DESIGNER
Rosie Li
MATERIALS
Brass, Steel, Glass
Location
Brooklyn, NY
Type
Studio Visit
Contact
In recent years, the field of psychology has recognized awe as its own distinct feeling—a feeling that soothes the nervous system, promotes self-awareness, strengthens social bonds, and is most often elicited by art and nature. Rosie Li, whose studio is rooted in a mindful appreciation of both nature and science, knows this feeling well. The Brooklyn-based lighting studio creates forms best described as a collection of homages: the iconic Gingko chandeliers, iridescent Bubbly lamps, and geometric Stella sconce all paint a clear picture of her inspirations. Rosie and her team make good on their mission to develop lighting that makes our spaces a base of comfort, appreciation, and connectivity; by evoking awe in our daily lives.
Our visit to Rosie’s studio offered a glimpse into the personal values behind each lighting piece. The collaborative, careful craftsmanship is apparent from the start, led by a small team of talented artisans under the direction of Rosie and her partner Philip Watkins. Most pieces are custom commissions, a natural outcome given that each work is fabricated in-house with a unique story for every client and no corners cut. What stands out most is the finishing, which varies from brass to blue salt copper patina, adding a distinct touch to each creation. Hear more from Rosie herself about her creative process and story below:
How did you get started? How would you describe the phases of your career so far and what you needed to learn to get from one to the next?
I graduated from RISD in 2011 with a BFA in Furniture Design and knew I wanted to work in the design industry. After licensing my first lighting design to Roll & Hill, I was hired by Jason Miller to work in his studio and at Roll & Hill, which eventually became my full-time job. I developed my piece, Stella Triangle, for production, and it launched at Salone del Mobile in 2013.
You majored in furniture design. What drew you to lighting in particular over pure sculpture or chairs or tables?
We experience light with such nuance. I enjoy working with light as a material, focusing on not just the illumination point but also the reflected light from the fixture, how it casts a glow into the space.
I’m into the idea of creating moments of wonder and transformation. You don’t get that as much with static objects like chairs or tables. The instant activation that comes with turning on a lamp always delivers a ‘WOW’ moment.
Your first product was the Stella Triangle which was picked up by Roll & Hill. Could you describe how that happened and what you learned from your time working there?
At Roll & Hill, I was introduced to modularity—designing with interchangeable parts. There was a focus on creating systems for reconfiguration, which could adapt to suit specific spaces. It reminded me of nature—how simple building blocks become the foundation for complex forms.
Could you describe how your partnership with Philip Watkins started and how that relationship is now? How has it evolved over time?
We started as co-workers at Roll & Hill, and he was actually my manager! I didn’t expect us to cross professional boundaries, but one day he brought in a rare design book that he thought I’d like. The book really resonated with me, and that’s when I realized there was something special about him.
Over the years, our roles as designer and engineer have evolved with less division between the two. We push each other to anticipate design and engineering challenges, which can be painful but ultimately results in a stronger, more refined product.
Could you give a rundown on your process from start to finish for a custom piece? What sort of things do you communicate with the client and then what are the steps to creating the final product?
Clients usually come to us with a specific series in mind (e.g., Ginkgo, Bubbly), and we ask for rough dimensions and thoughts on shape. Custom pieces are based on our existing lines, so we’re building upon our current collection.
Since these pieces are often site-specific, we start by reviewing the space—looking at entry points, how people circulate, and the interior finishes. This helps us understand the vantage points and how to position the fixture.
Next is hand sketching—top views, side views, and perspectives. It often takes several rounds of sketches to find the right direction. We’ve found that during this initial stage, clients respond better to hand sketches rather than computer renderings, as it leaves room for interpretation while fine-tuning the design.
Then comes the technical side—we model the designs in 3D, use SolidWorks for engineering, and work on prototype frame assembly. It can take several rounds of prototyping to finalize the frame.
How has your role as a designer changed as your team and studio has gotten larger over time?
As an artist, my role is to transform ideas and materials into beautiful, functional objects.
As a designer, my goal is to execute my initial vision with as few compromises as possible. Of course, compromises are part of bringing a product to life, but I thrive on that challenge!
The vast majority of your work is made to order/custom pieces. Is it important to you to make custom pieces versus premade ones?
In the past, there was more of a focus on custom work, and I embraced each commission as a learning opportunity. This mentality challenged me to keep expanding our design language and capabilities.
When you take on custom work, the market essentially dictates the product, which accelerates design evolution. We’ve pitched numerous iterations of our branching Laurel and Ginkgo series and now have a solid grasp of what shapes and price points resonate with clients.
Designers get asked all the time what their inspirations are. But you take a lot of inspiration from nature or from science, ie: processes such as creating a patina using ammonia + salt + copper. How do you conduct the research required to constantly innovate?
You have to go out into the world and immerse yourself near sources of inspiration! I like to walk around, take in buildings, and notice details in interior settings and architecture.
The blue salt finish you mentioned was inspired by Damien Hirst’s Treasures from the Wreck of the Unbelievable installation. This finish is applied to our copper Inez palm shades, whose form was inspired by Anish Kapoor’s Halo sculpture.