Interviews with Nak Boong Kim

In design, materials such as wood are essential, but the spaces between them—the negative spaces—are equally important. By intentionally creating gaps between the structural panels, each element retains its visual independence. Functionally, these openings allow air to circulate and light to enter the storage compartment, preventing moisture buildup.Thus, the negative space contributes both to a refined aesthetic and to a healthier, more practical storage environment.

Traditional folding tables often require users to engage locking mechanisms every time they open or close the table—a cumbersome process that causes many people to leave the table permanently folded or unfolded.I wanted a mechanism that would allow the tabletop to open simply by lifting it, and fold back down just as easily—something intuitive and effortless. However, the simpler the operation, the greater the risk of accidents caused by small user mistakes, so ensuring safety became the most critical challenge.Through repeated refinement, I developed a joint system that balances ease of use with structural stability, enabling smooth operation while maintaining a safe and secure structure.

People engage in many activities while seated on a sofa, and tables often support those activities. However, to comfortably move in and out of the sofa, the table usually needs to be placed at a distance, making it inconvenient to use.I wanted a table whose surface could naturally extend toward the user without pulling the entire table forward. This idea led to a design in which the tabletop unfolds closer to the body, providing comfort and accessibility even in compact living spaces.

Although the development period was short, the underlying idea had been with me for many years. My earlier work “Prism,” which won a Bronze A'Design Award, also explored similar concepts—making the Lido Table a further evolution of that exploration.The greatest challenge was achieving the most compact folded form possible to minimize its spatial footprint. Multiple rounds of trial and error ultimately enabled me to refine the structure and secure the required stability.

Traditional Korean craftsmanship has long valued avoiding waste and viewed unnecessary decoration as something shameful. In this sense, Korean artisans have practiced a form of minimalism for centuries. Today, I aim to find the point where this tradition resonates with global sensibilities—a place where Korean heritage and contemporary minimalism coexist harmoniously.

I believe minimalism as a lifestyle will continue to grow. As it does, compact and multifunctional furniture will become increasingly essential. I hope that the concept embodied in this table will become a meaningful reference point—or even a motif—for future furniture designed for efficient urban living.

I am delighted that Korea’s traditional belief in valuing simplicity and respecting the spaces between materials has been recognized globally. I hope Korean design—rooted in this cultural heritage—continues to evolve alongside contemporary minimalism and becomes a design language embraced around the world.

One of the enjoyable aspects of using everyday furniture is the sense of surprise that comes from transformation. Much like a toy robot that changes form, I wanted the table’s transformation to offer not only convenience but also delight. My goal was for users to feel a sense of wonder as the furniture shifts gracefully into a new function.

I believe originality is essential. True originality arises from understanding the user’s latent needs and focusing on their fundamental desires. Designers must challenge preconceived notions and overcome what seems impossible to achieve meaningful innovation.