Interviews with Hyunchul Shim

Since childhood, I have enjoyed making things with my hands and disassembling and reassembling machines and electronic devices. After majoring in electrical engineering, I worked in semiconductor circuit design for about 17 years. Around 10 years ago, I developed a deep interest in furniture making, and through directly handling and exploring materials and structures, I naturally became fascinated with the field of design.

I believe proportion is one of the most important elements in design. Even with the same structure and materials, different proportions can create completely different senses of balance and atmosphere. Since even small differences can significantly change the overall impression of a piece, proportion is something I tend to spend the most time refining during the design process.

My engineering background and experience working on nanometer-scale semiconductor design have had a significant influence on my current work style. I came to view structure, proportion, and material properties more logically, which naturally led to an attitude of carefully considering even the small details that can easily be overlooked during the design and making process. At the same time, as a Korean, my reverence for and interest in traditional Korean aesthetics naturally led me to explore restrained expression and negative space.

I usually start my day by listening to classical music. (I tend to keep classical music playing in the background throughout the day.) Then, I spend about 30 minutes reading with focus and organizing my thoughts by writing in my reflection notebook. After that, I spend the rest of the morning sketching. I try to sketch and scribble something every day, even when I do not have any particular inspiration. In the afternoon, I work at my studio, and I try to have dinner with my family whenever possible.

I primarily encounter contemporary trends through exhibitions by various artists, and I also make an effort to stay abreast of these developments by following the social media of art and design magazines. I believe that accurately understanding artistic movements and trends is a crucial foundation for creating new innovations. Therefore, I consider it very important to consistently understand and observe contemporary art.

I think good design should have a positive impact on society and the environment, while also retaining its value over time.

My creative process typically begins by freely adding various ideas and elements, then gradually removing them one by one. I consider a work to be close to complete when I feel there is nothing left to remove. Of course, I do not believe there is such a thing as a perfectly finished design, but there is often a moment when the structure, proportions, and atmosphere come into a natural balance.

I consider the intention behind my work to be very important. I think it requires enough time for contemplation, and that my personal thoughts and attitudes should be reflected in the work.

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.

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.

Since childhood, I have enjoyed making things with my hands and taking apart broken electronic devices and machines out of curiosity. This naturally led me to study Electrical Engineering, and after earning a master’s degree, I worked in semiconductor circuit design for about 17 years.

Around 10 years ago, I became interested in furniture making, and through working directly with materials and structures, my interest gradually expanded into the field of design. Although I did not initially plan to become a designer, the process of making and exploring naturally led me to the work I do today.

Read a book

Fundamentally, I think good design should have a positive impact on society and the environment, while also retaining its value over time.

To me, design is a connection. It connects myself with people, and furthermore connects people, space, and time with one another.

I would like to continue exploring the relationship between traditional cultural heritage and contemporary design through furniture and objects. In particular, I am interested in creating works that reinterpret restrained Korean aesthetics and negative space within modern lifestyles.

My motto is to observe the world around me slowly and attentively. Especially in the field of design, where quick results are often expected, I believe deeper work can emerge through long periods of observation and contemplation.

I primarily read books in the fields of humanities, science, art, and economics. While I draw a great deal of inspiration from the humanities and the arts, science books have recently had a significant influence on my design.

Since childhood, I have enjoyed making things with my hands and taking apart broken electronic devices and machines out of curiosity. This naturally led me to study Electrical Engineering, and after earning a master’s degree, I worked in semiconductor circuit design for about 17 years.

Around 10 years ago, I became interested in furniture making, and through working directly with materials and structures, my interest gradually expanded into the field of design. Although I did not initially plan to become a designer, the process of making and exploring naturally led me to the work I do today.

I work mainly with sculptural furniture and objects. I explore the relationship between the aesthetics of traditional cultural heritage and contemporary design, placing importance on an understanding of materials and restrained expression. I am also directly involved in the entire making process, from design and material selection to fabrication and assembly, maintaining the intended details throughout the process to achieve a refined level of completion.

To me, design is the process of shaping the relationships between function, structure, materials, and ways of life into form. Beyond simply solving functional problems or creating beautiful shapes, I believe design is about creating a medium that naturally connects people, space, and everyday life.

I enjoy working with wood as a base material and exploring a variety of material properties. I am especially fascinated by how completely different atmospheres and forms can emerge depending on the texture, weight, and way each material is handled.

One of the works I feel most attached to is Booklover. Inspired by the open structure of traditional Korean furniture, it was designed to fit into contemporary living. Rather than simply adding functionality to furniture, I wanted to allow the values of tradition to continue within modern everyday life.

The first project I ever designed was my computer desk. At the time, I needed a laptop desk that would take up minimal space, so I spent a lot of time thinking about how to make it narrow while still keeping it functional as a desk. I remember sketching and drawing plans for the first time, erasing and redrawing them countless times.

My favorite material is wood. Even within the same species, wood varies in grain, texture, and color, and I see the way it changes over time as both a drawback and part of its charm. I am also very interested in metals such as brass. I find the contrast created by their density and cool texture alongside wood particularly appealing.

I feel most creative when I am working directly with materials in my studio. Compared to simply sketching or thinking through ideas in my head, new forms and ideas often emerge naturally through the process of shaping materials and refining small details.

I believe proportion is one of the most important elements in design. Even with the same structure and materials, different proportions can create completely different senses of balance and atmosphere. Since even small differences can significantly change the overall impression of a piece, proportion is something I tend to spend the most time refining during the design process.

To me, successful design is something that can be used naturally over time. It should remain in everyday life and spaces for a long time, with a presence that goes beyond its function.

When judging good design and bad design, I think it is important to consider how positively a design can impact society and the environment.

I think it is important to maintain a continuous interest in society and the environment and to keep reflecting on those issues. Expressing the results of that contemplation through one’s work is, to me, part of an artist’s responsibility.

Recently, I exhibited in Athens, Greece, alongside the winners of the Prize Designs for Modern Furniture and Lighting 2025.

I usually find inspiration while listening to classical music or spending time reflecting through books. I also travel frequently with my family, and I often draw inspiration from unfamiliar landscapes and architecture encountered during those journeys.

My work tends to focus on simply emphasizing a single element rather than decorating excessively, and on creating emptiness rather than filling space. Influenced greatly by traditional Korean aesthetics, I have become naturally interested in restrained expression and negative space. Although I begin by freely adding various elements, as I continue observing the work, I eventually go through a process of removing them one by one.

I work in Korea, and Korean cultural heritage has had a strong influence on my work. In particular, the structure, proportions, and sense of negative space found in traditional Korean furniture and architecture have become central themes in my practice.

I begin my work by thinking about why something should be made. From there, I establish a structure and function that fit the intention of the piece, then refine the proportions and details as the form gradually develops.

I think the ability to observe closely is one of the most important qualities for a designer. Being able to look carefully at surrounding environments and objects rather than simply passing them by, and to closely observe the nature of materials and even small differences in proportion, greatly influences both creative ability and the overall completeness of a design.

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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.