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Missing Julie Frame Installation by Naai-Jung Shih |
Home > Winners > Design #63771 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
NS: The inspiration came from the symbol of wishes and tears. It is an expression while people looking out of a frame to wait for someone to return. Various types and sizes of glass spheres are used as a symbol of wishes and tears to imply the emotion that possible hides inside.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
NS: Put this installation in front of a window panel or in an open field and you can see it changes as the weather changes. The transparency of spheres is clear enough to illustrate it. This installation can also be placed in front of a white wall where sunshine can reach to project different transparent levels of shadows onto the wall. It is also recommended to be placed behind a frosted glass or even a tracing paper to see the illusion effect.
FS: What are your future plans for this award winning design?
NS: Promote it, sale it, or keep developing it in different scales, materials, or under different themes.
FS: How long did it take you to design this particular concept?
NS: This project started in 2016 in Taipei Taiwan, with a long period of time in collecting design components from local flea market.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
NS: This design is not commissioned and acts as a pursuit of an inspiration.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
NS: This design was not produced or used by another company. To sell or lease related production rights are welcome, although I prefer to produce this work myself.
FS: What made you design this particular type of work?
NS: The re-interpretation of geometries and spaces is always the most fun part in my design process. This is a pursuit of a form that connects realistic photo images and metaphors.
FS: Where there any other designs and/or designers that helped the influence the design of your work?
NS: No other designs and designers that helped the influence the design of my work.
FS: Who is the target customer for his design?
NS: The potential target customers include interior designers and architects to be added as part of design or decoration, or for private collectors for personal collections.
FS: What sets this design apart from other similar or resembling concepts?
NS: There might be design with similar concepts, but it’s the manner of interpretation in terms of configuration that makes difference.
FS: How did you come up with the name for this design? What does it mean?
NS: This naming process took a straightforward approach. The name “Julie” came from my former design “Billy Julie” as an echo of potential theme that might be shaped in the future.
FS: Which design tools did you use when you were working on this project?
NS: The form was explored manually. No specific design technology was applied.
FS: What is the most unique aspect of your design?
NS: The steel frame symbolizes the presence of an eye as defining the boundary of emotion. The boxes are containers for different parts of memory. The emotion given by a person can be different from the way it is perceived. Different types of glass spheres are perfect to serve this purpose. The outdoor scenes are distorted and oriented upside down as look from the other side of the glass spheres. The springs are eyelashes as for the representation of eyes with the combination of glass spheres.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
NS: Nobody collaborates with me for this design. I paid a technician to remove the rust and to paint the steel frame for me.
FS: What is the role of technology in this particular design?
NS: This installation was made by manual assembly. The proposed locations were photo-montaged with background photos taken by myself.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
NS: A study of lights and shadows was made before. A conclusion was made for the best result comes from transparent or semi-transparent materials. The shape or layers of transparent objects can be well-organized in order to contribute a desirable final effect.
FS: What are some of the challenges you faced during the design/realization of your concept?
NS: The challenge had twofold as in metaphor and in creation process. The metaphor has to use flea market collection of glass spheres for different appearances. The symbolization of moving eyes was made by springs as eyelashes in different curves and orientations for distinguishing gestures. The production has to keep the balance of weight and transparency. The bubble-like spheres need to be like floating in the air. Several versions were made with or without frames. Even small modules of frame and glass ball were developed.
FS: How did you decide to submit your design to an international design competition?
NS: It is a self-promoting or self-evolving process to become part of an international design competition.
FS: What did you learn or how did you improve yourself during the designing of this work?
NS: A design work was improved through stages of development in a recursive loop of examination under different scales. That’s why some design works were made more than one year.
FS: Any other things you would like to cover that have not been covered in these questions?
NS: There is always issue to be addressed. Let’s keep it open for next year or next competition.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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