Since founding Studio Juju in 2010, Singaporean designers Priscilla Lui and Timo Wong have quietly redefined the language of contemporary design with a playful elegance that’s all their own. Known for creating objects and spaces that speak to emotion as much as function, the duo’s work is infused with subtle whimsy and a sense of calm, whether it’s a piece of furniture, an installation or a full spatial experience. From their award-winning The Rabbit and the Tortoise collection to the charming wall sculptures at Tampines MRT station in Singapore, their designs invite reflection, joy and human connection. Their first solo exhibition “Likeables” explored the idea of conscious consumption, showcasing furniture and art pieces that encourage long-term emotional bonds, while their newest venture, O Design Office, expands their mission to spatial and experiential design – further expanding their ability to touch lives through built environments. With a growing list of accolades, Lui and Wong are leading a new wave of emotionally intelligent, human-centric design in Asia and beyond. I sit down with them to discuss the beginnings of their joint practice.
Tell me in which year you were born, about your background, your parents and what your childhood was like. How, when and why did you realize you wanted to build things and get into design? When did you join forces?
Timo Wong: I was born in 1982. At about nine years old, I discovered an interest in the arts while in school. My art teacher would hand me more materials to explore, and I always looked forward to art lessons. My father used to be a florist in his youth, and he draws pretty well. I don’t know if there’s any influence from there, but I learned to take pleasure in creation and drawing. I was quite a late bloomer in many aspects of my studies and education, and somehow design led me to find deeper meaning in many things.
Priscilla Lui: I was born in 1983. I had a lot of freedom in my childhood. My parents never imposed their expectations on who I should be and what I should do. I was outdoors often, and had always done some art since five years old. But I did sciences in secondary school and struggled immensely, realizing the only class that I enjoyed was art. So I made the decision to only do arts subjects for college. Studying literature and art then exposed me to how I could experience imagination and emotions through words, drawing and sculpture. It also introduced a sense of problem-solving in a three-dimensional way. After college, I felt I needed to do something physical and tactile, and that’s how I wanted to do design in university.
TW: We met at the Design Incubation Center when Priscilla joined shortly after graduating from the industrial design program at the National University of Singapore, and I joined after a couple of years working at design consultancies.
Can you tell me about meeting at the Design Incubation Center and share the story behind the founding of Studio Juju in 2010?
TW: At the Design Incubation Center, both of us were tasked to work on Objects Around the Tablescape, a design label of tabletop objects that explores materiality and concepts that evoke emotions and push the boundaries of objects’ existence. Right out of school, Priscilla was fresh and unbounded in her design thinking, while I, having worked for a few years, had some experience in the processes of design-making and technicalities. We both worked extensively on the collection under the direction of Patrick Chia, the director of the center at that time. It was after two collections of Objects Around the Tablescape that Patrick encouraged us to participate in SaloneSatellite, a section at the Milan Furniture Fair that showcases young designers’ works across the world. One day, as we were discussing how to share and section the booth space at SaloneSatellite, Patrick overheard and suggested to us to collaborate in the showcase as a singular entity instead of designing separately and presenting in the space. The next day, we registered for the booth space as Studio Juju. We would spend extra hours in the workshop designing and making prototypes for the showcase. We participated for three years consecutively, and in the third year, Studio Juju won SaloneSatellite’s Design Report Award. The same year, we were selected by Design Miami/ for the Designers of the Future Award, where we were invited to create an installation during Design Miami/ Basel in Switzerland. Having left the center after the second year of participation, Patrick continued to support us. He remained a mentor and a friend.
What is it like working together, and how do you balance your roles?
TW: We have very distinct complementary abilities when it comes to work, and it’s a lot of trust and understanding. At some point, we felt like we were working as one person. We like making decisions together, we like attending meetings together and we like sketching together. We make better decisions and design better when we do it together. We are also partners in life, so we do a lot more things together like parenting and chores.
PL: Most of the time, one of us might initiate the idea, then we build on it together. I tend to dream up the initial process, but not always necessarily the initiator, perhaps building inspirations, materials and experiences in loose forms, while Timo takes the lead in pulling all these together to realize the development through technical details and processes. It is very collaborative because we discuss daily. Both of us are also very hands-on, so we enjoy making prototypes. We visit factories and workshops to see how they work, and we enjoy this process of learning from the engineers and technicians.
What was your path to success like? What was your breakthrough project that earned you recognition from the design community?
TW: We had an early boost in our career when we won an important award, which was Design Miami/ Basel’s Designers of the Future Award, based on the body of work we created during the first three years of Studio Juju. We are very thankful for that. Shortly within the same year, we were commissioned to create a permanent art installation for one of the Downtown MRT line’s train stations in Tampines, Singapore. It is titled “The Big Round” and “The Tall Long”, a pair of sculptures at each end of the station’s platform. It took about seven years to materialize together with the building of the station itself, finally unveiled in 2017. It was a manifestation of the way we view the relationship between humans, objects and space. Both shapes seem to connect commuters to the vastness of the station, making a reference through the space they can fill. We have no idea what project in particular earned us recognition. However, we get people telling us that our works are simple yet not banal, or “Oh, this is very Juju.”
How has your partnership as designers evolved over the years, including the founding of O Design Office in 2023?
TW: We started out naive yet very willing to learn and unlearn. Together, we saw and experienced the design world from wider perspectives when we traveled for design events. We both have our differences in strengths and views yet we are able to converge in resolution. We developed empathy for each other, and share a common sensibility in design. Over the years, we worked on various scales of design projects and commissions. From furniture design to art installations, spatial design for offices to experience creation for a bank, we were open to all design opportunities that involved three-dimensional creation and designing for emotional resonance. The diversity of projects led to the founding of O Design Office to focus solely on the growing area of spatial design. In other words, we are now recalibrating the focus of Studio Juju.