The idea of Whatever You Say is simple: others’ words sometimes hurt people. Whatever You Say is a giant wooden gun, which generates a short uncomfortable low frequency sound when anyone stands in front of the work. Whatever You Say with two barrels represents the power of spoken words to damage or injure through sound alone. - Hye-yeon Nam



Inspired by ultrasonic weapons used by military and police forces, "whatever You Say" is an installation that produces low frequency sound. The sound is generated for two minutes every ten minutes when an audience is detected. It is felt as vibrations and intensifies as a person stands closer to the piece. If language is increasingly the soft power employed by pop stars and politicians then "Whatever You Say" is a visceral reminder of the raw physicality of sound itself. - Inmi Lee

Credit :
Hye Yeon Nam   Inmi Lee

Haze chair, 1220 x 580 x 400 mm,  lightly coloured resin

Basic geometric shapes seem to define Wonmin Park's Haze Series. The entire object gives the impression that it unveils itself in front of us through the opaqueness of its parts. But our perception deceives us when we think it begins and ends there. Each Haze object carries within it a dissymmetry of form hidden from sight. A dissymmetry of form that is balanced out by the colours created in the unique casting process that gives birth to these objects.



Haze chair, 1220 x 580 x 400 mm,  lightly coloured resin



Haze table low / white, ø 720 x 40 mm,  lightly coloured resin




Haze table, ø735 x 740mm, resin

Haze table long low , 1220 x 580 x 400 mm,  lightly coloured resin



Haze series

With its combination of form, colour, opaqueness and texture the Haze series is a balance of rationality and the self in a life where the former often dominates to the detriment of the latter. Wonmin Park's Haze series perfectly positions itself between the substantiality and insubstantiality of life.

Wonmin Park

Sannaedeul Children's Centre was the most precious place for children from low-income families in Maryang, a small seaside village located at the far southeast end of the Korean peninsula. It was the only playground, learning arena and shelter for the children. The centre acted as another home and community in which they shared and grew hopeful dreams with one another.



However, the dreams seemed to have ended when a devastating hurricane hit the village last summer of 2012. The centre was totally destroyed and left with nothing. Only to find the rubble of the building, the children still came to the site everyday after school and played on the ruins of what once was another home of theirs.

Fortunately, the news was heard by Korea's major broadcast "SBS" and "Childfund Korea" who agreed to sponsor and launched the project of rebuilding the centre. Many other public and private companies also joined the project, giving a momentum to build the children's dream again.

The clue for design was found among the pictures of a new centre drawn by the children themselves. The strategy had to be clear. It was to create various and plentiful spaces by repeating and transforming a simple "house-shaped" space suggested in the children's drawings. Necessary programs were to be embedded into that volume. Then, they had to be connected with and divided by one another by the needs as well.



As a result, the centre could have a dynamic-shaped roof by the aforementioned repeated and transformed house shapes. The roof shape has created a plentiful inner space and diverse expressions of exterior at the same time. The overlapped roof has also brought up the image of the sea waves to the children of Maryang, the fishing village. To further stimulate children's imagination, we also installed fish-shaped instruments and blue lightings under the ceiling, giving the image of swimming fish.

The center was aimed to have bright and warm interiors by getting enough natural lighting of the seaside through wide windows. The multi-purpose hall of a ground floor was extended to open outdoor space. And the study room on the second floor was connected to a terrace with a slide on which the children can play, looking over the most beautiful seaside view of the world. We hoped that there is no border between inside and outside space as well as playing and studying for children in the centre.

Architects: JYA-RCHITECTS
Location: Gangjin, Jeonranamdo, South Korea
Year: Oct.2012 - Jan. 2013
Area: 223 m2
Structure: HM
Interior: SM interior
Exterior: team of Ra Kwonsu
Window: WIT
Lighting: SAMIL / LIMAS

JYA-RCHITECTS

The Poke Stool, 2013
Photography: Stephanie Wiegner

The Poke is made in Finnish natural birch and oak. The stool is finished with a hard wearing lacquer to create a solid and smooth surface to make stacking and unstacking work effortlessly.

Oneness, collaboration with Hironori Tsukue, 2013
Photography: Stephanie Wiegner

Oneness is an extendable furniture system that consists of a chair and a low table as the core elements that are able to be combined into a open-standing shelf when stacked. The shelf can be extended vertically and horizontally by adding more chairs and tables, shifting the overall geometry and creating new relationships.

The character of Oneness changes with use. As a low table and a chair it offers a relaxing space to people, but when stacked as a shelf it is a place for our everyday objects. The multifunctional purpose and extendable system can enrich a variety of spaces from office to home, through its simple, combinable and modern form inspired by the fusion of East Asian and Scandinavian design.

Oneness is light, built with a Finnish natural birch plywood to make it easy to move and encourage people to compose their own structures easily. The structure is fixed by connecting each element with a clip inserted in to small holes found on the corners of the chair and table. The chair also has a secret space. When the chair is turned upside down to make a shelf, it reveals a hidden space on the bottom of the back for books and other small objects.

Chair Dimensions: 410 × 410 × 805 mm
Table Dimensions: 410 × 410 × 430 mm

kyuhyung cho

Pine bus

This was just created by using a plain pins that had a round-shaped head.
I expressed fruit, a bird, a p erson face etc, by painting the pin head.



Pine woodpecker

Also that can be expressed as a planet, by using a candy's stripe pattern or mixed color.
These can be used to stick and fix a memo or accessories on the wall.
Just as the space created by pins expressed as a planets, it will be interesting to create a small space by using the pins.  

The pin name "PINE" is pronounced like a "FINE" that used at the ending scene of french film. So, it gives the feeling that something finished by being pinned. ending scene of french film. So, it gives the feeling that something finished by being pinned.

Junghye Park

The HND-9 is the ninth concept model developed by the Hyundai’s design center in Namyang, Korea. The vehicle, with its dramatic, long hood and wheelbase, has an overall length of 15.4 feet, width of 6.2 feet and height of 4.4 feet. The wheelbase measures in at 9.4 feet.

Combining classic rear-drive coupe proportions with a modern and somewhat unique look, the lines of the HND-9 underscore the high performance image of the vehicle. Sophisticated details and premium materials, meanwhile, solidify the upmarket look Hyundai is rapidly adopting.

Key details include fluid surfaces, character lines stretching the length of the vehicle, voluminous proportions and a wide, hexagonal-shaped radiator grille. Moreover, butterfly doors, sculptural rear combination lamps, and dual tailpipes placed on both sides, give the car a sleek, futuristic look. The wheels are 22-inch light alloys that feature carbon elements to help reduce unsprung weight.



I have recently started a side project of conceptual pieces, ranging from sculptures to installations. Here is the first of the series called Frames. The piece is composed of a simple white frame and is attached to glass windows of Art Center College of Design without any visible fixtures. Putting a frame on an existing windows has a number of interesting phenomenas.



First of all, it passively lures viewers to look where they normally wouldn't have. Secondly, the frame creates a visual trick in exaggerating depth. I've heard people say, "Wow, it looks three dimensional." Obviously, everything you see is. It also helps start a discussion on the definition of "art". As a designer I have always found the fine lines that surround art interesting. Is framing a beautiful, random, and natural composition of branches art? Numerous people have come to me and said "yes" to to that question. I'm still exploring. - Andrew Kim

Andrew Kim






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