Simple yet sophisticated

Every exquisite piece must have gone through a rather diverse formation process to perform its purity. We believe the best designs are meant to be simple, elegant, and timeless, inheriting our Seedology “We do not follow trends, we follow people”. We have designers seize every fleeting moment of inspiration onto drawings, engineers and craftsmen, who always turn the ordinary into the extraordinary. Thanks to the team work hashing out the pieces of mouth-watering products embody these principles.

Turning imagination into reality

Venturing into our third decade in the everchanging lighting industry, now we are celebrating our 30 year anniversary by holding an exhibition on-line and off-line in all the Seed stores, to share the ideas of craftsmanship and technology on how we continue developing and refining lighting fixtures since 1991, in response to the theme “Simplicity is the ultimate form of sophistication”.

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Steadfast 30, a Moment Spanning Two Generations (Vol.1)

3 people with each perspective, the different backgrounds generate their individual creativity. The one thing they have in common is that they all hold the persistence in the vision of a better life. 

We take this opportunity to ask these our friends a few questions, and how they think about light associating with their professionals.

“I wanted to study stage design when I entered the Taipei National University of the Arts, but then I decided to study lighting design for theater in my third year.” Ben, a lighting designer with a theater background, shared the valuable lessons he learned in theater in the past. Almost everything is treated as a whole in theater, and everyone has a part to play. The creation of art is an expression of emotions, but it also requires rational thinking. This is why everyone practices listening and organizing information and then analyzing it to develop the main concept of the production, finally presenting the show before an audience.

From theater to architecture

Ben once thought that theater and architectural lighting did not have much in common. It was not until recent years that he realized the two are very similar. Most of his methods of operation have roots in the training he received back then. Interestingly, Ben started to discover that the styling of space is the same as that of theater: both are “art of time.”  

Ben mentioned that many spatial designs nowadays have a storyline similar to a script. The style of the space is like the rhetoric of characters in a play. In theater, the clothing, sound effects, and background music are a snapshot of the visual characteristics of a certain era. “So, when people walk into a space, I wish the lighting is not the only thing that captures their attention because I think it is only one component of design. Instead, I hope people can feel the narrative context of the overall space.”

Do the research before you begin

Theater in its entirety is deeply entrenched in Ben’s perception. For example, theater companies will gather information about venues before putting on a new show. Ben does the same before taking on a design job. He will gather all the information about the site of the project and client demands, finding out as much as he can on a macro and micro level. This is how to start the execution precisely to propose the best solution that meets the project requirements and environmental context. 

“Take the façade of a building as an example. If time allows, I will survey the site from sunset to late at night. I need to first analyze and define the architectural language of the façade designs that may be different even for buildings of the same size.” This is because Ben believes there should be a story and context for every expression of light at night. There is only one piece of land. If every project looks the same, why go to a lighting designer?

▲ 《Jut Land Development M》Project by CLDC

“ We want buildings to illuminate themselves at night, not just be lit by lights. The spatiality and depth of field of such illumination are even more profound and enchanting. ”

Lighting is designed for our needs

Throughout history, light has given us a sense of peace and warmth. From candlelight, light bulbs to LED lights, our need for light has never changed. We went from demanding brightness to energy efficiency, and now we explore the atmosphere of lighting. The world is ever-changing, but at the end of the day, all of the developments are in response to our needs and spatial requirements, providing emotional comfort.

As a lighting designer, Ben suggests that bright lighting at home is not necessary except for when you are awake or working. A certain amount of darkness will actually be more therapeutic. He also responded to common misconceptions about lighting: Reduce the use of recessed lighting and indirect lighting, add lighting from different directions instead of having only downlights, choose lamps with adjustable brightness, and you will have a variety of lighting expressions at home.

The essence of the space stems from the shadow

Ben’s works are rooted in arts and humanities. The ambiguous poetic hints weaved into everyday life allow the lighting to permeate the user’s daily routines, maintaining a dynamic fluid movement. He said: “Lighting design is not just for illumination. In most of my works, I focus on the relationship between people and the connection between people and the environment through the arrangement of light and shadow. The best method is to blend the features of the space with lighting and create focal points using lighting so people can be absorbed in the atmosphere right away; it gives a sense of comfort that is hard to describe.”

Ten years ago, it was all about seeing the light but not the source. Fast forward to today, Ben takes this to the next level: see the shadow but not the light. “Light” is essential, but designs that are too bright or flat cannot portray the concaves and details of materials, which is why Ben wants to see some more shadow in lighting arrangements. 

“ After all, where is the soul in a space without shadow? ”

Q ＆ A

How do you use lighting to create different moods at home?

I installed a lighting control system and combined multiple switch circuits to try out different lighting expressions. Try not to only pay attention to the recessed light on the ceiling. If you can look beyond that, you will feel more alive and relaxed.

There has been an increasing number of exhibitions of lighting design combined with installation art in recent years. What do you think about this?

Lighting is a tool often used in installation art. In the last century, people used pure light sources or special lamps to enhance installation art. But the limitations of conventional light sources and lamp size hindered the process of creation. However, LED developments in recent years have opened up new possibilities for many designers. I believe it is necessary to try new things because that is how to think outside the characteristics of the materials. Through projection and integration with multimedia, the connotation of the overall atmosphere and illuminance has indeed become more sophisticated.

 What do you think are the future trends of home lighting?

Long-term care will definitely be a trend. Anyone who gets up to go to the bathroom at night needs to turn on the light, not just the elderly. Many studies have shown that low-level and low-color-temperature light sources can help people stay asleep. So, we can think about long-term care in another way, which is preparing a comfortable home lighting environment in advance. When we grow old and require long-term care ourselves, we would already be accustomed to our own home lighting environment. A comfortable home lighting environment is a part of our lives and has a huge impact in many ways.

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Simplicity is the ultimate sophistication｜SEED 30 Store Exhibition

3 people with each perspective, the different backgrounds generate their individual creativity. The one thing they have in common is that they all hold the persistence in the vision of a better life. 

We take this opportunity to ask these our friends a few questions, and how they think about light associating with their professionals.

Photography that reflects the way of life

In addition to lighting, the spatial imagery of Jamie’s photography often emanates the sentiment and warmth of life. It narrates the story of the scene more so than the image itself. “Every release of the shutter conveys the way of life behind the scene.” He mentioned that before telling a story, he must have relevant personal experience to be able to project it in photos that resonate with the viewer. As time goes by, it becomes the style and taste of the work. This is why many photographers blend work with life because “without living life, photography would not exist.”

▲ Design: INDOT Interior Design  Photo: Hey!Cheese

Echoing this philosophy, even in an era of rapid technological growth, Jamie still firmly believes in the authenticity and intrinsic value of creation. To him, photography is not only the convergence of creative energy but also a creative outlet: “I have made a habit of producing original works regularly.” When a new idea pops up or during emotional ups and downs, he records the moment with his camera. These moments enrich our lives, whether good or bad. When you look back at some point in the future, these photos are the keys that unlock the past, weaving threads of memories.

Observing the details in life, searching for elements of inspiration

Working in the advertising industry for many years has influenced Jamie’s creative thinking. His past training has made him a keen observer everywhere he goes and has helped him understand the cause-and-effect relationship. “Photography is so multifaceted. It is a way to ‘present yourself.’  So, I draw inspiration from my surroundings, whether it is strangers on the streets, movies, TV series, or magazines. It is how I internalize the creative energy, whether big or small. I believe new discoveries begin with observations of subtle details.” This is basically second nature to Jamie. He notices the interesting and unusual features in every place he visits. “When observation becomes a habit, you can piece the details together. If you can express them in photos, the impact will be profound.”

Making your own imprint on social consciousness

Since the shooting location and work hours are different every day, it is difficult to establish a regular ritual. On the weekends, Jamie turns to activities outside of work to restore his mind and body. Before the pandemic, Jamie would often go hiking and camping. During the stay-at-home period, he started to grow plants and delved into cold brew coffee. His passion for trying new things is also deeply rooted in the Hey! Cheese company that he runs.

Besides photography, Hey! Cheese has branched out into many areas. The company also runs a platform of stories about designs. We were curious to know the reason behind this development. He said it is just like SEED burying the seed of lighting, promoting cultural aesthetics with your own effort. Even though it will take a long time to grow, Jamie believes that when more people start to pay attention to it, it will become the norm and eventually impact the next generation. The Taiwanese society in the future may truly have a certain degree of aesthetic perception. Isn’t this what we hope for?

Q ＆ A

What do you think are the challenges for creators in the future?

With the ever-changing pace of the world, finding a distinct position is the most difficult. Perhaps they can consider the possibilities of different modes of operation and pursue the purest form of creation.

Do you use lamps to create different moods at home?

Yes. Many people care about the brightness of lamps. But I think lamps are more for creating an atmosphere, which is why I do not really care for the brightness. There are different lamps like chandeliers, table lamps, floor lamps, and camping lamps in almost every corner of our house. I make use of the features of each lamp and adjust the ambiance to my liking.

How does “lighting” affect spatial imagery?

Just put it in the right place! There is an appropriate lighting arrangement in every environment and country. You must fully understand how things are arranged in everyday life to create a good image. Sometimes, you may not know why the lighting looks beautiful. But when you put it in the wrong place, you know it does not work right away. I think “position” is the key for lighting in everyday life. Only the right position can touch people; the other elements are not as important.

▲ Design: DSEN  Photo: Hey!Cheese

Hey!Cheese Official Website: https://www.heybigcheese.com

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Creative Minds | Ben Lin

Armin now puts out amazing designs from time to time, constantly evolving within minimalism. By dotting every i and crossing every t, he makes the living conditions more memorable and enjoyable for the inhabitant, paving his road to success in the interior design industry.

Creativity grounded in problem-solving

One of the main responsibilities of a designer is problem-solving, which is what interior designers do on a daily basis. “Our job is to find a solution for clients and spaces. Every design is like solving an equation.”

As an architect, Armin has a comprehensive view of spatial planning, so he focuses most on the environment as a whole in execution. The floor plan and the interior-exterior connection are top priorities. The floor plan is like the “inner beauty” of the space. If you neglect what is on the inside, you are basically just dressing up the appearance, which will not improve the living conditions. Therefore, Armin always addresses the problems of the floor plan before focusing on the arrangement of materials and colors to create the best design.

A dialogue between life and space

“Minimalist design is a dialogue between life and space,” Armin puts his approach to minimalism in a nutshell. The fixed, inanimate space comes to life when one lives in it, forming a chemistry that turns into a colorful dialogue. “My minimalist design is not just presenting the structure. I explore the connection between life and space.” However, not a lot of people have a minimalist house. With the addition of children to the family, it becomes even harder to maintain the home in mind. But people still want to live in a neat and tidy space, which is why they try to improve it by storing things, making a mess when using them and putting them away the rest of the time. This is part of a minimalist lifestyle.”

Since founding the design company, Armin has established a signature style of design: large areas of pure grayish-white color that match the crisp, woodsy tone with elements that cater to the taste and needs of the homeowner, forming a good balance. The proportions are tailored to the homeowner, and the materials used are consistent so that the design is distinctive yet clearly representative of the brand.

In the past two years, Armin has grown “tired of the same old designs,” so he pushes himself to try new things and has started to add some colors to spaces. White is the most compatible with any color. You can get spectacular results no matter what color you use in a white space. Armin’s organic yet precise technique is just like the way he speaks, laid back but cogent where every word reflects years of training. 

Creating a free and versatile space through interaction

Armin believes that life is breathed into a space only when people live in it, so his works often depict the interaction between people and spaces. “The different ways of life and experience in a space inspire all kinds of perceptions and imaginations.” He said this is a very fascinating experience. Whether it is different kinds of slides or combinations of movable walls and sliding doors, they create numerous possibilities in the home when people interact with them.

▲ Overhauled by INDOT Design, SEEDDESIGN Taichung brand store is equipped with several sliding-rotating wall to invite the graphicness of sunlight inside.

▲ SEEDDESIGN Zhubei brand store.   Interior Design: INDOT Design

Q ＆ A

Which of SEED’s lamps is your favorite?

The XY lamp (discontinued) is my favorite. I prefer linear lighting. The XY lamp is slender, the craftsmanship is very refined, and it looks really neat from a distance. It is not that noticeable but quietly plays an important role in the space, which is why I have always liked it.

In terms of space, what makes the lighting comfortable?

Good lighting depends on direct light and indirect light. It can be adjusted to the user’s lifestyle. For example, direct light is more functional and is used for reading, eating, and watching. On the other hand, indirect light creates an atmosphere. It can provide a pleasant mood when you want to wind down. Although other elements, like color temperature, also affect lighting, I believe the design and arrangement of direct and indirect light are still the most important.

What is the role of lighting in spatial arrangement?

Lighting is essential in creating layers. It is crucial at night and can warm up the space. The layers that lighting brings to the space are very important to me, so I think lighting and interior design should be considered at the same time.

INDOT Design Official Website: https://www.indotdesign.com

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Creative Minds | Jamie Lo

Text / Jen Chen

Vessel of light: Why we started designing lamps

Looking back on the past thirty years, SEEDDESIGN has always focused on the essence of “lights.” Our inspiration is not limited by styles, and our practical and minimalist aesthetics is well-crafted. We challenge ourselves in the use of materials and value the interaction with our customers. With the rapid development of LEDs in recent years, lights must also keep up with the times and create more possibilities in a space. Naturally, we have expanded our perspective from the lamp itself to the entire space, reexamining the relationship between lights, spaces, and our lives.

▲ Photo Credit : HER GUANG Interior Design

In terms of lights, we have gone from a time when everyone focused on “brightness” to demanding “comfort” nowadays. The miniaturization of the LED structure, LED’s exquisite and diverse colors, and LED’s high integration of smart controls or digital media have made what seemed to be a luxury come true. The expression of lights and illumination is blossoming more than ever. However, in this dazzling world, we cannot help but think: “What do people really need?”

The invention of lamps has prolonged our routines during the day. Life in modern society is permeated with communications products and blue light, which have thrown the mind and body off balance and even inverted the sleep-wake cycle. Insomnia, anxiety, and isolation are the trending hashtags today. The connection between illumination and health has received a lot of attention in recent years. It has also been proven by scientific studies that show the human biological clock is still deeply affected by the sun, and the circadian rhythm is etched into our DNA. Therefore, SEEDDESIGN feels it is called to utilize technology to help people return to the essence of life.

In addition, the changes of the sun’s light, shadow, color temperature, and angle during different times and seasons can be a lighting arrangement reference for people with multiple lifestyles. For example, those who work from home cannot switch between the workspace and living space, but they can separate the two by adjusting the light. It is easy to adjust the brightness and color of LEDs, and they even have smart controls. They can be tailored to people of all ages, creating a personalized “comfortable lighting environment” that is safe and high-quality for children and adults.

▲ Set different lights to switch between various scenarios.

For thirty years, we have always believed that minimalism is not just the style of SEEDDESIGN’s products; it is a philosophy of life from deep within that is focused, relaxed, and all about living in the moment. The purity, joy, and energy brought by lights are hard to describe with words. Through lights, we wish to teach people how to be particular about lifestyle rather than making compromises.

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Creative Minds | Armin Cheng

Your recent work, OLO, how did the idea come about?

It actually started from my observation about the evolution of lighting.

Graphically, people used to associate the trapezoid form with the shape of lamp, for instance, the previous collections in Seed, Concom, or China, those all came with a trapezoid lamp shade that people are familiar with. When the light sources evolved from traditional bulbs to well performing LEDs, it triggered me to reinterpret this type of lamp. The shape of the head is probably the most noticeable feature. It ‘s an even more familiar outline like the most obvious, definitive shape a lamp could be. The light source is a LED strip covered with a translucent diffuser panel which deflects the light out at an angle away and in the meantime leaves a space inside of the shade.

Along with OLO’s successful debut, we were satisfied with the innovative lampshade so we attempted to extend the collection with additional reading light. Through the process of the back and forth development I again realized the more difficult to approach, the design is usually less good. In the end, the less I have to do with the project the better it is. It’s all about the balance between the object and the space, and here comes the final version as you can see which fits as many types of different architectural atmospheres as possible.

Are there any obstacles during the OLO development process?

To realize this rather innovative product, we spent most of our time in the engineering phase from the thickness of the lampshade to the lighting performance. Our team kept adjusting all the factors by back and forth experiments to ensure its basic heat dissipation capability and ideally even light, we want the way of sending the light out to be invisible yet with sufficient brightness.

I would have thought about other features, but as I said, the more busy is usually the less good design in the end. When all the proportions are as good as they can be it kind of just tells me it’s complete.

How does it feel to win the Red Dot Design Award?

I used to be satisfied as long as people liked my designs, I never thought about being awarded. I mean it’s not my job. So I wasn’t expecting too much when the marketing team was applying for the competition until I was informed of the prize, I was surprised like “Wow! all the universe conspires in helping us to achieve!”

Although the prize is put on my name, I feel it’s not my personal aura, but all the team members deserve appreciation. So I like to thank all the partners in Seed, the photographer, every person who has been involved in this journey. Thanks for all of their contributions that made this happen. 

Recently affected by the epidemic, MD just mentioned the concept, the power of human’s essence. He explained that even though we are in a tougher time, we do our best as what we always do, making good products, taking care of the details, eventually that essence will still be seen. Just like winning an award, before then it took a lot of effort to make the OLO debut, in the process there are good things and good people blended together and gradually we made it happen!

▲ OLO Φ table lamp

From then till now, how would you describe your design thinking? Has it changed with time so far?

I’ve been quite lost sometimes in the initial stage of getting involved in the lighting industry. I was so focused on the “lamp” itself that sometimes I felt strapped by other iconic designs that influenced me a lot. 

Then I learned to see the objects from a broader perspective, paying attention to the space and interaction with users. This change has calmed me down and led me to break through the stereotypes. It also influenced me while simulating my works in 3D rendering. I used to set the products in a relatively clear background, now I would imagine people’s daily life and set up different user’s scenarios in response to various demands on lighting

Where do you find ideas for your work?

I’d immerse myself in various designs such as architecture, industrial products, crafts, illustrations. I’d then take the intriguing elements and all the observations start to take form in my mind.

You have now created a full range of lighting pieces, what are your guidelines through the designing process?

I’d evaluate the feasibility, the sustainable beauty, and the balance of the atmospheric effect an object has on its surroundings.

In SEED we work as a team, so usually I pitch my idea when it meets two of the above criteria. Because sometimes it’s not easy to find my blind side by myself, so I’d take this benefit of teamwork to gain fresh perspectives and to brainstorm a better idea.

Are there any new elements you’d like to experiment with in the next light?

I’d like to import something more localized, for instance, the terrazzo tiles, which is a heritage pattern from Taiwan. Implementation of terrazzo in architectural design, furniture and daily utensils is getting more common these days. In between various patterns and colors, I’m considering how lighting can emerge with such unique patterns. 

I have tried “Begonia Figured Glass” before, the rare vintage patterned glass is retro and nostalgic. However, this idea was discontinued considering the global marketing engaged with Seed brand image.

What is the one thing which fascinates you the most through the design process? How do you feel when seeing your works to be spotted in any of spaces?

I’m always so moved by how the lighting performs in a number of ways.

Lighting is a dynamic presence with its visual effect on-and-off, additionally you could use lighting in residential, commercial or studio spaces, and I think it will contribute well to the atmosphere of a wide range of situations with fresh notes, whereas while designing a furniture the shape relates automatically to the performance of the product. Lighting, however, brings an unpredictable rhythm with different materials butting up against each other to create a personal touch.

Sometimes I’d take a peek at how my colleagues plan for the product photography. Sometimes the image setting is a little different from what I imagined, which is a good thing as I get a chance to know others’ perspectives. Hopefully the process will prove the versatility in a general sense.

From time to time I’ve been asked “why lamps?”  I’m always delighted to see how people treasure their daily essentials. Rather than appliances which may become obsolete as the trend goes, lighting is one of them that particularly tends to stay in each family and solidify the relationship between people. I’ve seen some customers even buy a new SEED lamp when they relocate. As though a house can never be like home until the light is on. For all the reasons I devote myself in the lighting industry to develop and refine fixtures.

Next Story :

Future Design in New Normal

How do you find inspiration?

Rather than finding inspiration in the moment, I prefer building a library of inspirations on a regular basis. I like to walk around and observe things. When I find something interesting, whether it is an object or the tiles on a wall or building, I will take a picture of it. I also like to look at old photos over and over again. When I am drawing, I often notice that the design seems to be connected to a memory, so my designs have always been quite random without a consistent style. I mostly create the look based on the impression in my mind and make designs as I wish.

▲ FIREFLY (discontinued)

What factors affect your design process?

I will start by thinking about the setting. I look at interior space designs most of the time rather than just focusing on the product. First, I will picture the interior space plan in my mind. I will close my eyes, put myself in the room, sit on the chair, and think about what kind of light will fit here.

But when I already have a lighting atmosphere in mind, I will design the look and define the potential styles that match the lighting, and the scenarios will start to fall into place. I focus a lot on “space” during the design process because some products look great on their own but may not fit in a space. Since lighting is often a foil for other elements, if space is considered at the beginning of the design process, the lighting will work better later on. 

What are the things to keep in mind in designing metal lamps?

This is not very specific, but you need to pay attention to everything. Metal lamps are relatively higher in quality, so if they can display the essence and meticulousness of manufacturing craftsmanship, they can make the space look better. For example, the “Huan” lamp must be made by an experienced professional to make the welded metal look like a single piece instead of two separate tubes welded together.

What are the advantages of metal lamps in modern spaces?

I think metal lamps can give the space a sense of elegance and grandeur. Metal lamps are relatively more refined. Because of the weight and craftsmanship of the material, the lamp enhances the space, and they complement each other.

▲ Photo Credit : HE CHUAN SYSTEM FURNITURE

Were there any challenges from the design to the finished product of “Huan”?

In the beginning, we wanted to use LEDs for the lamp. But after many considerations, we went with replaceable bulbs. However, the light sources of SEED’s collections are usually invisible to prevent glare. So, we decided to include a diffuser. We had to find a new way to fix the diffuser in place because of how the contour was designed. After several back and forths with the engineering department, we finally came up with the best design that you see now.

Among SEED’s pendants, Huan has a unique color. What was the idea behind it?

When designing Huan, I thought since it is extremely eye-catching due to its volume, maybe I can create a new look along the same lines and venture out of SEED’s main color scheme. So, I chose a low-chroma green because I found that people have been decorating their houses with plants in recent years. There must be some shades of green in the house that will match the lamp. The other color, navy blue, is one that I used before and chose again for this pendant.

How do you feel when you see the “finished product” of your design?

This is always the most nerve-racking moment. Prior to this, we discuss all of the adjustments in 3D, but the finished product is the most important. It is not just about what the lamp looks like; it is also about the lighting atmosphere and the light and shadow that is quite unpredictable. Only when we see the actual product will we truly feel every detail of the lamp. I am also anxious about whether people will like the design. After all, the designer should not be the only one who likes the product. I am always excited to see how people respond to the product when they see it. 

What do you think is the connection between people and lights?

I think a beautiful lighting atmosphere can be therapeutic in everyday life. For example, when I get home from work, I like to turn on the table lamp and leave the other lights off to enjoy the quiet moment. I will listen to some music and write in my diary to wind down from the work day.

Besides illumination, what do you hope your work can bring to those who use it?

The purpose of product design is to improve people’s lives. Take me as an example. We just replaced the old ceiling fan lamp in the house in my hometown with SEED’s lamp. It used to be downlighting, but now it is uplighting. This indirect lighting makes people feel comfortable and want to stay here to chat. We also talk about what furniture can be added to make the place even more comfortable. The warmth of a lighting atmosphere can gather the family in one place and even change the chemistry in the room, and everyone starts to pay more attention to the comfort of the room. So, I hope I can design beautiful lighting atmospheres that can bring people together to experience the joys of life. 

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Designer Portraits | Li, Hui Lun

What kind of designs would you use “glass” as the material of the lamp?

Glass is a good choice if you want diffused lighting in a space. Its texture, the craftsmanship of blown glass (bubbles of different sizes), and even thickness will affect the lighting, creating different atmospheres. It also gives a mysterious, obscure lighting effect. These are all fascinating mediums.

▲ FUJI

When designing “FUJI,” how did you decide on opal glass as the medium of the lighting atmosphere?

I chose opal glass because I really like the light that shines through the glass. It gives a dimly lit effect. 

I select the type of glass based on the lighting atmosphere of the design. As I mentioned in the previous question, different crafting techniques will produce different effects. For example, “sandblasting” and “opal” glass are both matte, but the lighting atmosphere they convey is very different.

What do you think are the advantages of glass lamps?

The light of glass lamps is more muted. Compared to other materials, glass has a softer quality. We put a glass diffuser under some metal lamps to enhance the atmosphere and make the lighting softer and more delicate. Visually, glass can also produce a diffused lighting effect.

In addition, although some customers think it is a flaw, I think it is an advantage, and that is the unique characteristic of blown glass. Every blown glass has a different texture and bubbles that are not seen in metalworking. You can have a product that is one of a kind, which is actually kind of like collecting artwork. So, I have always wanted to change people’s minds about consistency. 

▲ DOU’s illustrations are brimming with creativity.

What are the differences between the way people use lamps in Taiwan and other countries?

The way people use lamps and their need for lamps vary in different regions because of the different latitudes and architectural styles. For example, in areas with smaller residences, the lamps must be as small as possible because there is little space for movement. As for old houses in Europe and America, because of the architectural condition, people like to use portable lamps. They use floor lamps to light up the room, and the brightness they need is also different. Lamp usage in middle to high latitude countries is more about localized lighting atmosphere than total illumination of the entire room. But I am happy to say that more and more people in Taiwan are starting to pay attention to the localized lighting atmosphere at home.

As mentioned in the previous question, would this affect your design thinking?

I would say more or less because SEED’s lamps are sold to many countries. The purpose of design is to meet the general demand, so there are more aspects to consider in design and development. If we neglect the demands and usage, it would sometimes lead to a “waste of design.” For example, equipping a lamp that does not need to be very bright with a light source that is too bright requires higher wattage drivers, which will cause more power consumption. 

We have tried to prevent such waste in the past year, constantly finding a way to maintain lamp quality without causing waste. This is a very interesting process, but it has made designing lamps much more challenging because the entire team, not just the designer, must know all of the details back to front.

Besides the product itself, you also participate in package design. What are your thoughts on this?

I think the key to the success of a product is not just the product itself. From receiving the product, the packaging, the manual to the installation, every step should be a great experience. We want people to be happy when they see the product and when they take it home with them. Each step is a surprise, and these surprises will form connections and memories in people’s hearts when they use the product. This is why I like to follow through with the entire process of product design. 

Every unboxing I have done has become a meaningful memory. These little details make me feel that the product is worth the money,  and it leaves a deeper imprint in my mind. You can only unbox something once. Even if you put it back after opening the package, it will not be the way it was before. This is why the first unboxing ritual is particularly important. We have continued to make changes to our packaging, such as adding a parts kit, because we want to increase customer participation.

What is the purpose and necessity of having good lamps at home? 

I think it is important to have good lamps at home because they give a sense of ritual to life.

There are many ways to create a sense of ritual. Lamps are one of them, and they can change the setting and mood very easily. You do not need to spend a lot of time rearranging the items at home. The color temperature and brightness of the light alone can provide different atmospheres. This is just like the different times of day defined by the sun and changes in seasons marked by the solar terms. It is the same with quality lamps because they can create a variety of expressions in a room. I have three lamps at home, and I turn on each one at different times. This helps me differentiate the times of day at home, and it livens things up, especially during the work from home period.

▲ Photo credit : INDOT Interior Design

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Designer Portraits | Chang, Huan Rou

Why carbon fiber?

Carbon fiber is primarily comprised of carbon elements in a specific molecular arrangement, woven into carbon fiber cloth, and then glued with composite materials to form a high-grade material with impressive strength, high durability, yet remaining light in weight. Being lighter than aluminum, but stronger than steel, it is commonly used in aerospace engineering, ships, racing cars, sports equipment, and other industrial products where performance is crucial. Its softness before molding allows SOL Mega to be molded into a curved body – the pole is divided into three parts, with the diameter changing from thick to thin as it extends, and finally seamlessly joins into one smooth curvature.  A high level of precision is required in this difficult production process.

Every piece of carbon fiber cloth was precisely cut and attached according to the streamlined pole from large to small diameter extending to the arc top, it was then glued into the mold for a smooth curvature. Gluing the carbon fiber clothes requires a critical precision to make sure the seamless metallic texture after composition.

▲ Carbon fibre pole

▲ A ring-like lampshade

Next is the hardening process, inflating the mold by blow pipe while heats up surroundings to shape the pole. It was then polished and lacquered, at last, to be cut by CNC.

Seed-Jack Fasteners

Knocked-down kit into three parts for a more compact package, the pole is designed to be assembled handily with our exclusive Seed-Jack fasteners. The light-weighted carbon fiber pole has also enabled the base staying slim and delicate in appearance while taking the stability in consideration.

▲ SOL MEGA

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Refined process of the interior sandblasting

While sandblasting is usually processed by machine to change the condition of a hard surface efficiently, it would eventually leave unremovable fingerprints on the exterior of the glass shade.  Additionally, the traditional sandblasting method cannot satisfy that uniquely translucent color demand. The challenge exists in the treating of the inside surface of the glass shade from bottom-up through a portable blaster in a limited open space. The coloring process requires a carefully choreographed technique that has been developed by the R&D team in response to the design, in a series of sophisticated calculations and experiments on the factors – the size of quartz sand, and the air pressure – to perform the gradually cloudy MIST lamp shade. 

Although the exceptional craftsmanship of mouth-blown and sand-blasting have made each glass shade so unique that it’s hard to focus on the end result of how the light reflects through glass. At the last phase the R&D team is dedicated to standardize each glass for an ideal lighting effect, by customized jigs and fixtures holding the shade, then gradually forcing quartz sand inside by high speeds using compressed air with the sequence from bottom-to-up, to complete the “MIST”of the shade.

Seize the moment of the flow

Thanks to the skilled craftsmen with years of experience as well as the essence of supreme dedication, the master blowers dip the 1300 ℃ red-hot molten glass with a blowpipe to inflate the glass, all the while, all the while, rotating the pipe speedily and steadily until it gets the intended shape. The solid glass is placed into the glory holes to keep it hot enough for forming. It is then removed to the annealers to slowly cool the glass to prevent cracking. Every process makes each piece of mouth-blown glass so unique due to the beautiful irregularities made by hand.  The end result is extremely alluring and with an added touch of elegance.

▲ MIST LED Pendant

▲ MIST LED Floor lamp

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Strength as well as grace | SOL Mega