etc. Throughout the process, I maintain a strong focus on details and quality. Finally, the design is ready to be launched or delivered. Even then, the process doesn’t entirely stop – I gather long-term feedback, see how the product performs over time, and note anything that could be improved in a future version. Design is an ongoing learning process for me. Each project’s process might have its own nuances, but the core steps – understand, explore, prototype, test, refine, implement – remain more or less the same. It’s a blend of creative exploration and rigorous development, and I find joy in every part of it.

Living in a home you designed yourself means every detail serves a purpose and reflects your taste: the house’s layout brings in plenty of natural light and lets you move freely between rooms; the kitchen island on hidden wheels can shift wherever you need extra counter space, transform into a casual dining spot, or clear the floor for gatherings; the three-meter dining table, carved from a fallen tree, anchors the room with its raw grain and shows a commitment to sustainable materials; in the living area, three exotic, elongated oval lamps made of thick grey glass cast a soft, focused glow that defines cozy corners and adds a sculptural touch without overwhelming the space; and the storage cabinet’s doors, printed with black-and-white covers of classic books, add a timeless, conversational accent. I chose these five pieces because they balance form and function: each works seamlessly in daily life, fits the way we live, and carries its own story—together creating a home that feels welcoming, practical, and uniquely personal.

I wake up, have a good cup of coffee. And the rest of the day is never the same. That is what I like the most.

My advice for young and aspiring designers would be: Stay curious and keep learning: The design field is always evolving, so adopt a mindset of continuous learning. Push yourself to explore new tools, new techniques, and new areas of design. If you’re into product design, for instance, learn about materials or coding or business – anything can inform your creativity. Embrace technology but also respect the traditional methods; there’s a lot to learn from both cutting-edge innovations and classic craftsmanship. Essentially, never think you’ve “learned it all” – the best designers remain students of design throughout their lives. Embrace failure and persist: Design is often a process of trial and error. Your first idea or prototype might not work out, and that’s normal. Don’t be discouraged by failures or criticism; instead, see them as opportunities to improve. What matters is persistence – keep iterating, keep refining. The ability to stick with a problem and keep working at it is what leads to great results. Over time, you’ll realize that those challenging moments taught you the most. Develop your own voice but be open: It’s important to find what makes your perspective unique. Maybe you have a distinct style or a particular value (like sustainability or minimalism) that you care about – nurture that, because it will set you apart. At the same time, stay open to feedback and new ideas. Take inspiration from others but don’t lose your own identity, and when mentors or peers give feedback, really listen and consider it. Your design voice will evolve over time, and being open-minded will only enrich it. Master the fundamentals: This might sound less exciting, but make sure you have a strong grasp of design basics – things like composition, ergonomics, color theory, etc., depending on your field. These are the building blocks of good design. Build a network and community: Design is not done in isolation. Try to connect with other designers, join workshops, and attend talks or webinars (even if they’re online). Share your work on platforms or social media, and also celebrate and learn from others’ work. Having a community can provide support, inspiration, and opportunities. Keep the passion alive: Lastly, remember why you wanted to be a designer in the first place. The journey can be tough – there will be tight deadlines, difficult clients, or projects that don’t go as expected – but if you stay connected to the passion that drove you, it will carry you through. Celebrate your small wins, like the first time you see someone smile because of something you designed. In essence: be curious, be resilient, be true to yourself, and never stop improving your craft. The design world needs fresh voices and ideas, so believe that you have something valuable to contribute, and work hard to make it happen.

Positives: Being a designer is incredibly rewarding. One of the biggest positives is the creative fulfillment you get – there’s nothing quite like imagining something and then actually bringing it into existence. It’s a thrill to see your ideas take shape and to know that you’ve made something that didn’t exist before. Another positive is the variety and continuous learning that comes with the job; no two projects are the same, so it never gets boring. One day you might be learning about toy safety standards for a children’s game, another day you’re exploring a new 3D modeling software or a woodworking technique – you’re always growing your knowledge and skills. Additionally, being a designer lets you have a positive impact on others. Whether it’s making someone’s life easier with a well-designed product, or bringing a smile to a child’s face with a fun game, you get to see how your work touches people. That sense of making a difference, however small, is extremely gratifying. Lastly, there’s a wonderful sense of community in design – you become part of a global network of creative people, which means inspiring collaborations and friendships with like-minded individuals. Negatives: On the flip side, being a designer comes with its challenges. The work can be very demanding and time-consuming. It’s not your typical 9-to-5 job where you can clock out mentally; often you’ll find yourself working late hours to meet deadlines or because you’re in the flow of a project and lose track of time. This can sometimes make work-life balance tricky, especially when you’re passionate about what you’re doing. In terms of career stability, especially if you’re freelancing or running your own studio, work can come in waves. There might be periods where you have too many projects (and corresponding stress), and other times when work is slow and you’re worried about the next gig – that unpredictability can be a negative for some. Additionally, turning creativity into a business means you often have to wear many hats (marketing, accounting, admin), which aren’t the fun parts for most designers but are necessary to sustain your practice. Lastly, because design is detail-oriented, you might find yourself obsessing over small things (colors, millimeters, fonts) that others might not even notice, which can be mentally exhausting at times. Despite these challenges, I personally feel that the positives outweigh the negatives. The joy of creation, the impact on users, and the personal growth I experience as a designer make the hard work and occasional stress well worth it. It’s a profession driven by passion, and that passion helps push through the tougher moments.

My “golden rule” in design is to design with intention and integrity. By that I mean every design decision I make should serve a clear purpose and uphold my core values (such as sustainability, functionality, and quality). In practice, this rule translates to a few guiding questions I always ask myself: Is this design truly solving the problem or fulfilling the need it’s meant to? Is it as simple as it can be while still being effective? Am I being honest about the materials and processes – am I using them in a respectful and sustainable way? If the answer to any of those questions is no, then I know I have to rethink or refine the design. For example, if I’m adding a decorative element to a product, my golden rule pushes me to ensure that element also has a function or meaningful reason to exist – maybe it reinforces a concept or improves user experience – rather than just being there for looks. Integrity also means not cutting corners in ways that would compromise the design’s outcome. I would rather delay a project or spend a bit more to do something right (like using a better quality material or a more robust construction) than rush out a design that I’m not proud of. Additionally, user-centric thinking is part of my golden rule. I always remind myself that I’m designing for people, not for my own ego or a portfolio picture. If a design isn’t intuitive or comfortable for the user, it doesn’t matter how cool or innovative it is on paper, it’s not good design. So I strive to put myself in the user’s shoes and empathize with their experience at every step. In short, “design with intention and integrity” means be purposeful, be ethical, and keep the user’s well-being in focus. This rule has served me well as a compass whenever I’m making tough decisions or feeling uncertain during the design process. It keeps my work grounded and aligned with what I believe good design should be.

A designer benefits from a whole mix of skills, but there are a few I consider especially important: •Creativity and imagination: This might be obvious, but it’s crucial. A designer needs the ability to generate ideas, envision alternatives, and think outside the box. Creativity is what allows us to see possibilities where others don’t and to come up with innovative solutions to problems. •Problem-solving skills: Design is fundamentally about solving problems, so being able to think analytically and logically is key. This means breaking down a challenge into parts, reasoning through constraints, and figuring out how to make all the pieces work together. Often, unexpected issues come up during a project (technical limitations, budget constraints, etc.), and a good designer stays adaptable and resourceful in finding solutions. •Empathy: I believe empathy is one of a designer’s superpowers. Understanding the user’s perspective – their needs, frustrations, desires – is what guides you to create something truly useful and meaningful. •Observation of the environment and people. A designer today doesn't work in isolation: they must be a keen observer of their environment and the people within it. Being observant goes beyond just “looking”; it means perceiving details, behaviors, and context cues to incorporate them into the creative process meaningfully. This sensitivity allows designers to create solutions that are aligned with the social and environmental context, understanding how people interact with their surroundings and how they might adopt more sustainable habits. An observant designer identifies hidden needs, cultural shifts, and local opportunities, crafting relevant and responsible designs that resonate with real life. •Anticipating and adapting to emerging needs. In a rapidly changing world, great designers develop the ability to anticipate and adapt to new lifestyles and emerging user needs. It’s not enough to simply react—you have to stay ahead. Keeping up with emerging trends allows designers to foresee people’s future desires and expectations and prepare solutions before demand becomes apparent. This anticipation goes hand in hand with flexibility: it means continually learning and adapting to technological or societal changes on the fly. An adaptable designer can pivot, adopt new methods or tools, and respond to evolving lifestyles (like remote work, shared economies, or new communication habits) while keeping their designs relevant. •Awareness of global changes and proactive innovation. Another essential skill is maintaining a vigilant eye on technological, cultural, social, and environmental shifts happening around the world—and using them as fuel for innovation. A good designer doesn’t wait for change to catch up; they actively monitor global developments and consider how these shifts could influence their field. In fact, the fast pace of technological evolution demands designers to stay updated and open to change. This kind of awareness leads to proactive innovation: embracing new tools or perspectives before others do, creating original solutions inspired by emerging cultural trends (like growing awareness of inclusivity or ecology), and staying ahead of future societal needs. •Systems thinking is an increasingly valued skill. It means understanding design as part of a broader ecosystem: every product or service exists within a network of interrelated factors (users, environment, economy, technology) and influences multiple aspects at once. A designer with a systems perspective looks at how everything is connected, avoiding isolated or short-sighted solutions. This holistic view is especially important when tackling complex challenges. In short, systems thinking enables a designer to understand the complexity of the world they’re designing for and to craft cohesive, sustainable solutions that respond to deeper needs and interconnections. •Digital literacy. Digital fluency has become essential in modern design practice. New technologies emerge quickly, so a designer must be comfortable working with a variety of digital tools and platforms. This goes beyond knowing how to sketch or model: it includes prototyping, CAD, and familiarity with virtual/augmented reality, AI in design, and other digital innovations. Being digitally literate enables you to bring ideas to life and collaborate effectively with technical professionals. It also requires a mindset of constant learning, since tools evolve rapidly in today’s connected world. •Ecological and social awareness. Environmental consciousness—along with social responsibility—has shifted from being a “nice-to-have” to a must-have skill for designers. In the face of climate change and global inequality, design can no longer focus only on aesthetics or functionality: it must also consider long-term impacts on the planet and communities. Designers today need to be well-informed about sustainable and ethical practices and build those values into every project. That includes choosing low-impact materials, designing durable and recyclable products, or creating services that foster responsible user behavior. A socially and ecologically aware designer thinks in terms of entire life cycles: from resource extraction to end-of-life disposal, aiming to reduce waste and maximize social good. By aligning creative work with sustainability and equity, the designer contributes to the common good and a more just and livable future. •Finally, critical thinking stands out as a fundamental skill for the multidisciplinary designer. Beyond creativity, a designer must be able to analyze ideas objectively, question assumptions, and evaluate the soundness of different approaches. Practicing critical thinking means not settling for the first idea, but comparing alternatives, spotting flaws or biases, and constantly seeking improvement. Critical thinking also supports creativity: by challenging the status quo and asking new questions, innovative solutions often emerge. To conclude, all of these skills—combined with the classics like creativity, problem-solving, empathy, technical expertise, communication, teamwork, time management, and adaptability—paint the portrait of a multidimensional designer. Contemporary design demands professionals who can shift between artistic vision, strategic thinking, and human sensitivity. A great designer today observes the world closely, anticipates what’s next, learns continuously, questions thoughtfully, and acts with social and environmental awareness. By combining both traditional and emerging skills, the designer becomes a well-rounded professional, capable of crafting innovative, responsible, and meaningful solutions in a world that never stops evolving.

I use a mix of digital tools, physical tools, and reference resources throughout my design process. All these tools, whether it’s a high-end CNC machine or a simple pencil, play a role in taking a project from concept to reality. Choosing the right tool at the right stage is part of the craft of design. I enjoy mixing modern technology with traditional techniques because each offers something unique – the precision of digital tools and the tangible feedback of hand tools both shape the final outcome.

Time management in design is indeed a challenge, and I’ve developed a few strategies to handle it: Building buffers: I’ve learned to build a bit of buffer time into my plans because design tasks often take longer than expected. Prototyping especially can be unpredictable – a machine might break down, or a certain approach might fail and require revisiting the drawing board. So I always assume things might go wrong and give myself some extra time for troubleshooting and iteration. That helps prevent panic as deadlines approach. Knowing when to pause: This one was a learning curve – sometimes when you’re stuck on a design problem or you’ve spent too long on something without making progress, the best use of time is actually to step away and take a break. I’ve had instances where I wrestled with a design detail for hours with no success, then took a break (or slept on it) and the solution became clear quickly after. So part of time management is using time wisely, which can include rest and resetting your mind to stay efficient in the long run. Delegation and collaboration: When possible, I delegate tasks or collaborate. For example, if I have a team member who can help with prepping materials or doing 3D renderings while I focus on the core design, we’ll split the work. In my CNC workshop, if I set up a machine to cut pieces (which might run for an hour or two), I’ll use that time concurrently to do other tasks like answering emails or working on a different design. It’s like having multiple things in motion in parallel rather than strictly sequentially, but making sure each is supervised appropriately. In summary, I manage my time by planning ahead, and also being realistic about how long things take. I continuously adjust as needed – if a task is taking longer, I re-prioritize or ask for help. And I always keep an eye on the ultimate deadline to ensure I’m pacing myself to meet it. Designing may be time-consuming, but with good time management, it becomes a lot more manageable and even enjoyable, because you reduce the last-minute rush and stress.

Sometimes a great idea can come together surprisingly quickly if everything clicks, but I always budget extra time for iteration because it invariably leads to a better result. Also, external factors like client review cycles or waiting on material samples can introduce delays. I’ll add that even after an object is “done”, in a designer’s mind it’s often never done — you might come back later to do a Version 2.0 or make improvements. But as far as delivering a finalized design for use or production, the timeframe is really project-specific.

Interestingly, one of the questions I hear most often – especially from people who are not in the design field – is: “Where do you get your ideas or inspiration from?” People are often curious about how the creative process works, possibly because it can seem a bit mysterious or magical from the outside. I’m always happy to demystify it a bit, explaining that it’s part inspiration, part hard work, and lots of iterative development. Another very common question I get – particularly when someone visits my workshop or sees the fabrication side of my work – is along the lines of “How did you make this?” or “What technology do you use to create this?” People are often intrigued by the process, like the fact that I use CNC machines, laser cutters, and also hand tools. For example, when I show the curved wooden box of the Tri game, which uses a kerf-cut technique to bend plywood, I often get wide-eyed questions about how I achieved that. In professional settings or networking, a question I get a lot is “How did you transition from architecture to product design?” given my background.

The most important job experience for me has been founding and running my own design studio, CNC Objects. While I gained a lot from my earlier jobs working as an architect and designer at various firms, nothing has been as transformative as the experience of starting my own venture. Back in 2010, after returning to Chile from New York, my husband and I set up a small digital fabrication workshop (the precursor to CNC Objects). Taking that step was both exciting and daunting. I went from being a designer in someone else’s company to wearing multiple hats – I was now a designer, a business owner, a project manager, even a salesperson at times. This experience really taught me how to take initiative and be resourceful. In a big firm, if you have an IT problem or a budgeting issue, there are departments for that; in my own business, I had to learn to handle those things or find people who could. One of the reasons I consider it the most important is because it was a crash course in real-world design and production. For example, offering CNC services meant I was not only designing but also directly involved in making things and dealing with the practical constraints of machinery and materials daily. It grounded my design approach in a very practical understanding of fabrication, which has been invaluable. It’s one thing to design a pretty object on a computer; it’s another to actually cut it out of wood, assemble it, and deliver it to a happy customer. That feedback loop of seeing designs through to physical completion honed my skills and confidence. Another aspect that made it so important is the freedom and responsibility that came with doing my own thing. I had the freedom to pursue projects I was passionate about – like experimenting with leftover wood scraps to create new designs – which I eventually might not have done if I stayed in a conventional job. This led directly to innovations like Tri. But with that freedom came the responsibility of failures squarely resting on my shoulders. Early on, I had projects that didn’t turn out profitable or ideas that never quite got off the ground. Those could be discouraging, but they were also incredible learning experiences. They taught me resilience, how to pivot, and how to align my work closer to my values (for instance, I realized I wanted to focus more on sustainable products and less on one-off client fabrication jobs, and I adjusted the business accordingly). Working in New York and in other firms was certainly formative – I learned about teamwork, high standards, and got exposed to large-scale projects. But I’d say the crucible of running my own studio has most significantly shaped me into the designer I am today. It’s like the difference between training exercises and the real match. That experience continues to be important every single day because I’m still in it – every new challenge at CNC Objects becomes my new “most important” lesson in a way. It’s an ongoing journey that I’m grateful for, because it’s allowed me to grow not just as a designer, but also as a leader and an entrepreneur.

Over the years, I’ve had a diverse range of clients, reflecting the different phases of my career and the variety of work I do. On the service side, I’ve done fabrication for local architecture studios. All in all, I enjoy that my “clients” range from an individual mom or dad who simply wants a well-designed toy for their child, all the way to companies or designers who engage us in larger scale projects. It keeps the work dynamic. And no matter who the client is, I try to approach their needs with the same level of enthusiasm and professionalism.

Looking ahead, I’m excited about several plans and ideas for the future, both for my personal growth and for my studio CNC Objects: On the product development front, I plan to continue expanding the range of sustainable wooden products we offer. Building on the success of Tri, I have concepts for other educational toys and games that encourage creativity and inclusivity. For example, I’m exploring a puzzle game that teaches about architecture principles and a set of modular blocks that incorporate simple technology for an interactive learning experience. These are still in early stages, but “what’s next” for me is to bring at least one or two of these new ideas to market in the coming couple of years. I’m really passionate about the educational design space, so that will be a big focus. Another future plan is to grow the presence of CNC Objects internationally. We’ve had a taste of that by participating in international fairs and having Tri sold in Europe. I would love to solidify that by partnering with more international retailers or distributors. Perhaps even opening a small studio or pop-up in another country for a period of time to learn from other markets. It would be great to have our products known as a little Chilean export that carries our design values abroad. We have also been working on making CNC Objects as a business more robust, possibly by collaborating with other brands or designers. One plan is to invite young designers or students to use our workshop (a kind of residency or incubation program) to create their projects. This keeps the environment vibrant and could spark new partnerships. Long-term dream: I have this vision of a design hub or center that combines a sustainable design gallery, a fabrication lab, and a learning space, possibly in Chile. It’s a bit ambitious, but who knows – maybe that’s a 5-10 year plan. It would be amazing to create a space where people can see sustainable design in action, take workshops, and prototype their ideas. In summary, at the heart of all these plans is a desire to keep doing what I love (designing and making) while amplifying the impact: reaching more people, inspiring younger designers, and contributing in my way to a more sustainably designed world.

Yes, I do! I always have a few works-in-progress on my plate – I think as a designer it’s hard to ever stop at one idea; there’s always something new bubbling. I’ll share a couple of them that I’m particularly excited about: One project in development is a new wooden game that is sort of a follow-up to Tri. While Tri uses triangular pieces, this new concept explores different geometric shapes. Part of being a designer, at least for me, is that I’m always iterating or dreaming up something new. Not all of these will necessarily hit the market immediately – some might remain exploratory – but they each teach me something and keep the creative juices flowing. I’m looking forward to seeing which of these will be the next to come to fruition and hopefully share them with everyone soon.

People can contact me and learn more about my work through several channels: •Website: The best starting point is the trisinlimites.cl (our official site). It has information about our products (like Tri), our design services, there’s a contact form or email listed there. I monitor those inquiries personally or through my team, and we try to respond promptly. •Email: I’m reachable via email. My professional email is listed on our site and also on my A’ Design Award profile (liligendelman@cncobjects.com). I check my email regularly and I’m happy to answer design questions or discuss projects through that. •Social Media: I’m quite active on Instagram, as it’s a great platform for visual designers. My studio’s Instagram handle is @tri_sinlimites. I share updates, behind-the-scenes looks at our process, and photos of finished works there. It’s a great way to follow what we’re up to. People often DM me on Instagram with inquiries or just to connect, and I do my best to reply. We also occasionally share announcements on Facebook (under Tri_sinlimites) for those who use that platform. •In-person/Studio (by appointment): If you happen to be in Santiago, Chile, I’m open to studio visits by appointment. I love showing people our workshop and the work we do. I welcome anyone who’s interested in our designs or potential collaborations to get in touch. Whether you’re a fellow designer, a potential client, or someone who bought a Tri game and wants to share their experience – feel free to reach out. I truly enjoy connecting with people through design. It’s always a pleasure to exchange ideas or even just receive feedback. So yes, don’t hesitate to contact me through whichever channel is most convenient – I’m always happy to talk about design, answer questions, or explore new opportunities.

I think this interview has been wonderfully comprehensive, but I’d like to add one thing we didn’t directly cover is the role of play and joy in design. I touched on it in parts, but I want to emphasize how important it is to me that design brings a bit of happiness or wonder into the world. Whether it’s a child’s game or a beautiful chair, I aim to imbue a sense of delight in the user. I think sometimes the discourse on design can get very serious – about problems and responsibilities – which is valid, but I also hold dear that spark of joy that got me into design in the first place. That feeling of “wow, I made this and someone is smiling because of it!” is incomparable. Additionally, we talked about the past and present, but looking forward, I’d like to reiterate my commitment to sustainability. The climate challenges our world is facing are enormous, and while design is just one piece of the puzzle, I feel strongly that all of us in the creative field need to do our part. I intend for every project I undertake to be at least a small step towards more sustainable practices, whether that’s through materials, production methods, or the messages our products send (like encouraging non-digital play with a wooden game). If I could leave any message for future designers or even consumers, it would be to value sustainability and longevity in design – buy or create things that last and that you’ll love for a long time. Lastly, I’d just say that I’m always open to new adventures in design. If there’s anyone out there reading this who has an idea, a collaboration, or even an experiment they think could be interesting – I’m game to explore it. The beauty of design is that it’s always evolving, and I want to keep evolving with it, trying new things, and pushing my own boundaries. Thank you for giving me the chance to reflect on all these aspects of my work and ethos. It’s been a pleasure to share my story and thoughts in depth. If there’s one takeaway I’d love for readers to have, it’s that design for me is not just a career, but a lifelong passion and a tool for positive change.