Interviews med Hyunjae Noh

I originally studied electronics in South Korea and served in the Navy. After completing my service, I decided to leave the electronics program and went on to study heavy equipment engineering.

My goal at the time was to specialize in that field, so I moved to Canada for further training.

While I was learning CAD as part of my studies, my girlfriend—who has an art background—saw my work and said, “You’d be a great fit for industrial design.”

Her words really stuck with me, and after learning more about the field, I realized that industrial design was where my interests and skills truly aligned. That moment sparked my decision to become a designer.

After graduating from university, I’ve been working independently as a designer, creating products across a variety of fields including consumer electronics, furniture, and everyday objects.

My work explores both function and form, with a focus on user-centered design that enhances daily experiences.

For me, design is about solving everyday problems and making life more convenient.

It’s a tool that improves how we live, think, and interact with the world around us.

I enjoy designing products that incorporate new technologies or solve real-world problems.

When I come across emerging technologies in news articles, I often start by imagining how they could be applied in everyday life, and then develop design concepts around those possibilities.

I also observe inconveniences that people experience and explore how design can offer meaningful solutions.

One of my favorite designs is the black iPhone 3gs.

When I was in high school, I wasn’t particularly interested in design. But one day, a friend brought their black iPhone 3gs to school, and I was completely captivated by it.

It didn’t feel like a phone—it felt like a piece of art. That moment made me curious about what “design” really means, and I think it was the first time I truly began to appreciate it.

The first thing I designed for a company was a set of ceramic bowls and plates with unique patterns.

I enjoy exploring a variety of materials, but recently I have been focusing on designs that utilize metal.

I feel the most creative when I’m coming up with ideas to start a new design project.

I used to focus mainly on functionality, but these days I try to balance both function and form throughout the design process.

Designing gives me a sense of wonder and excitement—like I’m bringing something entirely new into the world.

When I see my design realized, I feel very excited for the first few minutes—but then I quickly shift into a calm, focused mindset to identify any flaws or areas for improvement.

I believe a successful design is one that solves people’s discomfort and makes them feel that the product is truly necessary in their lives.

When judging whether a design is good or bad, I first consider whether it is feasible or not. For me, a good design must be realistic and achievable, not just visually appealing.

As a designer, I believe it is our responsibility to address various social and environmental issues through design.

With the advancement of AI, the design field has undergone significant changes. In particular, tasks like rendering have become much easier and faster thanks to AI, allowing us to create photo-realistic images more efficiently.

My last exhibition was held in 2023 in Toronto. I don’t have any plans for my next exhibition yet.

I find inspiration by reading news and books to understand the problems people face and the challenges society is dealing with. I aim to use design as a way to solve these issues.

My design style is minimalistic while ensuring that users can easily understand and use the product. To achieve this, I incorporate affordances in my designs to guide user behavior intuitively.

I was born in Korea but currently live in Toronto, Canada. Canada is a multicultural country, and I draw inspiration from many different cultures here.

I mainly communicate with companies via email, and hold meetings at the end of each phase or when there are important deadlines.

To select a good designer, look for creativity, problem-solving skills, and good communication.

My design process starts with identifying the problem, researching solutions, sketching ideas, modeling, and finally rendering.

i Phone, Airpod Max, lund tumbler, Braun table clock, ikea stand lamp

wake up at 7 a.m., take a shower, and arrive at the studio by 9 a.m. I work at the studio until 5 p.m., then go home, do some light exercise, tidy up my room, and do laundry. After having a simple dinner, I start my personal design work and go to bed around midnight.

Invest plenty of time in research before starting the design. Consider whether the design is feasible and what manufacturing processes will be used.

Being a designer allows me to be creative and solve problems, which I really enjoy. However, tight deadlines and demanding clients can be challenging.

My "golden rule" in design is to always prioritize the user’s needs while keeping the solution simple and functional.

The most important skill for a designer is the ability to bring imagination into reality—turning creative ideas into practical, tangible solutions.

For tools, I use a notebook, pen, and post-its for idea sketching. I model in Rhino 3D and render using KeyShot. To enhance rendered images, I use Adobe Photoshop, and for documentation, I use Illustrator and InDesign.

I try to finish all my work during the day, but if time is tight, I set up the rendering before bed and let it run overnight. Once the initial settings are done well, I don’t need to monitor it constantly, so rendering while I sleep helps save time.

It takes about 1 to 3 months to go from ideation to modeling, rendering, and creating manufacturing drawings. However, the actual production of the product usually takes between 6 months to a year.

How can I solve this problem?

My experience in the navy has greatly helped me develop teamwork skills.

Anyone can be my client. For example, if I design to solve problems that dogs face, then dogs can also be my clients.

I enjoy designing tech products that combine technology because I get to see the development of new technologies and use them to solve various problems.

As a designer, my next goal is to work at Apple or a design studio in Silicon Valley.

At the studio, I work as part of a team with various designers. However, during my personal projects after work, I work alone.

I am currently designing AR glasses. Most AR glasses on the market have thick frames, so I am researching how to design them thinner and how to hide the parting lines.

hyunjaenoh.design@gmail.com

One thing I’d like to add is that design is not just about creating beautiful objects, but about improving people’s lives in meaningful ways. I always try to keep that focus in my work.

While exploring ways to recycle wood scraps generated during the furniture production process, I considered assembling small pieces into a single panel. During this process, I discovered that by using the end grain technique, I could not only create a unique pattern but also combine multiple pieces into a larger panel. This approach led to the creation of the tabletop for the Mushroom Side Table.

The Mushroom Side Table features a pattern made from three types of wood: walnut, hard maple, and cherry. I chose these materials because they were the most readily available and offered a harmonious contrast in color — from light beige to reddish brown to dark brown — which helped create a balanced and visually appealing pattern.

To recycle irregular wood scraps, I needed to cut them into trapezoidal shapes with a 4cm top, 7.5cm bottom, and 3.5cm height using a table saw. At first, I drew each shape by hand with a pencil directly on the wood and cut them one by one. However, due to the small size and irregular shapes of the scraps, it became very difficult to use the table saw accurately and safely.To solve this issue, I laser-cut a thin wood sheet into a trapezoidal template, which I could attach to each scrap piece. This allowed me to cut all the pieces into a consistent shape with much greater precision and efficiency.

Since the Mushroom Side Table is inspired by mushrooms, I wanted to design the legs with an organic form instead of typical straight wooden legs. To achieve this, I laminated the three types of wood used for the tabletop to create a patterned block, then shaped the top and bottom parts into smooth curves using a wood lathe. By keeping the middle section thicker, I was able to maintain structural strength while minimizing waste, resulting in uniquely curved legs that balance form and function.

At OCAD’s Wood Studio, there is a wide range of woodworking tools available, and a technician is always on site to ensure safe use of the tools and to answer any questions during the furniture-making process. Additionally, instead of discarding wood scraps, there is a dedicated box where people can freely take these scraps to create their own projects.The idea for the Mushroom Side Table began with the thought that although the wood scraps in the box were not the ideal size for making something on their own, perhaps they could be used to create patterned furniture.

Although there are many different end grain patterns, I wanted the Mushroom Side Table to have a three-dimensional feel. To achieve this, I arranged three trapezoidal pieces of different colors to create a 3D-like pattern.

I believe the sustainable design approach demonstrated in the Mushroom Side Table can encourage the furniture industry to rethink waste as a valuable resource rather than just discard material. By creatively repurposing wood scraps and using techniques like laminated end grain panels, manufacturers can reduce material waste while still producing beautiful and structurally sound pieces. This methodology promotes a shift toward more eco-conscious production practices that balance environmental responsibility with design innovation. Over time, I hope it inspires wider adoption of sustainable processes throughout the furniture manufacturing sector.

Through designing the Mushroom Side Table, I learned that functionality and environmental responsibility don’t have to be at odds—they can actually enhance one another. By working with reclaimed materials, I had to think more critically and intentionally about the form, construction, and purpose of each element. This process taught me that sustainable design is not just about reducing waste, but also about making the most out of limited resources while still achieving a high level of craftsmanship and utility.

One of the most unexpected discoveries during the development of the Mushroom Side Table was realizing how limitations—like working with irregular wood scraps—can actually fuel creativity rather than hinder it. Initially, I saw the scraps as a challenge, but finding ways to repurpose them into something beautiful taught me to embrace constraints as opportunities.

My advice to emerging designers looking to incorporate sustainability into their work is to start by truly understanding the materials they use—including what is often discarded. Look for opportunities to repurpose or upcycle scraps creatively rather than seeing them as waste. Embrace constraints as a way to fuel innovation, and don’t be afraid to experiment with unconventional techniques.