What does design mean to you, and what role do you believe it should play—based on your experiences in education and various projects?

Design is not simply about creating things that look good. It is a language that connects people and society, and one that proposes new forms of value. Good design must be sensitive to the currents of the time, but also go beyond them—it should contain imagination and propositions for the future. It is a tool that links intuition with thought, a space where creativity and responsibility coexist. Ultimately, design is not about shaping objects; it is about reshaping how we live, reimagining our environments, and redefining the ways we relate to one another.

How do you balance between function and aesthetics, culture and market in design?

Design is the art of balancing between competing values. You can't afford to neglect function or aesthetics, culture or market, technology or humanity. Among these, the most critical element is having an integrative perspective that understands context. The balance point shifts depending on what the design is for. Rather than judging which element should take precedence, what matters is whether the design functions harmoniously within the entire system. Design is both a way of solving problems and a way of responding to questions. The quality of that balance depends on how sincerely we engage with those questions.

In this meaningful 10th anniversary year of the Asia Design Prize, what motivated you to take on the role of Jury Chair, and how do you feel about it?

I believe the Asia Design Prize has spent the past decade documenting the trajectory of Asian design and establishing itself as a platform that connects with the world. Being invited to serve as Jury Chair in such a milestone year carries deep significance. I saw it as more than just a judging role—I wanted to reflect on the future direction of design. It was meaningful to be part of the process that considers how Asian design can find its voice in global discourse and turn that potential into tangible direction.

What criteria or perspectives did you prioritize during the judging process? Were there any notable trends or impressions from this year’s entries?

The most important criterion in this year’s judging process was how each design connects to society. Rather than focusing solely on functional perfection or form, we placed greater emphasis on the context of the proposal and the clarity of its problem statement. Projects that went beyond user experience—addressing the environment, community, cities, or intergenerational issues—stood out. This reaffirmed the idea that design is not just about producing objects, but about presenting social perspectives and initiating change. In particular, the emotional depth and refined sensitivity that characterize Asian design emerged naturally and impressively.

In your view, how should ‘good design’ be judged in the context of a design award? What specific values or qualities do you believe are essential to emphasize in the Asia Design Prize’s evaluation?

Good design reflects its time, yet also carries questions and proposals that transcend it. What matters is not simply solving problems, but the depth of inquiry embedded in the work. Design is the act of creating balance between functionality and emotion, practice and imagination. Naturally, the criteria for evaluation must be multi-layered. At ADP, we also considered the designer’s attitude toward Asian modes of thinking and social responsibility. A key point was how each project articulated its own design language within the tension between tradition and technology, local identity and universal relevance.

The Asia Design Prize aspires to “expand Asian values through design.” From your perspective as Jury Chair, what characteristics and potential did you observe in Asian design through this year’s award?

Asian design is relationship-centered, flexible, and highly responsive to context. These qualities were clearly reflected in this year’s winning entries, and we were able to witness how such traits have the potential to transcend regional boundaries and evoke global resonance. A wide range of experimental approaches is emerging from environments where technology coexists with culture, and tradition blends with innovation. The true potential of Asian design lies not merely in its aesthetics or functionality, but in its distinctive way of interpreting and proposing perspectives on the world.

What kind of platform do you hope the Asia Design Prize will evolve into in the future?

It must go beyond being an award that merely announces winners. ADP should become a platform that connects designers, experts, businesses, the public, academia, and industry. We need an open structure where the future of design can be discussed and practiced collaboratively. I hope the Asia Design Prize becomes the starting point where the philosophy and sensibility of Asian design connect with the world and lead to tangible change.

How do you think the new visual identity after the rebranding resonated with the winning works?

The new visual identity aligns well with ADP’s core philosophy. The visual interpretation of the message “LEGACY BEYOND ASIA” harmonizes naturally with the diversity of the winning works. The iconic ‘A’ shape and the color system serve as visual threads that weave the award-winning projects into a cohesive narrative. I highly value how the brand identity and the judging outcomes are visually and organically connected.

Any advice for designers or aspiring participants considering the Asia Design Prize?

Design isn’t about finding the right answer—it’s about asking the right questions. Trust in your own sensibility and language, and continue refining them with consistency. Rather than being swept up by trends, focus on your own sense of inquiry. Every attempt leads to the next project, and the accumulated experience ultimately shapes a unique worldview. ADP is a platform that supports and connects that journey. I hope you’ll take on the challenge with confidence and your own perspective.