Bronze Furniture Design · 2026
Booklover Multifunctional Bedside Table
- A' Design Award 2026 Bronze Winner in Furniture Design
- Awarded April 15, 2026
- CLIENT: Alex Studio
- Estimated Number of Design Views: 10,085
- Verification code 8698619B9F · Verify this award
About Booklover Multifunctional Bedside Table
Booklover is a bedside table designed for reading before sleep. The design draws from the open structure of traditional Korean furniture and is adapted to a contemporary context through the combined use of wood and metal. A brass hanger holds a book at the last read page, allowing continuous reading. Integrated lighting provides adjustable brightness and color temperature to support both reading and rest. The design is based on traditional reflections on balance and restrained use of space, which are naturally conveyed through use and reflected in everyday life.
Hyunchul Shim's Booklover Multifunctional Bedside Table demonstrates how contemporary furniture design continues vital conversations between historical craft traditions and present-day spatial needs, the work positioning itself within lineages extending from Korean Yi Dynasty cabinetry through mid-twentieth-century Scandinavian functionalism toward current global design discourse emphasizing material integrity and spatial economy. The piece achieves notable compositional sophistication through its vertical modular organization, each of four distinct horizontal zones fulfilling specific storage or display functions while contributing to an integrated formal whole, the proportional relationships between solid and void, opacity and transparency, creating rhythmic visual interest that rewards extended observation and transforms utilitarian necessity into aesthetic experience. Technically, the execution demonstrates accomplished joinery throughout, the mortise-and-tenon connections visible at corner junctions speaking to structural honesty while the precision of these meetings evidences either highly refined hand skills or expertly programmed digital fabrication, both approaches equally valid within contemporary making paradigms. The walnut timber selection proves particularly successful, the pronounced grain figure and warm chestnut-to-chocolate tonal range providing inherent visual richness that requires minimal surface intervention, the apparent oil or wax finish allowing cellular structure and natural coloration to remain legible rather than obscuring wood character beneath opaque coatings. The integration of brass or brushed gold metallic elements introduces temperature contrast and luminous accent without overwhelming the restrained material palette, the curved upper rail and vertical lower rods demonstrating how metal can function both structurally as reinforcement and symbolically as precious detail, their placement at key compositional nodes drawing the eye through vertical progression while encoding cultural associations with quality, durability, and considered luxury. The cream or natural linen panel occupying the uppermost compartment offers chromatic relief and suggests possibilities for concealed storage, its solid opacity providing visual rest after the spatial transparency of middle zones, while the drawer unit below similarly balances openness with enclosure, the horizontal linear detailing across its facade creating textural variation and suggesting traditional sliding screen or lattice work aesthetics. Thematically, the work appears to meditate upon how domestic objects can simultaneously serve practical needs and elevate daily experience, the title itself, Booklover Multifunctional Bedside Table, encoding aspirations toward cultivated living where reading, rest, and personal ritual receive physical accommodation through thoughtfully proportioned furnishing. One might observe how the vertical format addresses contemporary spatial constraints within increasingly compact residential environments, offering substantial storage capacity within minimal floor footprint, while the modular differentiation of zones invites personalized use patterns, different individuals potentially discovering varied organizational strategies within the same formal structure. The elevated base created by tapered legs introduces practical advantages including ease of cleaning beneath and visual lightness, while symbolically lifting the object from purely earthbound utility toward sculptural presence, suggesting that even humble bedside storage merits design attention and aesthetic investment. How might this work invite us to reconsider the relationship between handcraft traditions and contemporary manufacturing, between cultural specificity and transcultural exchange, between humble domestic service and aesthetic aspiration, recognizing that thoughtfully designed objects for everyday use constitute one arena where beauty and function achieve genuine synthesis rather than remaining opposed values?
Press Kit
- Unique Properties
- Booklover is designed for those who enjoy reading before sleep, reinterpreting the open structure of traditional Korean furniture to suit their lifestyle and sensibilities. It maintains the simplicity of traditional construction while harmoniously combining wood and metal to achieve both aesthetic and functional balance. The brass hanger embodies practicality within its restrained form, and the smart lighting allows adjustment of brightness and color temperature, creating an ideal environment for both reading and relaxation.
- Dimensions & Packaging
- Dimensions
Width 298 mm x Depth 298 mm x Height 990 mm
Materials
Solid walnut wood, brass, brown glass, polycarbonate, linen
Techniques
Traditional joinery ensures structural strength and fine details. The modular lighting system allows easy maintenance and bulb replacement.
Finishing
Plant-based hardwax oil was applied three times inside before assembly and three times outside after, enhancing wood texture while improving durability and moisture resistance. - Tags
- bedside table, mood light, Korean furniture, multifunctional table
- Production Technology
- This table is entirely handcrafted. Its main structure is built using traditional joinery techniques with solid walnut, while brass is used for the bookend, book hanger, and drawer handles to create a subtle contrast and provide refined visual accents against the dark wood. The lighting element is designed with sustainability in mind, using a modular structure for easy maintenance. The lampshade is made of polycarbonate covered with linen, allowing the light to diffuse softly and warmly.
- Design Challenge
- By integrating lighting and a book hanger into an open structure, this design offers a warm, practical space for both reading and relaxation. A key challenge was maintaining the furniture overall proportions while accommodating a compact lighting area without compromising usability or sustainability. To solve this, an accessible G9 LED bulb was chosen, and a modular socket holder was custom designed to enable easy replacement within the limited space.
- Project Duration
- The project started with the design phase at Alex Studio in Korea in January 2023 and was completed in May 2023.
- Operation Flow
- The upper lighting unit connects to a smartphone via Wi-Fi, allowing users to freely adjust brightness and choose between cool white, neutral, and warm white color temperatures. A touch switch on the back enables intuitive power control even without a smartphone. Below the light, a book hanger serves both as a bookmark and a display for current reads. Underneath, shelves and a drawer are arranged to efficiently store books, reading accessories, and bedroom essentials.
- Research
- This design reinterprets the structural strengths of traditional Korean furniture into a form suited for book lovers. By reflecting on daily living patterns, it reimagines traditional elements to fit contemporary needs, making them more practical and accessible. Users can feel the poetic beauty of tradition and gain a sense of comfort in their space. The use of wood and metal in balance symbolizes the intention to connect past and present.
- Inspiration
- This design is inspired by the traditional Korean sabangtakja, an open-frame table with all sides exposed. While preserving its original form, the piece has been reinterpreted with a modern sensibility. The primary inspiration behind the design lies in a deep respect for Korean aesthetics rooted in the values of emptiness, balance, and line and in the desire to carry forward a contemplative way of life shaped by traditional lifestyle.
- Image Credits
- Image #1: Photographer Jeon Jaekyung, Perspective View, 2025.
Image #2: Photographer Jeon Jaekyung, Side View Detail, 2025.
Image #3: Photographer Jeon Jaekyung, Book Shelf Detail, 2025.
Image #4: Photographer Jeon Jaekyung, Drawer Detail, 2025.
Image #5: Photographer Jeon Jaekyung, Actual Usage Example Mood Light On, 2025.
Colors of Booklover Multifunctional Bedside Table
Design Interview about Booklover Multifunctional Bedside Table
The core of my design is the fusion of the past and the present. I am interested in bringing past ways of thinking and living, which are gradually disappearing today because they are considered inefficient or inconvenient, back into modern daily life through furniture and objects.
In particular, I believe that reading is one of humanity’s oldest and most important methods of acquiring knowledge, and I wanted this practice to continue naturally within contemporary life. This led me to consider how furniture could better support reading and create an environment suited to it.
The design was developed by drawing inspiration from traditional Korean furniture, especially the spatial openness and restrained proportions of the Sabangtakja, a traditional open-frame side table.
In particular, I believe that reading is one of humanity’s oldest and most important methods of acquiring knowledge, and I wanted this practice to continue naturally within contemporary life. This led me to consider how furniture could better support reading and create an environment suited to it.
The design was developed by drawing inspiration from traditional Korean furniture, especially the spatial openness and restrained proportions of the Sabangtakja, a traditional open-frame side table.
I focused on naturally incorporating functions that support reading, along with the role of bedroom furniture, within a traditional structure. I viewed this not simply as a modern reinterpretation of past forms, but as a process of connecting the lifestyles and ways of contemplation of the past and the present. Through this work, I sought to bring the sensibility of the past, when reading and contemplation were naturally part of everyday life, back into a contemporary living environment.
Currently, I am exploring the possibility of small-scale production while continuously refining the design details and production methods. At the same time, if the appropriate opportunity arises, I believe it would be meaningful to further develop the structural characteristics and design of this work into a form suitable for larger-scale production. Furthermore, based on the structural language and material approach developed through this work, I plan to expand it into an ongoing series of furniture and objects.
It took approximately two months to develop the concept and establish the basic structure of the design, followed by four months of repeated production and refinement processes. In particular, significant time was devoted to refining proportions, structure, lighting integration, and practical usability. Detailed elements were continuously adjusted to maintain the simple and restrained impression of the traditional open structural form while incorporating various functions.
This work is a self-initiated project. I observed that people who enjoy reading naturally keep books close at hand even before falling asleep, and I sought to reflect this lifestyle within the structure of traditional furniture. In particular, I was interested in the process of naturally integrating functions that support reading and relaxation into a traditional open structure.
Currently, I am developing and producing the work independently while focusing on the direct production process. However, if the appropriate opportunity arises, I would consider adapting the structure and design for more efficient production methods, as well as pursuing production or licensing collaborations.
I began this project after becoming captivated by the open structure and restrained proportions of the Sabangtakja, a traditional Korean piece of furniture. I believed that this open structure was not merely a formal characteristic, but a structure capable of flexibly accommodating diverse functions and lifestyles. I wanted to develop it beyond a piece of furniture that simply displays objects into a contemporary form where everyday activities such as reading and relaxation could naturally become part of daily life.
I have been greatly influenced by the structural clarity and restrained proportions of traditional Korean furniture rather than by specific designers. I also maintain a strong interest in furniture design that honestly expresses the nature of materials, avoids excessive ornamentation, and is defined through structure and function itself.
True to its name, this design is intended for people who love books. At the same time, I believe it naturally suits those who value a calm living environment and small daily routines. It is also well suited for users who appreciate material texture, structural completeness, and attention to detail.
The most significant distinguishing feature is that lighting, book holders, bookmark functions, and storage elements are not merely added features, but are designed to operate integrally within a single structure. Furthermore, rather than using the open structure of traditional Korean furniture as a mere formal element, we sought to reinterpret it into a structure capable of naturally accommodating modern lifestyles and functions.
I thought the name “Booklover” most directly reflects the purpose and usage of this furniture. It was created for people who consider reading an important part of their daily lives.
After developing the initial concept through hand sketches, the detailed design is refined through digital modeling using Fusion 360. Production drawings are then created in AutoCAD, and the final design is completed through repeated prototype production and modification processes.
An important feature of the design is the integration of functions that support reading within a single structure while maintaining a restrained impression through visual simplicity.
I personally handled all design development and production processes. However, professional consultation and partial collaboration were involved in the development of the lighting shade in order to achieve a more refined quality of light.
Technology serves not as a means of showcasing the design, but as a supportive element that allows users to naturally experience traditional aesthetics. To achieve this, the functional elements were implemented as simply as possible, helping preserve the open structure and visual openness characteristic of traditional furniture.
This work was developed through observations of everyday reading habits and research into the structure of traditional Korean furniture, rather than through numerical data analysis or market research. In particular, I focused on how people relate to books and the contemplative moments that naturally continue before falling asleep. Furthermore, I closely examined the historical context in which the sabangtakja was used, the attitudes of the scholars who primarily used it, and their lifestyles and intellectual culture.
The biggest challenge was integrating various functions into a single structure while maintaining overall simplicity and a sense of openness. In particular, a significant amount of time was spent refining the balance so that the proportions of the lighting and functional elements would not compromise the restrained character and overall proportions of the structure.
I wanted to explore, within an international context, how a modern interpretation of traditional Korean furniture might be received across different cultures. Additionally, I submitted this work with the intention of sharing, within a broader context, perspectives on contemplation and ways of living that extend beyond the role of furniture as a purely functional object.
This project became an opportunity to reflect more deeply on the aesthetics of Korean tradition. Throughout the process, rather than emphasizing elaborate decoration or functionality, it became necessary to remove and refine elements in order to achieve overall balance, which required constant adjustment and revision. While patiently working through and reflecting on this process, I came to realize that this attitude itself was also part of traditional aesthetics.
Rather than approaching traditional furniture as symbolic or decorative elements, I am interested in how the structural principles and lifestyles embodied within them can continue into modern daily life. I believe that furniture is not simply an object that performs a function, but can become an environment that quietly supports the rhythm of daily life and moments of contemplation.
Grand Interview about Booklover Multifunctional Bedside Table
I once had a conversation with several friends who enjoy reading, and we started talking about what people usually do with a book when they become sleepy while reading before bed. Most of them said they leave it on the headboard or simply place it on an already crowded bedside table before falling asleep. My own habit was not much different. Sometimes I left it on the headboard or on any available space on the bedside table, and when there was nowhere to put it, I simply placed it on the floor and picked it up the following morning. Although I found it inconvenient, it gradually became such a familiar part of my everyday life that I hardly thought about it anymore.I wanted to bring even a small sense of consideration to the bedtime reading routine. I wanted to create a dedicated place where a book could always be placed before going to sleep. When drowsiness set in, I wanted the reader to be able to simply hang the book without looking for a bookmark or marking the last page they had read, making it easy to continue reading naturally the following day. That small act of consideration became the starting point for the brass book hanger.However, incorporating the book hanger without compromising Booklover's open structure was much more difficult than I had expected. To achieve this, I explored various materials and forms before choosing brass, as it provided both the structural strength required and the most natural visual harmony with walnut. In particular, brass, like walnut, naturally develops a richer texture over time. Because of this characteristic, I was able to design the book hanger so that, rather than becoming a decorative element over time, it would naturally feel like part of the walnut frame and the overall structure.The book hanger is a very small functional element. However, I believe it best represents the design philosophy behind Booklover. To me, good design is not about adding grand functions or decorative features, but about showing consideration, no matter how small it may seem.
To me, reading before bed is more than simply reading a book. It is a way to end the day by looking back on the day and on myself. Today, however, many people end their day by looking at their smartphones before going to sleep. The interesting thing is that even as they get into bed to sleep, they look at their smartphones, which actually hinders them from falling asleep. Watching this made me wonder whether those few moments before sleep could become a quieter time to think.When designing Booklover, I adopted the traditional structure of the Korean sabangtakja, but I wanted to bring more than just its form. I also wanted to bring with it the way of thinking and the way of life of the scholars of the Joseon Dynasty. For them, the sabangtakja was much more than a display cabinet. They carefully explained their own requirements to craftsmen when commissioning a piece, and after it was completed, they would discuss and evaluate it together, always striving to create furniture free from showiness. By borrowing a structure shaped by this way of thinking, I hoped to create a small space and a quiet moment in today's bedroom where people could pause for a while and look back at themselves.At the same time, I did not want this idea to disturb the essential purpose of the bedroom. That is why I made both the brightness and the color temperature of the light adjustable. People can choose lighting that is comfortable for reading or lighting that is better suited for preparing to sleep, allowing the bedside table to naturally support reading while preserving the calm atmosphere of the bedroom.Booklover was designed for people who already enjoy reading, but I also hoped that people who do not usually read could naturally experience the quiet time for thought that reading can offer through the spirit of the traditional sabangtakja.
What I wanted to emphasize was the sculptural value of the traditional structure and the philosophy contained within it. I wanted people to experience the sculptural value of the work first, before noticing its functional elements. For this reason, the lighting system, including brightness and color temperature control and the touch switch function, had to be housed within a linen shade of limited size. To implement this within such a restricted space, it was essential to use a bulb that could control brightness and color temperature through Wi-Fi. This allowed me to implement the lighting function without disturbing the sculptural value of the work.More practical technologies will continue to support many aspects of our daily lives. In craft-based design, I think such technologies should be actively used to offer broader functional possibilities while preserving the sculptural value of the work.
The traditional value of the Korean sabangtakja lies not only in its form, but also in the way of thinking and living contained within it. Its open structure on all four sides, restrained lines, and the balance between empty space and objects are not merely formal characteristics. They come from an attitude toward objects and a way of looking at life.Booklover is my attempt to reinterpret this spirit of the sabangtakja within today’s bedroom environment and the experience of reading before sleep. Functions such as lighting, book storage, and the book hanger respond to contemporary needs, but the way these functions are integrated is based on the openness, balance, and restrained lines of the traditional structure.The open structure of the sabangtakja itself expresses the Korean aesthetic of simple beauty. This beauty does not simply mean the absence of decoration or a simple form. Rather, it is an attitude of avoiding exaggeration and staying close to the essence. The open structure, restrained lines, and empty spaces of the sabangtakja embody this attitude. In this sense, it also connects with the values of simplicity, restraint, and essentiality that are important in contemporary design.In that sense, Booklover is not an attempt to reproduce the form of traditional Korean furniture as it was. Rather, it is an attempt to bring the way of thinking and the aesthetic attitude contained within it back into contemporary life. Tradition should not remain only as a style from the past. When it meets today’s way of living, it can become a starting point for new functions and experiences. This is where culturally rooted design can also have meaning in a global context.
When designing the lighting unit for Booklover, what I considered most important was creating a structure that would allow this function to last for a long time. Because the multifunctional lighting system had to fit within a limited space, the size and placement of the bulbs I could use were very restricted. Moreover, several bulbs were needed to provide enough brightness for reading. These constraints led me to think more deeply about the work, and made me realize that what matters more than adding many functions is ensuring that even a single function can serve the user for a long time.
There were many experiments through modeling in the process of shaping the initial form based on restrained lines and proportions, as well as in integrating brass into the design. Through this process, the work developed significantly from the early concept sketches, allowing me to naturally incorporate contemporary functions for a bedroom piece within the aesthetic values of tradition. However, the actual production of the lighting section was not an easy process, because it involved not only preserving the philosophical intention, but also realizing it as a sustainable structure for everyday use.One part of this process was choosing the material for the lampshade. At first, I considered using traditional Korean hanji paper. I thought hanji could softly diffuse the light and convey a Korean sensibility very well. However, it did not have enough durability and was not suitable for long-term use. In the end, I chose linen, which could preserve the soft quality of light found in hanji while also providing the durability needed for practical everyday use.
I do not think practicality comes simply from adding many functions. Rather, I think deeper practicality and emotional experience can be created when a necessary function is placed naturally within a restrained structure and continues to serve the user’s life over time.The book hanger of Booklover is one example of this attitude. Although it uses brass, which can be visually emphasized within the dark walnut structure, I treated it with restraint so that it would harmonize with the open structure. The simpler the structure is, the more carefully I have to consider the nature of the materials, proportion, empty space, and small details.In my future work, I would like to continue creating pieces that allow the attitude and aesthetic sensibility contained in traditional culture to be experienced again within contemporary life.
Although Booklover contains several materials and functions within a small form, it is a work that focuses on allowing them to exist in harmony within an open structure. This is because I did not want to disturb the philosophy contained in that open structure.I hope this work is perceived as a sculpturally distinctive object, while also being accepted as a familiar bedroom furniture piece used in everyday life. The act of hanging a book, adjusting the light according to the environment, and keeping necessary objects close at hand becomes part of a life in which everyday use leads to reflection. To carry forward, in a new way, the attitude toward life contained in tradition. This is the philosophy of the work.For this reason, Booklover is not only a piece that adds a special quality to a space, but also a furniture piece that fills the user’s everyday life with a space for reflection.
In the finishing process of Booklover, what I considered important was completing even the parts that the user cannot directly see to the same standard. Although it has an open structure, once the piece is assembled, there are inner surfaces that are difficult to reach. For this reason, the interior had to be fully finished before assembly. I applied three coats to the interior before assembly, and then three more coats to the exterior after assembly.I also chose to use hardwax oil for the finish. Hardwax oil requires a complex and demanding process, but it helps the texture and color of the wood gain depth over time, while also increasing surface strength so the piece can be used for many years.I think the way invisible parts are treated reveals the attitude behind the work. Even if the user does not see that process directly, they can experience that consideration over time through the feel of the surface, the depth of the color, and the sense of stability in use.
In Booklover, empty space is not simply an unoccupied area. It is an important element that connects structure, function, and the user’s experience. I thought more about what should be left behind than about what had been removed. I had to incorporate functions such as lighting, a book hanger, a shelf, and a drawer within the open structure, but I also thought carefully about what kinds of empty spaces those functions could create again within that structure.I do not think there is an absolute standard for empty space. In Eastern painting, the space left after a line is drawn is also empty space. Whether that space is large or small, for the artist it is an intentionally left space. I wanted to add only the most minimal lines to an empty space I already felt was complete in itself.For me, dealing with empty space in this work meant restraining the desire to fill it with more. At the same time, it also meant believing that the space remaining after functions had been added could still have enough meaning and strength. I hope this empty space does not remain merely as a blank area in the user’s bedroom, but is filled as a space for reflection, where the user can pause and think for a moment before sleep.