P001 - Cosmos
COSMOS 2023. Wood, Brass
COSMOS, modeled upon our universe, is a chair that aims to strengthen the relationship between objects and
humans by exploring non-linear human processes, incorporating tangible fantasy, and creating intuitive interactions beyond cognitive understanding.
The chair is comprised of 400 parts assembled together, blending different styles from different times, and combining digital and analog craftsmanship.
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The mission of the project was to explore the untapped potential of chairs, to celebrate the idea of making as a way of shaping the world, and to evoke a sense of connection to our world.
To achieve this, I created a chair that incorporates elements of the universe, such as the sun, tree, flower, cloud, sky, and stars.
P002 → HBB
HBB 2022 ,
Polypropylene
HBB is a human-shaped block toy designed
for children 3 and up. Kids can actively learn
the value of collaboration and interdependent
through connecting blocks and creating their
own narratives.
The concept for this modular block toy originated from the simple yet powerful idea that "No one stands alone." Embracing the notion of collective strength and collaboration, I set out to create a block shaped like a human figure—a tangible representation of our interconnectedness and ability to achieve more together. Through a series of meticulous iterations and many testing, I fine-tuned the design to offer maximum versatility.
P003
Monitor Stand 2021, Zelkova, 22x10x5(in)
Monitor Stand is made by Yang Seok Jung, who is a certified national artisan specialized in furnitures in Korean tradition. And the piece is certified as a national cultural heritage by Korean National Intangible Heritage Center.
P004 → Monitor Stand(M.H)
Monitor Sand 2022, Valchromat, 22x10x5(in)
This version was to make more accessible product for broader demographics to promote Korean-style furniture.
I took different colors of pulp composite board to emphasize the traditional joinery. Then, I used CNC to precut pieces and used the traditional way of hand assembling.
At the outset of my project, I grappled with questions about how to ethically draw inspiration from Korean culture as a designer, without simply exploiting it. I pondered on ways to ensure accessibility to this inspiration and how to collaborate respectfully with masters who have diligently preserved Korean techniques and traditions despite the country's rapid Westernization over the past 50 years. As a young industrial designer trained in the US, I questioned my role in this context.
What struck me most profoundly was not only the aesthetic appeal of Korean furniture, but also the rich cultural significance embedded within its craftsmanship. I was moved by the perspective of viewing furniture as an integral part of the family and the meticulous efforts dedicated to ensuring its longevity across generations.
My experience working alongside Master Yang was truly meaningful. Together, we explored avenues to uphold the essence of Korean culture while contemporizing its appearance to resonate with modern lifestyles. Master Yang's wisdom resonated with me when he emphasized that tradition is not stagnant; rather, it evolves in tandem with the passage of time.