Innehållsförteckning för #22 från Design Anthology, Asia Pacific Edition

Most of you will be familiar with South Korea’s major exports — skincare products, street fashion, powerful tech and automotive corporations, and K-pop — but you may be less au fait with the country’s burgeoning creative community, and the nuances that differentiate Korean design and architecture from that which originates beyond its borders. Often the underdog to former colonial ruler Japan, or overlooked in favour of its more populous and powerful neighbour China, the country has survived war, poverty and political upheaval. Despite, or because of, these challenges, the South Koreans are a proud people — and my feeling is they have plenty to be proud of. This issue opens with an essay by repatriated resident Inès Cho, who explains the origins and history of Korean aesthetics, providing a lens…

[UN]Precedented Pyongyang by Dongwoo Yim, edited with Jelena Prokopljevic and Rafael Luna (Actar Publishers) It’s a rarity in urban planning to have such a clear case study of a large modern city built to a particular principle. But the devastation wrought on North Korea during the 1950–53 war, when all of its cities were levelled, gave its citizens a tabula rasa for their capital, which they rebuilt based on a socialist model. This work draws together the threads of this development, interpreting the urban fabric through its physical structure (‘the most neutral lens’), providing demographic information, maps and data-driven comparisons with other cities as it delves into past, present and future, fulfilling author Yim’s vision of the architect as ‘historian and futurist at the same time’. As Yim argues, the…

A group of Korean artists, some established and others on the rise, is reinventing the centuries-old craft of ceramics through bold ideas and innovative techniques. Kwon Dae-Sup, now in his late 60s and one of the country’s best-known artists, changed direction from painting to pottery in 1978, when he discovered a white porcelain moon jar dating back to the Joseon Dynasty in an antique shop in Seoul. Since then, he’s dedicated himself to the craft of making these everyday-turned-art objects, which have their origins in the 17th and 18th centuries, producing only four to six pieces each year due to the dedication involved in creating each one. To master ceramicist Lee Hun-Chung, represented by R & Company in New York, it’s essential that the creator enjoy the process of making…

In the digital age, a ‘book city’ may sound like an anachronism — perhaps a quaint place full of little shops with crammed shelves where a dwindling tribe of bibliophiles browse to their hearts’ content. How surprising, then, Paju Book City might prove for the first-time visitor. Just a few kilometres south of the demilitarised zone separating the two Koreas, the book city is a meticulously planned realm of multi-lane roads and sprawling buildings that prod at the boundaries of contemporary architecture. This last bastion of print has one foot firmly in the future. Despite its hyper-modern veneer, the city has been a work in progress for decades. First conceived in the late 1980s by a group of publishers who were chafing at the constraints of South Korea’s fast-growing capital,…

At first glance there’s little to relate the practices of two of Korea’s leading artists, Do Ho Suh and Kim Chong Hak. And why would one attempt this exercise in the first place? The art world’s categorisation of creators by cultural demographic is arbitrary at best; we label artists by their countries of origin in order to encapsulate a collective experience as much as simply needing to assign them some sort of prefix adjective, to differentiate one from another. Known as the Korean Picasso, 82-year-old Kim has always worked in two dimensions: painting and sketching. Suh is known for his large-scale replicas of his past homes. The former hails from the school of abstraction, though his distinctive style lies somewhere between formless and figurative. The latter’s recreations are strikingly realistic,…

The work of neither an acclaimed architect nor an interior designer, this four-storey home in the Cheongdam neighbourhood of Gangnam couldn’t be more different from the luxury fashion stores, high-end cosmetic surgery clinics and myriad glass facades that line its neighbouring streets. In this mixed-use home, aside from the standard amenities it’s bespoke jewellery and tailored clothing you’ll find — a refreshing break from the uniformity that comes with high fashion and off-the-shelf chiselling and plumping solutions. The house was conceived by fine jewellery designer and family matriarch Becket Park for herself, her design professor husband and product designer son. Below the top two floors of living space, however, are Park’s jewellery atelier on the first floor and a bespoke tailor on the ground floor. ‘Most Koreans live in box-like…

While the Reed House’s gabled, pine-clad form was inspired by the hanok, a more thorough inspection of the thoughtful detailing and sophisticated composition shows it as a contemporary construct. This amalgamation of old and new represents the approach of its designer, celebrated Korean architect Seung H-Sang, who founded his firm IROJE Architects & Planners in 1989 and has since built up a body of work defining modern Korean architecture. Nestled among birch trees on a peaceful riverside in Yangpyeong, the Reed House belongs to the CEO of an advertising company and an artist, offering respite from the intensity of the former’s endeavours and at the same time a productive foil for the latter. Seung not only created a house for them, but an entire ecosystem. The house’s name refers to…

BendangArtisan, Kuala Lumpur It’s not surprising that ceramic artist Rozana Musa grew up playing with the clay from a riverbed behind her grandmother’s home in Malacca. Fast forward to today and Musa’s brand BendangArtisan’s new space now occupies a former grocery store owned by that very same grandmother. Established in collaboration with designer Imaya Wong, the brand offers several collections of ceramic table and homewares, as well as bespoke items for commercial clients. Each piece starts with a specially made clay that is either moulded or hand-shaped and then finished by hand in unique glazes and finishes — the results of Musa’s passion for experimentation. @bendangstudio_official Rimadesio, Hangzhou In collaboration with local partner The Madison Group, Italian brand Rimadesio recently inaugurated its third showroom in China. The 200-square-metre space in…

The notion of ‘Koreanness’ in modern Korean culture has never been more appreciated than it is now. What was once dismissed as a thing of the past has been brought back to life — minus the systems that made the country poor, beliefs that separated men and women, and customs that hindered progress towards modernity — through creative endeavours, individual and collective. But the question of how exactly to define Korean aesthetics and recontextualise the Korean tradition in contemporary life has challenged the arbiters of Korean culture and arts, who, like ordinary citizens, are accustomed to Westernised lifestyles. One of the most referenced tropes in Korean culture and arts today is the reinterpretation of the Korean tradition with modern sensibilities; indeed, critics point out that the term explains just about…

The old Korean saying ‘A decade changes mountains and streams’ might be the best way to explain the state of the country’s design scene. The current generation of Korean designers, most of whom are under 40 with their own practices, has played a pivotal role in the country’s design movement. A number have exhibited at international design events and captured the attention of global media. Now they’re working with influential brands like Hermès and Iittala, as well as Korean multinationals such as Samsung and Amorepacific. Interestingly, many of the designers attribute this sea change to one person in particular: Kwangho Lee. Lee, now 38, has proved that a Korean designer can draw global attention to their generation. His Knot series of light fittings was introduced on foreign stages and acclaimed…

Hotel Hendricks — New York A few steps away from Manhattan’s Bryant Park and the Fashion District,contemporary luxury with an industrial, raw edge is on prime display at Hotel Hendricks. The modern luxe interiors by LA-based interior designer and architect Marcello Pozzi offer a sleek palette of bronze, malachite, polished copper and exposed concrete as well as custom furniture handmade in Italy. The 27-storey hotel features 176 guestrooms, a rooftop bar, a Latin-themed restaurant and striking views of the Empire State Building from its Midtown location. JW Marriott — Qufu Singapore’s LTW Designworks has married ancient heritage and modern luxury in the birthplace of Chinese philosopher Confucius. Located next to the Temple and Cemetery of Confucius, a UNESCO World Heritage Site, the hotel echoes the ancient city’s vernacular of columns…

Origin Singaporean designer and brand maker Gabriel Tan first visited Portugal in 2014 on holiday, with the intention of exploring the landscape and beaches like most tourists do. Instead, he ended up discovering the workshops of local artisans and the country’s rich history of working with ceramics, glass, wood, textiles, leather and stone. From these encounters, Tan saw the opportunity to create a collection of contemporary objects by international designers working in collaboration with Portuguese artisans. The designers include Tan himself, Rui Alves, Pauline Deltour, Nuno Grade, Hallgeir Homstvedt, Ladies & Gentlemen Studio, Zoë Mowat, Hugo Passos and Suave. ‘Origin aspires to bring a greater sense of tactility back to everyday life and deepen the relationship between people and their objects. Materials that are rough in texture, with natural imperfections,…

Moon jars (dal hangari) date back to Korea’s Joseon Dynasty, a period when closed ports isolated the Confucian nation from foreign influence. At the time, the spherical white jars existed as simple household objects for storing perishables. Centuries later, in 1947, potter Bernard Leach gifted his moon jar (made by an anonymous Korean artisan and purchased from an antique shop) to fellow pioneer of modern British ceramics Lucie Rie with a note that read ‘Keep the Corean pot in memory’. Most porcelain objects from the Joseon era are unmarked, since an appreciation of ceramics’ aesthetic qualities didn’t yet exist, and ideals of beauty in frugality, modesty and pragmatism were prioritised over design. ‘For a modern ceramicist like myself, it’s not only about safekeeping the techniques. I remind myself of the…

Laundry racks. Scraps of leather. A tree trunk, a burlap sack, a coil of barbed wire. None of these objects are associated with high art, and yet some of Korea’s most respected artists utilise them as readily as others might ink and paint. For each, this choice in medium is a measured undertaking that speaks to their individual practice. Berlin- and Seoul-based artist Haegue Yang is renowned for integrating the everyday into her fantastical sculptures, whether it’s Venetian blinds, fans and humidifiers, lightbulbs, tin cans or even envelopes. Her practice of incorporating the mundane can be traced back to Storage Piece (2004), one of her most seminal early works, which was the result of a conundrum she faced when an exhibition of hers ended and she had nowhere to store…

K-pop star PSY made southern Seoul famous the world over with his catchy Gangnam Style. Here, iconic architecture, gleaming glass facades and high-rise towers dominate the skyline, while wide boulevards and ubiquitous international brands form a repetitive pattern at street level. But for all its swank, the commercial heart of the city is missing a certain je ne sais quoi — one that can be found in Gangbuk, on the northern side of the Han river. In the Korean capital’s cultural and historical epicentre, narrow stone-paved streets lined with traditional hanok dwellings meander around some of Seoul’s sprawling ancient palaces, protected by the nearby Bukhansan mountain. It was precisely these characteristics — low-rise, walkable and close to some of the country’s foremost art galleries — that attracted designer Teo Yang…

Seoul-based Korean fashion designer Lie Sangbong’s headquarters can be found in the affluent Cheongdam district in the heart of Gangnam. Unlike its northern counterpart Gangbuk, Gangnam is built on a systematic grid-like foundation. And whereas Gangbuk is characterised by pastoral sidewalks and familiar landscapes, Gangnam is dominated by congested roads, making for a cold and exclusive cityscape.It’s the archetype of a global city where gargantuan industrial complexes abound, backed by development capital. Having emerged solely out of economic logic, Gangnam’s commercial architecture fails to create the social dialogue or urban public value that architecture should. It’s within this context that Lie called on fellow Seoulites Unsangdong Architects Cooperation, led by Jang Yoon-Gyoo and Shin Chang-Hoon, to reinvent an existing commercial building into his new offices. The result is a new…