Creative Capital: The 28-year-old industrial designer of bags and furniture
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Creative Capital: The 28-year-onetime industrial designer of bags and furniture
Meet Karyn Lim, whose minimalist, sculptural designs are making waves in Milan, Tokyo and other major cities.
Karyn Lim designed this "Gen Sacco" edible bean purse for Italian piece of furniture house Zanotta, and it exhibited at Milan Pattern Calendar week in 2019. (Photo: Karyn Lim)
28 Mar 2022 06:30AM (Updated: 09 Jul 2022 10:22PM)
Karyn Lim, 28, is a young industrial designer to spotter. Having just completed her Master's at Switzerland's Lausanne Academy of Fine art and Design, she has returned domicile in the midst of the pandemic and even so launched her kickoff line of furniture products, titled Cloud.
In the course of her practice, she has too worked with internationally known brands such every bit La Prairie, Samsung and Zanotta.
The enterprising designer as well looks afterward communications at Industry+, a local pattern and manufacturing studio working with many of Asia's best designers.
You can bet Industry+ head honcho PC Ee is paying attention to his PR manager'southward creative output, and it might not exist too far off in the future that Industry+ produces her pieces.
Hi, KARYN. WHAT Made YOU WANT TO PURSUE INDUSTRIAL DESIGN? WERE Yous Ever Creative AS A CHILD?
I didn't always know that I wanted to be a designer. As a child, I was always curious about the "why" behind things, and I would bother adults around me with incessant "why"due south. They were all very thankful when I took my questions to search engines and the Internet. I enjoyed understanding how things worked, why they existed and why we used them. Peradventure this curiosity, coupled with a keen interest in crafts, was a primer to my pursuing industrial pattern. The active decision was only made much later, when I had the opportunity to study abroad with agreeing people from every corner of the globe. I judge you could say that I had met "my people", and wanted very much to stay a office of this international community.
WHAT DID YOUR PARENTS Call up OF YOUR CHOICE?
My family has e'er been supportive. They have never complained about the amount of space I take up at abode with my materials, or the mess I make, especially when working on projects.
Practice PEOPLE GET WHAT YOU DO EASILY OR DO Yous HAVE TO Explicate IN DETAIL?
I discover that using the term "production design", although not all-encompassing, usually helps the layman grasp the thought of industrial pattern more quickly.
HOW DIFFICULT IS IT FOR A YOUNG DESIGNER TO MAKE HER OR HIMSELF KNOWN?
I estimate it actually depends on his or her definition of being known, by whom they want to exist known and more fundamentally, whether they want to be known. I'd say it's not difficult to put work out these days — a self-made digital portfolio is not hard to set up. And social media is pretty much a free resource. Perhaps the real claiming in making oneself known is defining what one should exist known for.
Practice You lot HAVE A DESIGN AESTHETIC OR STYLE YET?
I might depict my work as contemporary and minimalist. Lately, I've been focusing on sculptural objects and projects that piece of work with arts and crafts communities.
IS THERE A WORK THAT You'VE Washed THAT YOU Feel REALLY REPRESENTS WHO You lot ARE Equally A DESIGNER?
It's an quondam one, and also 1 that was borne from lots of hard piece of work and naivety. The Transformation Bags is a series that I developed in 2015. I might take made at least a hundred rough to refined prototypes while trying to understand the system, and streamlining a method of production. It was with this project that I kickoff exhibited in Milan during Blueprint Week, and in other major cities including Jakarta, Hong Kong, Tokyo, and of course, back home in Singapore. This project is besides probable the one that propelled me into committing to design.
OF THE PROJECTS YOU Accept DONE And so FAR, WHICH WAS THE MOST CHALLENGING AND WHY?
My most recent project, Deject piece of furniture, is probably the most challenging to date. Although the pieces are aesthetically simple and minimalist, they were conceived in a time that was quite the opposite. I had returned prematurely to Singapore due to the COVID-nineteen pandemic, and had to conceptualise and produce new work with limited access to materials and without a proper workshop to experiment in. I was holding much uncertainty in my headspace. Producing a physical prototype in Singapore was challenging during the circuit breaker, and I felt a great sense of relief when the project was finally submitted.
WHAT IS YOUR Own Artistic PROCESS LIKE? In one case Y'all Get A BRIEF, WHAT Practice YOU DO?
Ask questions. It'southward of import to me to try to understand the customer's wants, needs and desires. I try to first define parameters, feel out if whatsoever can be pushed or not, and then put together a mood board or draft to capture the intention, and to check that the customer and I are on the same page.
IN ADDITION TO BEING A DESIGNER, You WORK FOR INDUSTRY+. WHAT IS YOUR Function In that location?
I handle communications at Industry+. One might call it a millennial chore as information technology covers a broad spectrum of responsibilities that are not clearly defined. At Industry+, I have been involved in conceptualising and producing pattern showcases including 1KM: Jalan Besar (2017) that was an open-house of artistic studios and retail points inside the neighbourhood; and helped set up an due east-commerce shop fabricated-in-co.com (launched in 2019) featuring selected works of contained design studios.
Volition INDUSTRY+ Soon Exist PRODUCING Whatever PIECES BY KARYN LIM?
Well, Cloud is the offset furniture that I've designed and had made. There are other pieces that still exist as digital files or paw doodles. Industry+ already has some new pieces lined up to be launched. Yet, if I were to receive an order for Cloud, it would nearly likely be produced with ane of our manufacturing partners.
DO You THINK THERE ARE Enough OPPORTUNITIES IN SINGAPORE FOR DESIGNERS LIKE YOURSELF?
I'm an optimist. I believe that there will always be opportunities wherever we are equally long as we go along our noses down and keep doing our work well.
DO You lot THINK Virtually PEOPLE PAY Attending TO WHO DESIGNS THE OBJECTS Around THEM?
I thing I've noticed is that people do care where the objects are fabricated, where they were bought and the brand of the object. It would be just one more information tag to add together onto the marketing information of objects. People will pay attention to who designs the objects if brands and retailers push the information through.
WHAT'Southward YOUR DREAM Project?
If I had the luxury of space and resource, I would honey a shophouse to go on my passions in. It would be a gallery for contemporary design, art, and lifestyle objects on the ground flooring, potentially with some light F&B, and my studio and domicile upstairs.
WHO ARE YOUR OWN DESIGN HEROES, LOCALLY AND GLOBALLY?
In that location are so many! I've always admired the well-counterbalanced compositions of Pierre Charpin. I bask the playfulness and potent technical knowledge in Ingo Maurer'due south lighting designs. I encounter a lot of grace in the mobiles of Alexander Calder. Locally, I respect the work of Hans Tan and his ability to tastefully retain cultural motifs in his porcelain pieces.
DO Bug Like SUSTAINABILITY PLAY A ROLE IN YOUR DESIGN PROCESS OR PHILOSOPHY?
As designers, it is likewise our responsibility to care about the impact that our work has on this earth. Sustainability is always a point of consideration. We can strive towards it only information technology is quite challenging to be entirely greenish in a business that thrives on consumerism. I call up it will accept time for formats to change. I believe that design tin can be a useful tool for positive social affect. In this time of global economic recession, I find it meaningful to design products that can be handcrafted in minor batches past craft communities that demand work to sustain their livelihoods and the existence of their craft.
In 2016, I worked together with an Indonesian friend, Fani Atmanti, to produce a version of the Transformation Bags using wood carved by craftsmen on Nias Islands. We named these bags Omo, borrowing the name from 'omo sebua', which refers to their traditional house that also inspired the flattened course of the bag.
Annihilation Exciting IN 2022 YOU WOULD Similar TO SHARE?
2021 for me is a continuation of everything that had its timeline stretched out by 2020. I'm in talks with a local brand almost a potential project, and will share more once we launch it.
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Source: https://cnalifestyle.channelnewsasia.com/entertainment/creative-capital-karyn-lim-industrial-designer-bags-furniture-250111
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