Interview Patrick Kasingsing, with Gabbie De La Cruz
Images Edward Sibunga
Hello, Ed! Welcome to Kanto! I know we are currently at the Ayala Museum because of me, but if there was a place anywhere in the city that inspires your creativity or has a special place in your design journey, where would you have wanted to have this interview?
Edward Sibunga, industrial designer and founder of e/lou furniture studio: Hello, Kanto! Thank you for your time! One spot I find particularly inspiring as of late is Spruce Gallery (An independent magazine store cum gallery space established by designer Ric Gindap and Bonnapart Galeng in 2023). I happen to have some custom-made chairs displayed there, but beyond that, the gallery houses an impressive collection of publications and books from around the world, and as an avid reader, this is practically heaven for me.
Let’s get the basics down pat. Can you tell us about your journey as an industrial designer? Was there a pivotal moment that kickstarted your career?
Sibunga: I studied industrial design at UST, initially aiming for architecture before shifting to advertising arts. Ultimately, industrial design intrigued me because it offered the chance to create tangible products. The program was competitive and challenging; we were taught to mold materials like resin and wood, amongst other things, the processes of which would prove crucial to my development as a furniture designer.
In my fourth year, I participated in design competitions and was fortunate to win the Illuminati Technique Lighting Design Challenge and the DTI Red Box Design Challenge (2014). The latter was especially pivotal; it was an incubation program for young designers, and I immediately jumped into it after graduation. Mentors like respected designer Budji Layug guided us through workshops, helping us refine our ideas and understand the business aspects of design.
Through Red Box, I learned to filter out my ideas and prioritize feasibility, which was essential for my growth. We toured various companies and saw their production processes up close, which truly deepened my understanding of the industry.
Did this lead directly to the launch of your furniture studio, e/lou after graduation?
Sibunga: Yes, but it was a long and gradual process. I started small, using a vacant lot near my house to test the waters. e/lou focuses on highlighting wood as a material, showcasing its versatility through various products. Initially, I sold hand-carved items like spoons and trays at bazaars, which allowed me to understand market demands and refine my craftsmanship. Now, I am primarily recognized for creating chairs, tables, and larger pieces. However, I do not discriminate and continue to explore the formal and practical possibilities that my chosen material, wood, offers.
You count Budji Layug as one of your treasured mentors. Who else has been your mentor, and what key lessons have you learned from these generous folks?
Sibunga: Budji Layug was instrumental; his mentorship shaped my design identity. He provided guidance on everything from aesthetics to branding, which became a core part of my practice. He was quite hands-on, and I felt a genuine investment in his part in preparing us all for our individual design journeys at Red Box. In our group, we also looked up to Jim Torres of metal furnishings studio Zarate Manila, who was just as generous with insights and learnings gained from years of industry experience.
Red Box was in 2014. Have you evolved a design philosophy or approach in your work since then?
Sibunga: When I started e/lou in 2017, my main goal was financial stability, but I quickly fell in love with the handmade aspect of design. Living near a sash factory exposed me to traditional carpentry techniques, especially joinery, which I found inspiring. Using joinery instead of nails or screws makes for more durable pieces and respects the craftsmanship.
As I gained experience, my approach evolved. Due to limited tools, I started with simple shapes, but as my skills grew, I began experimenting with more complex forms. That’s when I realized that traditional craftsmanship is still the best way forward.
Why do you say so?
Sibunga: Joinery is simply more durable. I’ve tested it and now avoid nails or screws, using joineries instead, much like in Japanese-style furniture. Early on, I noticed fewer carpenters in the field and thought: Why not preserve the craft and reintroduce it? In the Philippines, woodworking tends to focus on intricate carving or paglililok, but we often overlook the technical side—the actual construction. I want to help preserve that tradition.
I see; what other factors would you say inform your approach to furniture design?
Sibunga: Obstacles and challenges have shaped my style. Each problem I faced pushed me to find unique solutions, helping make my designs more distinctive. I started with square forms because they were easier to work with, gradually exploring circles and more intricate shapes as my skills improved.
Let’s step away from e/lou for a moment. What’s your perspective on the current industrial design landscape in the Philippines? Are you hopeful about its future, and what do you believe it needs to grow?
Sibunga: I have a few suggestions. First, we need more programs like Red Box. Government projects often change with new leadership, whether at the national level or in agencies focused on design, so we need something more stable and long-term. It would also be helpful to have programs like these available nationwide. Many companies aren’t aware of the industrial design field or can’t afford to hire designers, so creating opportunities for collaboration would bridge that gap.
We also need a professional organization—a formal group that acts as a support system. It could encourage idea exchange and create new opportunities for designers. I know this has been discussed before, but no one has started it yet. Such an organization would be especially valuable for young designers trying to establish their own studios. I’ve been through that experience myself, and it’s hard to set up a studio with your own savings. Having support would make a huge difference.
Our industrial design landscape is still small and not as well-recognized compared to other design fields. Many of my classmates ended up in graphic design because there were so few job opportunities. Still, we support one another. I hope that in the future, the Filipino design community can grow into an even tighter-knit family.
Are there any misconceptions about your field you’d like to address? I understand the public is still becoming familiar with what industrial design entails.
Sibunga: Yes, that of The Philippines only churning out rattan furniture. I feel the local industry remains stuck in the 90s, overly dependent on rattan. While it’s a familiar material, we need to broaden our scope and innovate. Designers require access to a variety of materials and the knowledge to utilize them effectively for growth. Many local designers struggle with sourcing materials, limiting their creative potential. If we only focus on current materials and don’t introduce new, unexplored options, we’ll continue producing the same types of products.
We’ve now broached the subject of materials. You’ve chosen to specialize in wood.
Sibunga: Yes, wood currently provides me with a wealth of material and design possibilities. I primarily source imported wood from Europe and Russia, facilitated by a supplier just 15 minutes from my studio. While it’s three to four times more expensive than local wood, my main concern is the sustainability of our local supply. Much local wood is prematurely harvested, which undermines its durability. Therefore, I prioritize sourcing FSC-certified wood to ensure both quality and sustainability.
When it comes to wood types, I prefer hardwood with minimal grain or straight grains. They are easier to work with and allow for more intricate shaping. Plus, this choice emphasizes the material and the craftsmanship involved in my work.
Are you planning to explore different materials in the future?
Sibunga: Definitely! After eight years of working with wood, I intend to explore new materials as I approach my tenth year. I do believe that it’s vital to understand the materials you work with more intimately first, knowing how they behave to maximize their potential.
Okay, let’s move on to questions on product design, strategy, and business operations. First, can you tell us about your design process?
Sibunga: I let inspiration come organically; I don’t force ideas. I often start by playing with shapes in 3D software, exploring different angles until something clicks. Everyday observations inspire my designs—like the angle of a chair or a random object in a room. One of my chair designs drew inspiration from a basic folding chair.
After I conceptualize an idea, I create a 3D model to assess its practicality. I use tools like SketchUp, and 3D Max for this process, ensuring that the design is functional and visually appealing before moving to production.
Okay, so the design process is organic. What strategy or overarching direction do you have on the kinds of products e/lou produces?
Sibunga: Initially, I focused on custom furniture for clients, but I also began developing my own designs. One chair I designed for a rubberwood competition is finally hitting the market now. Chairs have always fascinated me; they’re challenging yet rewarding to design. The organic nature of the design process means that some ideas can take years to materialize, but they evolve into something unique.
Beyond chairs, is there a specific piece of furniture you dream of creating?
Sibunga: There’s a DIY book by Enzo Mari, the design firebrand widely recognized as the father of DIY. It features various furniture schematics without instructions or measurements—just images. This approach really challenges critical thinking, as even someone without experience can construct the chair.
So more than a furniture piece, I envision creating something similar: a booklet for typhoon victims to easily rebuild their furniture using local materials. After floods, many materials, often referred to as dos por dos, are floating around. It would be rewarding to help people repurpose these materials.
I also drew inspiration from the generous, admirable efforts of Japan’s Ishinomaki Lab, themselves a reaction to the destruction and scarcity that comes after nature’s fury, whose DIY production methods demonstrate that such concepts can be applied anywhere in the world. I am always heartened by these acts of creation and self-empowerment.
Creation is inherently a hopeful act, one that defies the odds and envisions brighter futures. I aim for this to be the meaningful legacy I leave behind.
That’s great! We sure could use something like that. Let’s now hone in on you as a mentor to your team…
Sibunga: Well, e/lou is still a small operation—just me, one apprentice, and two on-call members for finishing work. I plan to expand because managing all aspects, from production to logistics and client communication, can be overwhelming.
But what I could share is that I strive to be an open book to my collaborators. I also do not sugarcoat and emphasize the value of hard work. And that the business we are in requires playing the long game. There is no shortcut to craft if you want to create something you want to be genuinely proud of.
You will also most likely not survive this industry alone. Whether you are the mentor or the mentee, you must learn to be a listener and a team player!
And speaking of team players. Who would you consider a dream collaborator, and what would you like to create with them?
Sibunga: I’ve always been inspired by the works of the late Italian designer Enzo Mari and Japanese architect and furniture designer Keiji Ashizawa. They both have an incredible talent for infusing everyday objects and spaces with an effortless beauty that is approachable and attainable. But if I had to choose just one, I’d go with Keiji!
What would we create? I think it would be interesting to collaborate with Keiji on a traditional boat design! I’d love to merge heritage techniques with modern materials to address the needs of coastal communities. It’s a nice way to connect traditional craftsmanship with contemporary relevance.
What does beauty mean to Edward Sibunga in design?
Sibunga: Beauty resides in the intersection of simplicity and the processes behind creation. I strive to design pieces that appear effortless but carry deep narratives, inviting users to discover their stories. It’s about crafting objects that speak to the essence of their making. I touched on narratives here; I find it beautiful when the objects I use or interact with still sing to me beyond my first encounter with them. That, for me, truly is a mark of a great design.
Let’s now shift gears and talk EMERGE, which will kick off again on September 26-28 in Singapore. You’ve been head-hunted by Suzy Annetta of Design Anthology last year (2023) to show at FIND’s emerging designer’s program, EMERGE. What did your experience exhibiting in EMERGE mean to you?
Sibunga: My first time at EMERGE was an opportunity to gauge how international audiences perceive Filipino designers. I honestly submitted my work without a clear goal, just wanting to showcase what I had created. It was eye-opening, especially with Suzy’s support, as she emphasized the importance of narratives in design. Her guidance helped me see the value of storytelling as a critical component of my work.
Can you give us a glimpse of what you’ll be showcasing at EMERGE this year?
Sibunga: This year’s theme is exploring the concept of “value.” My product, the Nest table, is particularly close to my heart. It utilizes wood offcuts and sawdust combined with resin. The inspiration comes from observing how birds construct their nests using twigs, fallen leaves, and other natural materials, and I wanted to explore this galvanization of myriad objects in a furniture piece using leftover materials from furniture construction.
In crafting this piece, I sought to explore the value of post-production and how the remnants of one process can lead to innovative and practical solutions. I believe the Nest table not only serves as a functional piece of furniture but also as a conversation starter about sustainability and the potential for reimagining waste in our industry. I’m excited about the possibilities this opens for future product lines and how EMERGE visitors will react to it!
Fantastic! I wish you the best of luck at EMERGE alongside your peers, Jasser and Selena! Thanks for your time, Edward! •
EMERGE 2024 will be at Singapore Design Week’s FIND Design Fair Asia, happening from September 26 to 28 at the Marina Bay Sands Expo and Convention Centre.
