MAEZM book

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MAEZM

www.maezm.com



INDEX

ABOUT MAEZM OBJECT SPACE PRESS


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ABOUT MAEZM


MAEZM

www.maezm.com maezm.info@gmail.com MAEZM, #503 18-2, Hangangro-1ga Yongsan-gu Seoul, South Korea


The studio tells of 'communication' which is based on the assumption, 'difference' across limited expression range. the four colors means 'difference', the 'uniqueness' provided on the basis of 'communication'. Arbitrary colors, unlike saturation, purity and brightness, articulates its own attribute with its own hue, and prepares for communication. Communication is done not via 'addition' but with 'harmony'. It is not that the four colors are simply mixed into one but it is that each and every one of them exists simultaneously and yet they render one new feeling. Colors render completely new feeling through tension and blending among one another without any process of addition or subtraction. That is what 'MAEZM' is all about. ༾᯹ᯙ áœ…â›˝ŕĽľáŞ… ⲹŕš›ᎭⲲᎥ ṽ⌽ग़ᨕḥḥ ግᎥ áƒľá­ĽáŞĄ ⢽⊼Ꮌ ☖⧕ ⲹÝ…ࡼⲲᎼ É?eáŽ?ಽ ⌽ ⲹᗭ☖ⲲᎼ ᯕá§?Ę‘⌽Ý… Ö… aḥ ᔪᎥ Ý…ࡼᎼ ᎚á ™⌽Ý… É™äᎥ ᗭ☖Ꮌ Ṽṽಽ aḥ۾ⲹ}} á–’Ⲳᯕ݅ â‚Ľŕ ĽáŞĄ á™˝ŕ Ľ ŕťŚŕ Ľŕˇ? ‍Ý?‏ŕ¸?⌚۾ ᯼᎚᎚ ᔪ༅Ꭵ ᜅᜅಽ á ˝âŚšŰľ ኟáŽ?ಽ ᜅᜅಽ᎚ á–’ḊᎼ ȽṜ⌚ŠÉ™ಽ ᯙ⧕ ᗭ☖Ꮌ ᾥኼ⌽݅ ᗭ☖Ꭵ ⧊ ㆸ ᯕ ጼ‍ ⪾ Ü­â€Źă‡œ ಽ ᯕྉᨕḼÝ… ࡙݅ Ö… aḥ ᔪᯕ ޾⌚áŠ? ⌚Ӛ᎚ ᔪᎼ อऽ۾ äᯕ ጼ‍ ܭ‏bb᎚ Ö… aḥ ᔪᯕ ⌚Ӛ᎚ ۹ӭᎼ อऽ۾ äᯕ݅ ᔪ༅Ꭵ aq᎚ Ĺ?áąś ᨧᯕ ᕽಽ᎚ áł•á°?Ĺ–eᨹ Ę•á°†Ĺ? ᨕᏙŕ¸?Ꮌ ☖⧕ ᔊಽᏕ ۹ӭᎼ อ༠Ý… É™äᯕ ⲹŕš›ᎭⲲᯕ݅


TAI HO SHIN + EUN WHAN CHO MAEZM co-founder

Professional Experience Next Generation Design Leader (selected by Korean Goverment) (Cho/Shin) Hongik University / Lecturer (Cho) Kaywon School of Art & Design / Lecturer (Shin/Cho) Zaha Hadid+Samoo Consortium (DDP TFT Designer) (Cho) B&A Architects Designer (Shin) Kesson International Designer (Cho)

Education Domus Academy (Master in Interior & Living Design/ Distinction/ Italy/ Cho) The University of Wales (Master of Arts/ Validation for Domus/ UK/ Cho) Kookmin University (Interior Design/ B.F.A /Korea / Shin/ Cho)

Awards JCD Design Award - Silver prize (Japan) IF Design Award - Winner (Germany) 100% Design London - Blueprint Award Final list (UK) Reddot Design Award - Best of the best (Germany) Reddot Design Award - Winner (Germany) Macef dining in 2015 Competition - shortlisted entries (Italy) Seoul Design Competition - Honorable Metioned (Korea) Designmade Incubator Award - Winner (Korea) Tokyo Designers Week - street furniture Grand Prix Final listed (Japan) KOSID Interior Design Award - Winner (Korea) KOREA Environmental Design Awards -Winner (Korea) Cyber Interior Design Award -Winner (Korea) Selection / Collection MoMA_Design store / Sales contract (USA, Japan) Collection / Seoul Arts Center Design Museum Collection /Culture Space Seoul 284 Collection /Samsung Cii Beaker Collection / KT co.Ltd R&D Center Designer / Seoul Metropolitan Government Residency program / Seoul Metropolitan Government 50 Desingers / Selected by Monthly INTERIORS Young Designer 8 / Selected by Monthly MARU Designer 2010 / Selected by Monthly DESIGN

Conference ‘East Gathering’ symposium (Guest Speaker) TEDxhongik International Conference (guest speaker) Korea Design Membership (Jury)

Publication The Independent Design Guide (UK) Korea Power - Design und Identitat (Germanny) Annual of Space Design in Japan (Japan) Eat Eat - Appetite for Design (Hong Kong) Work shop - Creative Commercial Space (USA) IF Design Talents Book (Germany) Reddot Design Concept Yearbook (Germany) Objet (USA,Korea)


International Exhibition

Solo Exhibition

East Gathering (Tokyo Design Hub / Japan) 2013

MAEZM miel (gallery Miel/ Seoul) 2010

Korea power (Museum of Applied Art Frankfurt /Germany) 2013

Difference of Viewpoint (Incheon International Airport/ Seoul) 2010

Re:think (International Design Center NAGOYA/ Japan) 2012

MAEZM 'Sharing and re-loved' (KT&G Artsquare) 2009

Food mood (Studio 70m2/ Italy) 2011

DESIGN POT_MAEZM (Seoul Arts Center Design Museum) 2008

Korea Design 2011 (Korea Pavilion/ Earls Court/London/UK) 2011

Forcing a sale (Design Museum Cube/ SAC) 2007

Biennale Internationale Design (Saint-Etienne/France) 2010

MAEZM_Communication for difference (BMH Gallery) 2006

'13,798 grams of design' (Lambretto Art Project/Milan/Italy) 2010

MAEZM_Media (Seoul Media Center) 2006

ICFF (Designboom mart/NewYork/USA) 2010 Designersblock London (Earls Court/London/UK) 2009 100% Design Tokyo (Designboom mart/Japan) 2009

Project (Participation)

'my perpect neighbours' (Korea Culture Center/London/UK) 2009

Dongdaemoon Design Plaza & Park (Zaha Hadid/ Metonymic Landscape)

Designmai-Youngsters (Arena Berlin/Germany) 2009

SAMSUNG Delight (Samsung Elec. Seocho Showcase)

SDF in Milano / Fuori Salone (Minguzzi Museum/Milan/Italy) 2009

Cheil Communications Inc. (Lobby)

Reddot award (Reddot Museum/Singapore) 2008

Incheon International Airport (Hotel Restaurant)

Macef dining in 2015 (fiera milano international/ Milan/ Italy) 2008

The Westin Hotel-Seoul(Lobby/ ADD Restaurant/ Chinese Restaurant)

ODCD 2007 (Spazio Superstudio/ Milan/ Italy) 2007

The Westin Hotel-Busan (Lobby/ Sauna / Fitness/ Staff area)

Water & Space Exhibition (798 SPACE/ Beijing/ China) 2007

COEX Okims Brauhaus

Tokyo Designers Week (Grand Prix Final listed / Tokyo/ Japan) 2006

ADELSCOTT Golf Club Shinsegae Department, main store Shinsegae Department, Gangnam, Trinity shop

Internal Exhibition

Han-nam Residence

Design Biennale Gwangju (Icons of Asia/ GDF) 2013

Malaysia Borneo Resort Club Spa, Restaurant

Sulwha Culture (Gallery Ihn/ Amore Facific.co.Ltd) 2013

NonHyun-Dong SHIN'S jewelry Building

Directions for Using Our Planet (space K) 2013

ChungDam-Dong SAIKABO Japanese Restaurant

Design Week in Daegu (DGDC) 2013

SeoCho-Dong MAIIM Building

Craft trand fair (KCDF) 2012

Nam-Mountain TOWER HOTEL

Design Futurology (Museum of Art, Seoul National University) 2012 Old Future (Culture Space Seoul 284) 2012 Korea Furnitre Now (Samsung Museum Plateau/ Arumjigi) 2012

Project (Individual)

New furniture 5+5 (Beyond Museum) 2012

Hilton Hotel Gyeongju / Interior Design

Shop BMM (Boutique Monaco Museum) 2011

Amore Facific Sulwhasoo / Exhibition Desin

'16 Korean Young Designers' Exhibition (Space Croft Gallery) 2010

SAGA International, Office / Interior Design

'Design 45 Creative' (DDP gallery/ Seoul Metropolitan Government) 2010

Butique_Vivatamtam / Design & Construction

KT olleh Art Exhibition (KT Cor./Kumho Museum) 2009

Second Face, Retail / Interior Design

'Volume Up' Exhibition (Seul Design Foundation) 2009

Dongseo University, Food Academy / Interior Design

Design Festival solsol (Korean Society of Interior Arch. Designers) 2009

Deborah Milano, Retail / Design proposal

'Saving by Design_+Plus' (D+ gallery) 2009

Cafe Nissi / Design proposal

CASA Living Design Walk (Seoul Arts Center Design Museum) 2008

NIKE Korea / Design proposal

'Saving by Design'(Seoul Arts Center Design Museum) 2008

KUPP / Exhibition Design

'Light & Celerbration' (Doosan Art Center) 2008

K-Stemcell, Office / Interior Design

Seoul Design Festival (Designhouse/ COEX) 2008

Ambassador Hotel Seoul BAR / Design proposal

Seoul Design Olympiad 'Deisgn is Air' (Seoul Metropolitan Government) 2008

SMBA Gyeonggi / Lobby Design & Construction

Maezm & Droog (Korea Design Foundation/ CJ cor.) 2008

Esquire main office / Interior Design proposal

SEOUL DESIGN WEEK (Seoul Metropolitan Government) 2007

Balance Brain Education Center/ Design proposal

Design Show_Design Now (Seoul Arts Center Design Museum) 2007

Daegu Color Squre food court Design

A.L.I.C.E Museum Exhibition (SAC/ Arts Center Nabi) 2007

Cafe_Youredway / Design & Construction

Color & Design Week (Daegu Metropolitan Government) 2007

Metro Singles / S.I Design proposal

DESIGNMADE 2006 (Seoul Arts Center Design Museum) 2006

KOICA Exhibition Hall designer & director Design of Mobile Museum/ Incheon International Airport Lighting Installation (Seoul Arts Center Lobby/Cafe Bauhaus)


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OBJECT


04

RE-LOVE-284

Furniture / 2012 / MAEZM Owned by KCDF

This bench, which is one of the ‘Re-love’ series produced by MAEZM over the past several years, was made out of the remnants of the old Seoul Station, a historical architecture of Korea. The old Seoul Station building had been standing in the center of Seoul for more than 100 years sharing the Korea’s modern history. In particular, it shared the painful history of Korea such as the colonial rule by Japan and the Korean War. For this reason, the building has great significance for the Korean people. In recent years, the Seoul government renovated the building into a cultural complex and demolished the historical wooden structure. MAEZM produced benches that will be place in the newly renovated space using only the materials from the old structure. ."&;.ᯕ Ý… ÖĽe ṽ᯲⌽ ⲹ3F MPWFⲲ áœ˝ŕ¸?ᡊ ᾲ ⌚Ӛᯙ ᯕ ᄅ⊚۾ ⌽ÇŽ᎚ ኎á”?Ṣᯙ Õ⇜ŕž?ᯙ Ç? ᕽᏙ኎᎚ ᯾⧕ಽ อ༅ᨕ ᲭÝ… Ç? ᕽᏙ኎ Ă•ŕž?Ꭵ ÖĽ ᯕᔢ ᕽᏙ᎚ ᾲá??ᇥᨹ á­ĽâŠšâŚšŕť‘ ⌽ÇŽ᎚ É?‍ݥ‏á”?᪥ ⧉̚⧊Ý… ✚⯊ ᜞á ?ḥ᪥ ṼᰢᯕŕŻ?Űľ ⌽ÇŽ᎚ ጼ⼊ ኎á”?ŕˇ? ⧉̚⌚እĘ‘ᨹ ⌽ǎᯙ༅ᨹí ᯕ Õ⇜ŕž?Ꭵ â“‘ ᎚á ™ŕˇ? aḼÝ… ↽É? á•˝áŹ™áœ˝Űľ ᯕ Ă•ŕž?Ꮌ á…–â§Šŕž™⪾Ĺ–eáŽ?ಽ ŕ¸?â€Ť×™â€Źá„ áŻ•á–šâŚšŕť‘ ኎á”?Ṣᯙ ༩á°? Ç?áł‘ŕž?༅Ꮌ â„ Ă‘⌚እŠ."&;.Ꭵ ᯕ á°?ഭอᎼ ᯕᏊ⌚áŠ? ᔊಽ ŕ¸?‍י‏ᄠᯕᖚॽ Ĺ–eᨹ ‍״‏áŻ? ᄅ⊚ŕˇ? อ༅ᨊÝ…

Seoul station 1900

Seoul station 2012 / Cultural complex


MAEZM stacked the historical materials into a lump and carved out a section so that people could sit. The stack of timber was shabby and worn out, but the interior of the carved section was clean and new like newly grown ‘flesh.’ MAEZM wanted for the Seoul residents who would sit on this bench to meditate about their painful history and new future through this series of work. ."&;.Ꭵ Ṣ⊖ग़ᨕḼ ኎á”?Ṣ á°?ഭ༅Ꮌ ⌽ ߊᨕŕ¸?ಽ ྪ⊚Šə Ĺ”ᨹ á”?௭ᯕ ጪᎼ ᙚ áŻŠŕ Ľŕ˛ž áŻ?ᇥŕˇ? ŕ Ľŕ˛…Ô•ᨊÝ… ԂŠ‍ ॽ⏼×™â€ŹŕźŠá°?ᯕḥอ ŕ Ľŕ˛…Ô•á¨•Ḽ ᇥ᭼᎚ ԕᇥ۾ ᔊಽ ᯹ŕŻ?Ó˝ ⲹᔕⲲ⃚ŕą? ˉҸ⌚Šá”ŠŕłŽÝ… ."&;.Ꭵ ᄅ⊚ᨹ ጪᎼ á•˝áŹ™áœ˝á ?༅ᯕ ə༅᎚ ኎á”?Ṣ ጼ⼾Ĺ? ᔊಽᏕ á ™௚ŕˇ? ᯕ ᯲⣊Ꮌ ☖⧕ ग़ᔊʙ ᙚ ᯊĘ™ ᏹ⌚እÝ…


04

一點一劃 / One dot, One stroke LIGHTING MODULE Space / 2016 / MAEZM Client - National Hangeul Museum

간단한 형태의 몇 가지 요소를 가지고, 위치를 변화시켜 활용을 달리한다는 훈민정음 해례본 원리와 같이 한글의 특성은, 같은 조형이라도 방향과 위치에 따라 그 기능이 다르다는 것에 있다. 예를 들어, ‘ㄱ’과 ‘ㄴ’은 같은 조형이지만 그 방향에 따라 전혀 다른 기능을 하게 되고, ‘ㅏ’의 조형도 방향에 따라 ‘ㅓ’와 ‘ㅗ’, ‘ㅜ’ 등 다른 음과 기능을 지니게 되는 것이다. 이는 다른 언어에는 없는 한글에만 있는 고유한 특성으로, 효율적인 조형의 사용으로 많은 가능성을 표현할 수 있다는 장점을 가지게 된다. 이를 바탕으로 디자인한 조명은, 기본 유닛의 방향만 달리하여 공간적 조명의 역할을 다양하게 변화시키도록 의도되었다. 기본적 조형원리를 바탕으로 획이 더해지는 과정처럼, 모듈이 더해지고 조합되는 확장성은 조명을 한글과 같이 손쉽게 조율하고 변형하여 쓰임에 맞게 무한히 변화 시킨다.


04


TABLE-DISH-COVER

Product / 2008 / MAEZM 505 x 415 x 57 (mm) Platinum silicon

Spread the dish on the table. The flexible table cloth that looks just like a dish makes it possible to prepare food anywhere just by spreading it. The meal is over when the ‘tabledish-cover’ is removed and washed. A sheet of a flexible ‘dish’ that is folded or crushed brings a new way of life that is not affected by space or time limitations. ‘Meal tray’ is a ‘formality-free’ object used at places where they need to minimize leftover food, and make meal hour fast and simple such as prison or school etc. We experimented on plan so that such efficient methodmay be more often used as more ‘well organized’ yet convenient tool. Ṳáœ˝ŕ˛˝ ▭ᯕቾᎼ ß?۾݅ Ṳáœ˝âƒšŕą? ᅕᯕ۾ Ꭰኑ⌽ ▭ᯕቾᅕ۾ ᜅᜅಽa ᏹ⌚۾ ᨕ༾ᨹᕽ༠ḥ â ?⊚۾ ⧪᭼อáŽ?ಽ ᜞á”?ŕˇ? ᭼⌽ ŕź‰༠ᾥኼŕˇ? a‍⌚܆‏í ⌽Ý… ᜞á”?⏼ᨹ۾ UBCMF EJTI DPWFS ŕˇ? Ă˜á¨•Ô• ŕž?ᨹ áŚœᎭáŽ?ಽá&#x;‰ ŕź‰༠᜞á”?a ชŕž•ŕ¸? ॽÝ… ⌽á°†᎚ Ꭰኑ⌽ áœžĘ‘Űľ ṲĂ‘Óš Ç?ĘĄáŽ?ಽá•˝ Ĺ–eĹ? ᔢ⍊ᨹ ṽ᧞ ᨧ۾ ᔊಽᏕ â§Şŕ şá§˛áœžáŽĽ a‍⌚܆‏í ⧠äᯕ݅ ᜞â?ą Ꭵ áľ?ಽ áƒĽŕ¸?Űľ Ꭽ᜞ŕž?Ꮌ ↽ᗭ⪾⌚ÑӚ Ćąŕ Ľá—­ ⌺ƹ༒ ᜞á”?ŕˇ? ዠࡕŠeâ ™⌚í ⃚ŕ¸?⧕á§? ⌚۾ Ĺ”ᨹá•˝ á”?Ꮚ⌚۾ ÄŠáœžáŻ• ᨧ۾ ŕž?Õᯕ݅ Ꮡŕ¸?Űľ ᯕŕą?⌽ ⏉ᎉṢᯙ á‚ŠáœžáŻ• áł‘ÉŠ Ţľ Ċ᜞ ᯊŠâ ™ŕ¸?⌽ ŕ ĽÇ?a ग़ᨕ ኊኊ⯊ á”?Ꮚࢠᙚ ᯊ۾ á‚Šጊᨹ ‍ ⧕ݥ‏á?…⨚⌚እÝ…


table-dish-cover


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ŕ şá§˛Ĺ? ᕽ᧲᎚ ᜞á”?ŕž™⪾ŕˇ? áł‘á”?⌚۾ Ĺ?áąśĹ? ṢᏊᎥ á…™ á?…⨚ᯕ Ý…᧲⌽ ŕž™⪾ǭᨹá•˝ á”?Ꮚ⧠ᙚ ᯊ۾ a‍܆‏ᖒᎼ ⪜á…•⌚۾ Ĺ?áąśáŽ?ಽá•˝ áŽšŕ Ľ ॽÝ…

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It has considered the possibilities of various associations for the flexible application to the Eastern and Western food cultures.

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table-dish-cover


SOFA-DRESS

Furniture or Product/ 2008/ MAEZM, Dongyeup Lee 700 x 900 x 750 (mm) Urethan foam 9pp, vacuum packing

'sofa-dress' is a job of space design and a suggestion of furniture design. The act of putting on the clothes of the “sofaâ€? on the existing chair in itself makes the previous object become a little more cushiony furniture and it also can achieve an intention as a unified space with the same cuticles. The ‘sofa-dress’ projects the past objects through the rays of space, which makes a new present without removing the past completely. Wrinkles that appear in the material within this design are possible to be ironed using steam like clothing. á—­â?­áŞĄ ᎚᯹᎚ ₉ᯕŕˇ? Ç?ᇼ Ḵ۾ äᎥ ŕž•ᨨᯙa TPGB ESFTT Űľ Ĺ–e ༾᯹ᯙ ᯲ᨌᯕ᯹ aÇ? ༾᯹ᯙ᎚ ṽጊáŻ•Ę‘ŕ Ľ ⌚Ý… Ę‘áł• ᎚᯹ᨹ á—­â?­TPGB ŕŻ?Űľ áŞ˜Ꮌ ᯌ⯊۾ ⧪᭼อáŽ?ಽ Ĺ?Ă‘᎚ á”?ŕž?༅Ꭵ áł‘ÉŠ Ţľ ⣚á? ⌽ aÇ?a ग़ŕť‘ ੱ⦽ zᎥ ⢽âŚ?ŕˇ? ḥâ€Ťâ˜– ܭ‏áŻ?ॽ Ĺ–eáŽ?ಽá•˝ áŽšŕ Ľa a‍ ⧕܆‏Ḽ݅ TPGB ESFTT Űľ Ĺ–e᎚ ኟᎼ ☖⧕ Ĺ?Ă‘᎚ á”?ŕž?༅Ꮌ âš?ኢáœ˝â”‰Ý… ᯕ۾ Ĺ?Ă‘ᨹ ‍ ⌽ݥ‏᪼Ṽ⌽ ṽÑ ᨧᯕ ᔊಽᏕ ⊼á°?ŕˇ? a‍⌚܆‏í ⧕ᾥÝ… ᯕ ༾᯹ᯙᨹá•˝ á—­á°?ᨹ ᔞʑ۾ áľ?ࡼᎥ ช⊚ áŞ˜ ⃚ŕą? ᜅâ?ĄáŽĽ ᯕᏊ⧕ Ý…ŕ¸?Ḋᯕ a‍ Ý…⌚܆‏


sofa-dress


Video link / Sofa_Dress process / 2'34" http://vimeo.com/27956245


sofa-dress


SHARING WATCH

Product / 2010 / MAEZM 38 x 240 x 9 (mm) metal, cowhide

MoMA Normal wrist watch is worn so that the numbers are visible at the front when arm is folded toward the trunk of body. However, if through a slight change of turning the display board 90 degree, the intrinsic meaning of the watch changes. The information of time that I read is the same as those of others just as they are mine. The subject of sharing is elevated from physical dimension to behavioral dimension. The small change of numeric board which is turned 90 degree is intended to be the considerateness to others along with user convenience. Such a small change of idea enabled sharing of time with others nearby or others standing opposite site. Through this sharing in this unfamiliar change, we can newly experience the relationship with others by way of time, and that is how Maezm wanted this watch to serve.


sharing watch


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Web link / Shop http://www.sharing-watch.com


Sharing Watch


HAN-JI PLASTIC CHAIR 100% Korean traditional paper

Blueprint Award 2011 / 100% Design London / Finalist

Furniture / 2012 / MAEZM 550 x 520 x 750 (mm) Han-ji (Korean traditional paper)

‘Hanji’ is a Korean traditional paper made of the Paper mulberry. We explored a method to replace plastic with ‘Hanji’ through experiment based on modern technique. This would be a ‘movement’ and at the same time, an ‘experiment’ showing that our life environment full of plastic can be replaced with environment friendly traditional material. In this context, ‘MAEZM’ is committed to expand this experiment with various products and material for a space. ⲹ⌽ḥⲲ۾ Ý†Óšŕž•ಽ อऽ۾ ⌽ÇŽ᎚ Ṽ☖ ᳌ᯕಽá•˝ Ꮡŕ¸?Űľ ⲹ⌽ḥⲲ᳌ᯕŕˇ? ⊼‍ݥ‏Ṣ Ę‘áƒśáŽ?ಽ á?…⨚⌚áŠ? ⼭ŕŻ?ᜅâ?’Ꮌ â€ŤÝĄâ€Źâ„•áœ˝â”? á‚ŠáƒśáŽĽ ŕź‰á”ŞâŚšáŠĄÝ… ᯕ۾ ⼭ŕŻ?ᜅâ?’áŽ?ಽ aञ⌽ Ꮡŕ¸?᎚ ᔞ⪽⪚ĞᎼ ⊽⪚ĞṢᯙ Ṽ☖ᗭá°?ಽ ‍ݥ‏ℕ⧠ᙚ ᯊᎭᎼ á…•áŠ?áľ?Űľ ⲹáŹ•ŕ şâ˛˛áŻ•᯹ ⲹá?…⨚ⲲáŻ•ŕť‘ ⲹ."&;.ⲲᎥ Ý…᧲⌽ ṽ⣊ á ° Ĺ–e á°?ഭಽ ᯕ á?…⨚Ꮌ ⪜‍ ⧕ݥ‏Ӛi äᯕ݅



There are some differences between Korean traditional ‘Hanji’ and paper of the West. Hanji is a kind of paper, air goes through it and it keeps warm. By the characteristics to control moisture and temperature in a space, Hanji has been used as a material for Korean traditional architecture and life trifling articles. ‘MAEZM’ had experiments with modern techniques so that these advantages can be applied to modern life and Hanji can replace plastic harmful for environment. To do this, we cooperated with Korean traditional artisan and related organizations. We grafted a process to develop modern new material with Hanji onto design to show its possibility. The first project of hanji (traditional Korean handmade paper) plastic is a chair. This chair was made through molding just like a common plastic chair using natural materials that mixed processed paper mulberry fiber and glutinous rice paste glue, and the base material solution was extracted from the paper mulberry. After taking it from a mold, finish it with hanji one more time to have sufficient strength and hardness. Property of materials can be maximized by vanishing it with Korean lacquer made by sumac. This method shows hanji and natural glue by flour, without using synthetic mixture (ex, hardener) that is needed for processing plastic, can result stronger product than plastic. The produced chair with the thickness of 7-8mm is light but perfectly functions as a chair. Perhaps, toxic plastic is no longer in need. The hanji plastic chair will be the first design as an alternative of the existing plastic.

⌽ÇŽ᎚ Ṽ☖ ᳌ᯕ ⲹ⌽ḥⲲ۾ ᕽ᧲᎚ ᳌ᯕ᪥ ฯᎥ ₉ᯕṹᎼ aḥŠᯊÝ… ⊽⪚ĞṢáŻ•ŕť•á•˝ŕ Ľ âƒ˝ÖĽ ᯕᔢ᎚ á™šŕťŚáŽĽ aᲙ ⌽ḥಽ ԉĉḼ ⌽ÇŽ᎚ Ę‘ಞŕž?༅Ꭵ ᙚ âƒ˝ ÖĽe É™ ᏹ⊜Ꮌ ə‍ݥ‏ಽ á…•Ṽ⧠ᙚ ᯊᨊÝ… ੱ⦽ ᳌áŻ•áŻĽá¨ąŕ Ľ ᇊÇ?⌚ŠĹ–Ę‘᎚ ☖Ĺ?a a‍⌚܆‏Šᅕ᪉ᖒᎼ aḥŕť‘ Ĺ–e᎚ áœ–ŕ ĽáŞĄ áŞ‰ŕ Ľŕˇ? áł‘Ṋ⌚۾ ✚ᖒáŽ?ಽ ᯙ⧕ ⌽ÇŽ᎚ Ṽâ˜–Ă•â‡śĹ? ᔞ⪽ᗭ⣊᎚ á°?ŕ´­ŕ˛˝ŕ Ľ á”?Ꮚग़ᨊÝ… ⲹ."&;.ⲲᎥ ᯕŕą?⌽ ᰆṹ༅Ꮌ ⊼‍ݥ‏ᔞ⪽ᨹ ṢᏊ⌚Š⪚Äžᨹ Ꭰ⧕⌽ ⼭ŕŻ?ᜅâ?’Ꮌ ‍ݥ‏ℕ⧠ᙚ áŻŠŕ Ľŕ˛ž ⊼‍ݥ‏Ṣ Ę‘áƒśáŽ?ಽ á?…⨚⌚እÝ… ᯕŕˇ? ᭼⌚áŠ? ⌽ÇŽ᎚ Ṽ☖ ᰆᯙ á ° Ę‘ĹĄĹ? Ĺ–áł‘⌚እáŽ?ŕť‘ ⌽ḥŕˇ? ⊼‍ݥ‏Ṣ á? á—­á°?ಽ }á ˝âŚšŰľ Ĺ?ṜᎼ ༾᯹ᯙĹ? Ṳ༩⌚áŠ? É™ a‍܆‏ᖒᎼ ᅕᯕŠ᯹ ⌽Ý… ⌽ḥ ⼭ŕŻ?ᜅâ?’᎚ ℌ჊ᚙ ⼼ಽṞâœ™Űľ ᎚᯹ᯕ݅ ᯕ ᎚᯹۾ áŻ?á šáą˘áŻ™ ⼭ŕŻ?ᜅâ?’ ᎚᯹᪥ zᯕ ŕź‘ऽᨹ ᎚⌽ á–’⊜áŽ?ಽ อ༅ᨕᲭá¨•ŕť‘ ᏹഭa ग़۾ ᏊᧂᎥ Ý†Óšŕž•ᨹá•˝ ⇾⇽ aĹ–ॽ ݆ᾞĹ? â‚šá?ĄâŁĄ ༒ᯕ âŞ?⧊ॽ ᯹ኑ ᏹഭa á”?Ꮚग़ᨊÝ… ᯕŕˇ? âœĄ NPME ᨹá•˝ ṽÑ ⏼ Ý…áœ˝ ⌽ḥಽ ชq⧉áŽ?ಽá•˝ âˆŠá‡ĽâŚ˝ vŕ ĽáŞĄ Äžŕ Ľŕˇ? wĂ­ ॽÝ… ੱ⦽ áŞœâ‹ ,PSFBO MBDRVFS NBEF CZ TVNBD ಽ ⎾â?Śŕ¸Šq⧉áŽ?ಽá•˝ á°?ഭ᎚ á–’ḊᎼ ɚ‍ ᙚ ⧠⪾ݥ‏ᯊ݅ ᯕŕą?⌽ á‚ŠáœžáŽĄ áŻ?á šáą˘áŻ™ ⼭ŕŻ?ᜅâ?’ á”?⇽ᨹᕽ ⌼፾⌽ ⧊ᖒâŞ?⧊ŕž? Äž⪾ṽ ༒ ᯕ Ṽ⊥ á”?Ꮚग़ḥ ግŠáŞ…ಽḥ ⌽ḥ᪥ ᯹ኑ⣥ HMVF CZ GMPVSᎼ á”?Ꮚ⧕ᕽ ⼭ŕŻ?ᜅâ?’á…•Ý… Ţľ ݉݉⌽ ṽ⣊Ꮌ ᨜Ꮌ ᙚ ᯊᎭᎼ á…•áŠ?ᾥÝ… ᯕ๨í ṽ᯲ॽ ᎚᯹۾ ࢹ̚a NN á ˇá¨ą ጊग़ aá„?áŹ‘ŕť•á•˝ŕ Ľ ᎚᯹ಽá•˝ âˆŠá‡ĽâŻŠ ʑ‍܆‏Ꮌ Ý…⌽Ý… Ꮡŕ¸?Űľ ᯕŕą?⌽ áœ˝ŕ Ľa ⼭ŕŻ?ᜅâ?’Ꮌ ‍ݥ‏ℕ⌚۾ á?…⨚ᯕ ࢠäáŽ?ŕŻ? ᔞb⌽Ý…



SHARING WATER

Product / 2007 / MAEZM 330 x 160 x 160 (mm) Mixed media

Sometimes, sharing calls for giving up something voluntarily. However, we know that a true sharing is when the sharing leads to growth through practice of it. 'Saring Water' holds only as much water as necessary for itself, and stores surplus as energy. Ordinary flower pots flow surplus water out purposelessly, however 'Sharing water' feeds back even such surplus water to use them as energy for other living bodies. Ĺ–Ꭰ᪥ Ӛ‍پ‏Ꭵ ᜅᜅಽ᎚ ŕž•ᨨᎼ ŕ¨?ᨕԕ۾ âŻ?ᔞᯕ ग़Ę‘ŕ Ľ ⌽Ý… É™ŕą?Óš Ḽá?…⌽ Ĺ–Ꭰ۾ Ӛ‍پ‏Ꮌ ☖⧕ ᜅᜅಽŕˇ? á–’á°†áœ˝â”…Űľ ᎚á ™᯼Ꮌ Ꮡŕ¸?Űľ ጭŠᯊÝ… ⲹ4IBSJOH 8BUFS Ꭵ ᜅᜅಽa ⌼፾⌽ อâ“?᎚ ŕž?Ꮌ ŕş™ɊŠᯪáŠ?᎚ ᨹՊḥŕˇ? ⇜Ṣ⌽݅ ᏹ௚᎚ ⪾ᇼ༅ᨹíá•˝ ᯪáŠ?ᇼ᎚ ŕž?Ꭵ ༩Ṣᨧᯕ ⎚ŕą?՚⊚ḥอ ⲹ4IBSJOH 8BUFS Űľ É™ ᯪáŠ?᳑₉ ࡙݅ á”žŕťŚá¨ąĂ­ ᨹՊḥಽá•˝ á™˝âŞšâ˜ ಞ ⌽Ý…


sharing water


05

BLACK-THROUGH FURNITURE

Furniture / 2012 / MAEZM 1800x400x160 (mm) Metal Fabric

We concentrated on interpreting the meaning of ‘in-between’ and ‘penetration’ of all Korean words in production of this entertainment furniture for audio and visual gadgets. Gadgets can be faintly seen through the mesh on the front side, making the furniture even more interesting. This presents a new possibility for furniture, the purpose of which is not simply limited to functionality. By shifting the form from being fixed and stifling to having a feeling of lightness, the furniture itself makes its presence clear although transparency. Being composed of units separately produced, the ensemble of furniture can be freely arranged as needed to suit for the space. This has something to do with the features of the traditional house, in which spaces are versatile as they can be opened and closed in many ways. ԕᇥŕˇ? ᪉Ṽ⯊ q⇾ÑӚ ⪚Ꭵ ༅ᨕԕḥ ግᎥ ä ⌽ÇŽṢᯙ ⲹ݉ᨕⲲ ᾲᨹ ⲹá”?ᯕⲲ᪥ ⲹťâ˜–Ⲳᨹ ť⌽ ⧕ᕞᨹ Ḳᾲ⌽Ý… " 7 ʑʑ༅ᯕ ‍״‏ᯕí ग़۾ ᯕ aÇ?Űľ É™ ʑʑ༅Ꮌ ᪉Ṽ⯊ q⇾ḥ ግ۾Ý… É™äᎥ ݉ᙽ⯊ ʑ‍܆‏Ṣᯙ ᯕᎠอ ጼ‍ ܭ‏aÇ?ᨹ ᔊಽᏕ a‍܆‏ᖒᎼ ᇥáŠ?⌚۾ äᯕ݅ åᎥ ŕš…á›? á”?ᯕಽ ᨙŕĽ? áŠĽâˆ‘ḥ۾ Ç?áł‘ŕˇ? ☖⧕ aÇ?Űľ É™ ᯹â„•ಽ ݅₼ಽᏥᎼ ḥ‍܊‏í ॽÝ… ŠṜॽ ⊜ᔢáŽ?ಽ Ç?⇜ग़۾ äᯕ ጼ‍ ܭ‏aá„?ᏥáŽ?ಽ ⊜â”˝ŕˇ? á„ĄâŞľáœ˝â”…Űľ äᯕ ᯕ aÇ?a aḊ ᙚ ᯊ۾ á ™ŢśáŻ•Ý… ੱ⦽ áŻ?áąś ݉᭼ಽ Ӛ‍ Ú â€Źáą˝áŻ˛ŕĄ˝ Ꭰܟ Ç?á–’Ꮌ ☖⧕ Ĺ–eᨹ ฿۾ aÇ? ႑⊚a a‍݅⌚܆‏۾ áąą áŠŽáœ˝ eĹ?⧠ᙚ ᨧÝ… ᎠܟᎥ aಽ᪥ á–™ಽಽ ⪜á°†⌚ŕť‘ Ĺ–eᨹ ŕŚ‘ŕˇ™ á…?ࡉᎼ wíॽÝ… aÇ?Űľ ᜅᜅಽ âš?໦⦹ḡอ É™ áł•á°?qᎥ á‡ĽŕťŚâ§ äᯕ݅


copyright â“’ photograph by Arumjigi Culture Keepers Foundation


04

FORTUITOUS VARIATION for Bleeker

Furniture / 2012 / MAEZM Client - Che-il Industries

Traditional Korean furniture lost their functional demands as the Korean society moved away from sedentary (floor-based) living arrangement to stand-in (chair-based) living arrangement. For this reason, traditional Korean furniture in Korean modern households equipped in Western style, are left at a corner of a room with incongruous appearance. In other cases, antiques without known history are usually transported to different places at cheap prices and eventually thrown away. 'Fortuitous variation' is a series of work that gave new interpretation to looks that Korean traditional furniture could adopt in the Westernized living environment of Korea with a biological perspective. Just as improvement of breed for both animals and plants is a way to adapt to new environment and needs, MAEZM proposes ways to adapt our traditional furniture into the modern society through this series of work. This series, which were produced as prop display in clothing stores, have the shape of newly grown legs so as to make traditional furniture designed for sedentary (floor-based) culture adapt to the stand-in culture in stores. For this project, MAEZM collected all kinds of Korean traditional furniture as well as Western-style wasted furniture that were in incomplete conditions and experimented on ways for these objects to ‘intercourse.’ The structures of the new furniture projected with light was intended as the symbol of this mutated species newly born as well as to simultaneously have functionality in the clothing store. ⌽ÇŽ᎚ ᪅௚ॽ Ṽ☖ aÇ?༅Ꭵ áł­áœžá”žâŞ˝áŽĽ ⌚ޚ ⌽ÇŽá”?⍭a ᯌáœžá”žâŞ˝ŕ˛˝ á„Ąŕź‰⌚ŕť‘ ʑ‍܆‏Ṣ ⌼፾ᖒᯕ ᾼᨕ༅ᨊÝ… ᯕŕą?⌽ ᯕᎠಽ á•˝Ç?áœžáŻ™ ⌽ÇŽ᎚ ⊼‍ ݥ‏aṜᨹá•˝ É™ä༅Ꭵ á‚Š ⌽ Ç?ᕞᨹ ᇥ᳑⪾⌽ ŕź‰áœ–áŽ?ಽ á°†áœžâŁŠâƒšŕą? ‍״‏áŠ?ᯊÝ… ੱ۵ áł’á…•a ᨧ۾ É?‍ݥ‏᎚ Ĺ aÇ?༅Ꭵ ⨹sᨹ ᰆᗭŕˇ? áŻ•ŕ şâŚšÝ… áƒĽŕ˛…ḥ۾ äᯕ áŻ?á šáą˘áŻ•Ý… 'PSUVJUPVT WBSJBUJPOⲲ ኑ᯲Ꭵ á•˝Ç?⪾ॽ ⌽ÇŽ᎚ ᔞ⪽⪚Ğ ᗎᨹᕽ ⌽ÇŽ᎚ Ṽ☖aÇ?a ≉⧠ᙚ ᯊ۾ ᔊಽᏕ ŕź‰áœ–Ꮌ ᔞŕž?⌺Ṣ ĹĄáąąáŽ?ಽ ⧕ᕞ⌽ áœ˝ŕ¸?ᡊᯕ݅ ."&;.Ꭵ ŕ şáœžŕž?᎚ ⣊᳌Ꮌ }ప⌚۾ äᯕ ᔊಽᏕ ⪚ĞᯕӚ ⌼፾ᨹ ṢᎲ⌚Ę‘ ᭼⌽ ä ᯕŕĽ?ᯕ Ꮡŕ¸?᎚ Ṽ☖ aÇ?a ⊼‍ݥ‏ᨹ ṢᎲ⌚۾ á‚ŠáƒśáŽĽ ᯕ ᯲⣊Ꮌ ☖⧕ ṽጊ⌚ŠᯊÝ… ᮹ඹŕš…á°†᎚ ᗭ⣊ ༾ᜅ⼭๊ᯕŕˇ? ᭼⧕ ṽ᯲ॽ ᯕ áœ˝ŕ¸?ᡊ۾ áł­áœžŕž™⪾ᨹ ฿⇾ᨕ ṽ᯲ॽ Ṽ☖ aÇ?༅ᯕ ᯌáœžŕž™⪾᎚ ŕš…á°†ᨹá•˝ ṢᎲ⧠ᙚ áŻŠŕ Ľŕ˛ž ᔊಽᏕ Ý…ŕ¸?a ᯹ŕŻ?Ó˝ ⊜ᔢᯕ݅ ᯕ ᯲ᨌᎼ ᭼⧕ ."&;.Ꭵ ฯᎥ Ę‘eŕ şáŚŠ ᔢ┽a ᇊ᪼Ṽ⌽ ⌽ÇŽ᎚ Ṽ☖aÇ?༅Ĺ? á•˝Ç?᜞ â ąaÇ?ŕˇ? ᙚḲ⌚እáŽ?ŕť‘ ᯕ á”?ŕž?༅ᯕ ⲹƹṲⲲ⧠ᙚ ᯊ۾ á‚ŠáœžŕĽ…Ꮌ á?…⨚⌚እÝ… ኟᨹ âš?ኢग़۾ ᔊಽᏕ aÇ? Ç?áł‘Űľ ᮹ඹ ŕš…á°†ᨹᕽ᎚ ʑ‍܆‏Ꮌ ᭼⌽ ä᯼Ĺ? ŕ şáœ˝á¨ą ᔊ೎í ┼ᔞ⌽ ᯕ ŕ ­áŠ‘á„ĄáŻ•ŕĽ…᎚ ᳌áł’Ṣ ᔢḜáŽ?ಽá•˝ áŽšŕ Ľ ग़ᨊÝ…


Fortuitous variation


'Fortuitous variation


'Fortuitous variation


LIGHT-THROUGH PARTITION

Furniture, Lighting / 2012 / MAEZM 2400x1640x40 (mm) Korean traditional paper, LED

The function of a folding screen is to block the view while serving as a background. The light-through partition has basic functions of a folding screen and is also a partition containing light within itself. If can be a window through which light passes, a door, or a wall. We enjoy the relaxed pleasant mood of sunlight permeating through the window paper of Hanok(Korean traditional house), or just imagination of such scene with this partition. ኟᎼ ‍ݕ‏Šᯊ۾ äĹ? ŕ şáœ˝á¨ą ኟᎼ á”?ᯕಽ ᕽಽŕˇ? ĹĄâ˜–áœ˝â”‰Ý… Ꮡŕ¸?a ጭŠᯊ۾ ᄲ⣎᎚ ʑ‍܆‏Ꭵ Ĺ–e᎚ ႑Ğᯕ ࢉĹ? ŕ şáœ˝á¨ą áœ˝á§?ŕˇ? ₉݉⌚۾ áŠŽâ§ ŕ Ľ aḥŠᯊÝ… -JHIU UISPVHI 1BSUJUJPO áŠŽáœ˝ ᭼᪥ zᎥ Ę‘á…™Ṣᯙ á„ž⣎᎚ ʑ‍܆‏Ꮌ ḥ‍܊‏ŠᯊÝ… ੱ⦽ ޾ᇊᨕᕽ É™ ጊᨹ ᜅᜅಽa ኟᎼ ‍ݕ‏ᎭáŽ?ಽá•˝ ࡙݅ ႊ᜞᎚ QBSUJUJPO ኎⧠Ꮌ ⌚í ॽÝ… É™äᎥ ⯂á”? ኟᯕ ༅ᨕ᪅۾ ₞ᯕÑӚ ŕž™áŻ?á™šŕ Ľ ⪚Ꭵ á„žáŻ? á™šŕ Ľ ᯊÝ… Ý…อ Ꮡŕ¸?Űľ É™ á”?ᯕŕˇ? ᡹Ę™ á?ąáŻ•Ý…


copyright â“’ photograph by Arumjigi Culture Keepers Foundation


RE-LOVE LIGHTING

Furniture , Lighting / 2009 / MAEZM, Jung Kim, Yuna Mun 600 x 700 x 800 (mm) , 900 x 900 x 350 (mm) PE-foam, Used furniture

The original function of objects, which have been used for a long time, is reduced as time goes on. However, the objects have a new value as a meaning of more than objects to an individual. We proposed how to love such objects in a different viewpoint and wanted to have a meaning differing from recycling. Chairs, used in reality in ‘RE_LOVE LIGHTING’ series, are expanded to space through light. Through such deformation, we intended to have potentiality as products of artwork. áŞ…ŕ°Œŕ şáŚŠ á”?Ꮚ⧕᪉ á”?ŕž?Ꭵ áœ˝e᎚ ÄžĹ?ಽ ᯙ⧕ á…™௚᎚ ʑ‍܆‏Ꭵ ⇜ᗭग़ḥอ É™ á”?ŕž?Ꭵ ᨕਠ⌽ }ᯙᨹí۾ á”?ŕž? ᯕᔢ᎚ ᎚á ™ಽá•˝ ᔊಽᏕ a⊚ŕˇ? aḥí ग़Ę‘ŕ Ľ ⌽Ý… Ꮡŕ¸?Űľ É™ŕą?⌽ ‍ݥ‏ᔢᎼ ࡙݅ áœ˝báŽ?ಽ á”?௲⌚۾ á‚Šáƒśá¨ą ‍ ⧕ݥ‏ṽጊ⌚Š᯹ ⌚እáŽ?ŕť‘ ᯕ۾ á°?⪽ᏊĹ?Űľ ࡙݅ ᎚á ™áŻ•Ę‘ŕˇ? ᏹ⌽Ý… 3&@-07& -*()5*/( áœ˝ŕ¸?ᡊᨹá•˝ á?…áą˝ á”?Ꮚ⌚እޚ ᎚᯹۾ ኟᎼ ☖⧕ Ĺ–eáŽ?ಽ ⪜á°†ॽÝ… ᯕŕą?⌽ ᄥ⊜Ꮌ ☖⧕ Ꮡŕ¸?Űľ BSUXPSLᯕ ṽ⣊áŽ?ಽᕽ᎚ á° á°?á–’Ꮌ aá¸Ąŕ Ľŕ˛ž áŽšŕ ĽâŚšáŠĄÝ…


re-love lighting


05

RE-LOVE CLOTHES

Furniture / 2007 / MAEZM, Jung Kim, Yuna Moon 1650 x 500 x 750 (mm) Used clothes, used furnitures

Most clothes and chairs used in the past were collected by the artists and other relevant parties. It was designed based on a new method using objects in which memories remain and original function gone. The discarded chair once again becomes a comfortable sofa with clothes on top. Clothes are what enable the chair to play its part. This is also understood as one’s own past. As clothes are tangled, memories can be tied up to create a new love. Ĺ?Ă‘ᨹ á”?Ꮚ⌚ޚ áŞ˜Ĺ? ᎚᯹ ‍ݥ‏ᇥᇼᎥ á?…áą˝ ༾᯹ᯕՊ᪥ áľ?á­Ľ á”?௭༅ಽ ᇥ░ ᙚḲग़ᨊ݅ á…™௚᎚ ʑ‍܆‏Ꭵ á”?ŕŻ?ḥŠĘ‘ᨖอ Ô‰Ꭵ á”?ŕž?༅Ꮌ ᔊಽᏕ ႊ᜞áŽ?ಽ á”?௲⌚Š༾᯹ᯙ ⌚Ý… Ĺ?Ă‘᎚ ᎚᯹۾ Ý…áœ˝ ᯹á? ᎚ ᇥᔑŕž?ᯙ áŞ˜aḥ༅Ĺ? ⧉̚ ⣎á–’⌽ á—­â?­a ॽÝ… ᎚᯹ಽᕽ᎚ ʑ‍܆‏Ꮌ a‍⌚܆‏í ⌚۾ äᎥ ᜅᜅಽ᎚ ᇥᔑŕž?ᯙ áŞ˜aḥ༅ᯕ݅ É™äᎥ ੱ⦽ ᯹á? ᎚ Ĺ?Ă‘áŻ•Ę‘ŕ Ľ ⌚Ý… áŞ˜aḥ༅Ꮌ ᕽಽ áŠ?Űľ á‚ŠáƒśáŽ?ಽ É™ ʑᨖ༅Ꮌ ŕž—á¨• ᔊಽᏕ á”?௲Ꮌ aâ€Ťâ˜ Ü†â€Źŕ˛ž ⧠äᯕ݅


re-love clothes Tokyo DesignersWeek Presentation


'RE_LOVE' was created in two processes of work under the same title. For these processes, we collected old furniture and clothes etc, which we actually used, and we intend to propose method to love these things again. To love the things again means to add another function to them. To love the things again here needs be distinguished from recycling. Though the old and ragged chair in my room will gradually lose a great deal of its original function, it will hold prevalent value over other new ones through the time and space shared with me. This chair may carry an image of myself on it, stretching leg to the floor, or elaborately cherish a reminiscence of a time when I conversed with someone. Sharing of such time and memory is also a matter of intimacy between me and the thing. However, regrettably enough, we repeatedly replace the thing for a new 'goods' unconsciously in pursuit of the 'function' it provides. The relationship between a thing and people should be understood as an expression of 'self love' on oneself as a result rather than personifying a thing. The intention is that the act of loving a thing again is engraved as love of one self about the time and space, and such love be proposed as methodology through 'RE_LOVE'. 3F MPWF QSPKFDUŰľ ŕ şáŻ?⌽ ᱽ༩᎚ ࢹ aḥ ᯲ᨌáŽ?ಽ Ḽ⧪ग़ᨊÝ… ᯕ ᯲ᨌ༅Ꮌ ᭼⧕ᕽ Ꮡŕ¸?Űľ Ꮡŕ¸?a á?…ṽಽ á”?Ꮚ⌚እޚ ᪅௚ॽ aÇ?᪥ áŞ˜ ༒Ꮌ ᙚḲ⌚እáŽ?ŕť‘ ᯕ á”?ŕž?༅Ꮌ Ý…áœ˝ á”?௲⌚۾ á‚Šáƒśá¨ą ‍ ⧕ݥ‏ṽጊ⌚Š᯹ ⌚እÝ… á”?ŕž?Ꮌ Ý…áœ˝ á”?௲⌽Ý…Űľ äᎥ ᯕ á”?ŕž?༅ ᯹â„•a áŻ•á ™ ⲹá°?⪾Ⲳಽᕽ᎚ ʑ‍ ܆‏ᯕፙ᎚ ᎚á ™ŕˇ? aḥí ग़ᨊÝ…Űľ ŕŽœáŻ•Ę‘ŕ Ľ ⌚Ý… áŠ?Ę‘á•˝ ᯕá§?Ę‘⌚۾ Ý…áœ˝ á”?௲⌚Ę‘᎚ ᎚á ™Űľ á°?⪽ᏊĹ?Űľ Ç?ᇼग़ᨕá§? ⌽Ý… Ô• á‚Šᨹ ‍״‏áŠ?Ḽ ԂŠ᪅௚ॽ ᎚᯹۾ ጪĘ‘ ᭼⌽ á…™௚᎚ ʑ‍܆‏Ꭵ áąąáąą Ṣá¨•á¸ĄÄ á¸Ąŕ¸­ ʑ‍ ܆‏ᯕፙᨹ Ӛ᪥ Ĺ–Ꭰ⌽ áœ˝eĹ? Ĺ–eᎼ ☖⧕ á”?ŕž?á…•Ý… Ꮡ᭼᎚ a⊚ŕˇ? aḥí ॽÝ… Ý…ŕ¸?a দᨱ â€ŤÝ â€Źá¸Ą ግጚޚ ᨙᲠa᎚ ኢᔢᎼ eḢ⌚Ę‘ŕ Ľ á”?௲⌚ޚ ŮĽÇ‘a᪥ ชáľ? ጪጼ ᯊޚ ᨙᲠa᎚ áœ˝e༅Ꮌ Ĺ áœ…௥⯊ eḢ⌚Ę‘ŕ Ľ ⌽Ý… É™ áœ˝eĹ? ʑᨖᎼ Ĺ–Ꭰ⧠ᙚ ᯊ۾ äᎥ Ӛ᪥ É™ á”?ŕž?อ᎚ ŕš…áŹ‘ á”?ṢáŻ•Ĺ á Ąáą˛âŚ˝ ťļ᎚ ŕž™áą˝áŻ•Ę‘ŕ Ľ ⌽ äᯕ݅ É™ŕą?Óš ጼá›žĂ­ŕ Ľ Ꮡŕ¸?Űľ ʑ‍܆‏ᨹ ‍ ⌽ݥ‏a⊚ಽ ᯙ⧕ ŕž•á??Ä‘ᨹ É™ ᯹ŕ¸?ŕˇ? ᔊಽᏕ ⲹá°?⪾Ⲳಽ â€ŤÝĄâ€Źâ„•áœ˝â”…Űľ ᔞ⪽Ꮌ á šá…–⌽Ý… á”?ŕž?Ĺ? á”?௭e᎚ ťļᨹ ‍ ⌽ݥ‏ᯕ⧕۾ á”?ŕž?Ꮌ ᎚ᯙ⪾ áœ˝â”…Š᯹ ⌚۾ ᎚á ™áŻ•Ę‘ á…•Ý…Űľ Ä‘Ĺ?ṢáŽ?ಽ ᯹Ę‘ ᜅᜅಽᨹ ‍ⲹ ⌽ݥ‏᯹ʑ᧠Ⲳᨹ ‍ ⌽ݥ‏⢽⊼áŽ?ಽá•˝ ᯕ⧕⌚እáŽ?ŕť• ⌽Ý… á”?ŕž?Ĺ?᎚ ťļ᪥ á”?ŕž?Ꮌ Ý…áœ˝ á”?௲⌚۾ ⧪᭼۾ Ӛ᎚ áœ˝eĹ? Ĺ–e ʑᨖᨹ ‍ ⌽ݥ‏ᔊಽᏕ á”?௲áŽ?ಽá•˝ bᯙग़ŠáŻ•ŕą?⌽ á”?௲ᯕ SF MPWF QSPKFDUŕˇ? ☖⧕ á‚Šáƒśáą˘áŽ?ಽ ṽጊग़Ę‘ŕˇ? áŽšŕ ĽâŚ˝Ý…



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NIKE-LUNARLON Conceptual products

Space / 2013 / MAEZM + ELOQUENCE + NIKE Client - NIKE Korea Location - Eloquence Magazin


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PEBBLE USB Product/ 2009/ MAEZM 38 x 24 x 11 (mm) Silicon Client - olleh KT art Exhibition, Kumho gallery Seoul Owned by KT telecom co.Ltd


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PLYWOOD TOMB Tombstone / 2007 / Eun Whan Cho 450 x 450 x 800 (mm) Plywood, nail How long should your gravestone exist? This chair-shaped tombstone is made of plywood. The people remembering the owner of the gravestone will be able to remember the person who passed away sitting on the gravestone. Also, about the time they depart this life, this grave will also be dispelled by the wind. HERE LIES THE BODY OF CHO, EUN WHAN 1981-2064 I appreciate you came to me. There may be many memories shared between you and me, but you are the meaning and pleasure beside me at this moment. The reason why the chair have a figure of a tombstone is that I want you to sit by my side for a while. And it is my last design as I spent a lot time as a designer. I don't expect you to remember me for hundreds of years. And I don't think I have lived for it. This tombstone will scatter by the wind at the time you come to my side who have remembered and loved me. Many things are like that. The disappearing things are the targets of sorrow, but when I admitted that it may disappear, the memories I had with you are left to me more conspicuously. I am now being disappeared. I don't remember the fine and concise things that the great men have left to us, but I feel happiness in that we can talk for a while who are far away. I expect we may greet each other adding other memories by the time you will come to me being added of those pleasures one by one. And I wait for those days. Looking back on the past, what is left as a regret is that I wasn't true to the people around me and my daily life at this time. I think of how true I was to the targets beside me in the efforts and times I struggled to get more. And I have put my true mind on the things I designed, and I designed while thinking whether I have passed my trueness to my acquaintances. My tombstone is humble to be seen as a tombstone, and is neither beautiful nor impressive, but I wanted it to have the feeling that can be true to my acquaintances and my daily life. Things to have feelings were the meaning like that to me. One of the power that the things had is that they have other meanings besides the functions they have. So, I guess there are so many things inside my drawer, warehouse and boxes. In most cases, there are no correlations between the production of the things and the next meanings. Merely, it is accidental or the experience and time of the person who uses it endow meaning to it. The trivial cups which make us feel the people we had nearby or the old dolls that make my face reddish are like that.


Although it is not an easy thing, but I cast a question if there was any other meanings it may have when making things or if it can be programmed. And I put that design on this tombstone. I can't know the day this letter will be written on my tomb. But, I laugh while repenting on my life and your lives at my present younger days. So, this letter may have meanings only to you after I have left, and I expect those meanings and feelings put on this tombstone. I just wish my letter to be a chance to add meanings to your times. I just wait for the day we will share our memories and talk to each other while my memories are left to the very small part of your meanings.

тАл▌ЪтАмсЭБсо╣ р╜╣сКе█╡ сиЭр╕й╙╣ скЕр░Мра║сжй с│Хс░НтзХсзЭ тж╣█╡a со╣сп▒ тй╢тФ╜со╣ спХ р╜╣сКе█╡ тзКтЭ▒соЭр▓╜ р╕нреЕсиХ с▓нсЬЦтАлр╜╣ ▌Е▄йтАмсКесо╣ с╡ЭспЩсое ╩СсиЦтж╣█╡ сФНрпнреЕсоб р╜╣сКеси▒ ├ЩтЦСсжксже риБ╙╜ сФНрпнсое ╩СсиЦтзБ сЩ╣ спйсое ├дспжтАл ▌Е▄йтАм╔Щр╕Н┼Б ╔ЩреЕспХ спХ сЦЩсФвсое риБ╘Б р╛Хр▓Ц спХ р╜╣сКе рй▒тж╜ сБ╡рпнси▒ тпКсиХс╕й ├дспжтАл ▌Е▄йтАм р╜╣сКер╛Щ с│Ссобтк╣ с▒бр╖Э тВЯсжес╡б тАл▌ЪтАмсЭБси▒├н qсФНрд╜р╕ЮтАл ▌Е▄йтАмр╕псоб ╩СсиЦреЕспХ тАл▌ЪтАмсЭБ┼Э ╙╣ сФНспХси▒ ┼ЦсоБрб╣сиХ спй─Бс╕бр╕н с╕б╔й спХ сЩ╜e тАл▌ЪтАмсЭБспХ с▒бсо╣ ─вси▒ сжксже спйсонспХ с▒бси▒├▒ со╣сБЩспХ┼Б ╩СсУЙспжтАл ▌Е▄йтАм с▒бсо╣ р╜╣сКеa со╣сп▒р╝Йсз▓спЩ ├дсоб тАл▌ЪтАмсЭБспХ с▒╜ ─вси▒ с░БсЬ╜ сжксже с╡Э╩Щ сБ╡рпЭсйНсХ╜ спжтАл ▌Е▄йтАм╔Щр╕Н┼Б ре╡сп▒спХ╒йрпЭ█╡ с╕всижсоЭр▓╜ р╕псоб сЬ╜eсое сЕХ╘Щ с▒╜a рд╜р╕Н█╡ р╕йс╕бр╕к ре╡сп▒спЩспХ╩Срае тзКтАл сЩ╣ ▌Е▄йтАмсВТ╓еe с▒бр╖Э ╩СсиЦтзХ с╡Эр╕НрпЭ█╡ ╩СтАл▌бтАм█╡ тж╣с╕б сжлсЬЦтАл ▌Е▄йтАм╔Щр╕Н┼Б ╔Щр▒Н╩С снетзХ сФХсжескЕс╕брае сжлсж╣▐╣ ├д zсЬЦтАл ▌Е▄йтАмс▒бр╖Э ╩СсиЦтзХс╡Э┼Б сФНрп▓тзХ с╡Эсий▐╣ тАл▌ЪтАмсЭБреЕспХ с▒╜ ─всоЭр▓╜ риБ╙╣ скН ржнтБЕ спХ р╜╣сКерае сФНрпЭс▓Щ сБ╡рпнси▒ тпКсиХс╕й ├д спжтАл ▌Е▄йтАмр╕псоб ├дреЕспХ ╔Щр▒исЬЦтАл ▌Е▄йтАмсФНрпЭс╕б█╡ ├дреЕсоб сЬНте╡со╣ тАл▌бтАмсФвспХ╩С сЫЮс╕бр╕н сФНрпЭс╕й ├дспХрпЭ█╡ ├дсое спЩс▒╢тж╣сйб▐╣ ржнси▒ тАл▌ЪтАмсЭБ┼Э ╙╣┘й тЗ╡сиЦреЕспХ с▒бси▒├▒ ▐╡ с╕║├н ╘ЙсжеспйсЬЦтАл ▌Е▄йтАм с▒б█╡ с╕б╔й сФНрпЭс▓Щ спйсЬЦтАл ▌Е▄йтАмснеспЩреЕспХ ╘Й╩Х р║мс╕б┼Б e─Стж╜ р╛Хсиисоб риБскЕр╖Хс╕б сжлс╕бр╕н р║бр╕Н спй█╡ смСр╕Нa с░БсЬ╜╙╣р╕й спХсзЭ╩С ╙╣тАл сЩ╣ ┘нтАмспй▌Е█╡ ├дси▒ тзксЕЦсое █▒╙отАл ▌Е▄йтАм╔Щр▒Нтж╜ тзксЕЦреЕспХ тж╣╙╣тж╣╙╣ ▐╡тзХс▓Щ тАл▌ЪтАмсЭБспХ риБ╙╣ скН ржн тБЕ рй▒ ▌Ер╖Щ ╩СсиЦреЕсое ▐╡тзХ смСр╕Н█╡ спЩсФНтж╣р╕НрпЭ ╩СтАл ▌Е▄йтзК▌бтАм╔Щр╕Н┼Б ╔Щ ╘БреЕсое ╩С▌Ер╕ЮтАл ▌Е▄йтАм ранспХтН╜ сЕЭ ржнси▒ тж╜aс╕б тметлнр▓╜ ╘Й█╡ ├дсоб с╕б╔й спХ сЩ╜eси▒ с▒╜ ─всо╣ сФНрпнреЕ┼Э спЭсФвреЕси▒ ▐╡ с╕есЭЕтж╣с╕б р╝Ьтж╜ ├д спжтАл ▌Е▄йтАмр╕псоб ├дсое aс╕б╩С снетж╜ тАл╫ЩтАмр▓Ж┼Э сЬ╜eреЕ сЧоси▒ с▒╜ ─всо╣ тАл▌бтАмсФвреЕси▒ сиЭр╕й╙╣ с╕есЭЕтзй█╡с╕б сФ╛bтзХ сЕжтАл ▌Е▄йтАм╔Щр╕Н┼Б с▒╜a ре╡сп▒спЩ тж╣█╡ ├дреЕси▒ с▒╜ с╕есЭНсое тАлсж╣▌ХтАм┼Б с▒╜ ─всо╣ сФНрпнреЕси▒├н с╕есЭНсое с▒етАлтзй▌НтАм█╡с╕брае сФ╛bтзХ сЕХр╗С спХ р╜╣сКер╖Э ре╡сп▒спЩ тзКтАл ▌Е▄йтАм р╜╣сКерпЭ╩Сси╡ тЕйрпЭтж╜ с▒бсо╣ р╜╣сКе█╡ сжер╖етАл▌ЦтАмс╕брае спЩсФвс▒вспХс╕брае сжл─Бс╕бр╕н ╔Щ сжйси▒ с▒╜ ─всо╣ сФНрпнреЕ┼Э спЭсФвреЕси▒ с╕есЭЕтзБ сЩ╣ спй█╡ qс▒╢сое aс╕б├н тж╣┼Б сЭЧсийсЬЦтАл ▌Е▄йтАм сФНр╛ЭспХ qс▒╢сое aс╕б█╡ ├дсоб с▒╜├н ╔Щр▒С со╣сБЩсйбсЬЦтАлр╛Э ▌Е▄йтАм├ХспХ aс╕б█╡ снер▓Ж с╡▓со╣ тж╣╙╣█╡ ╔Щ р╛Э├ХспХ сЕЩрп╣ aс╕б█╡ ╩СтАл ▄ЖтАмслЩси▒ ▌Ер╖Щ со╣сБЩр╖Э aс╕б╩Срае тж╜▌Е█╡ ├дспжтАл ▌Е▄йтАм╔Щрп╣сХ╜ ╙╣со╣ сХ╜рпо тВЮ┼Б сФвсп▒реЕ сЧоси▒ р╛Э├ХспХ тЦСс╕й реР р╕псже с╕б█╡ с╕брае р╝Йр╖Х─БсЬЦтАл▌б ▌Е▄йтАм├нсо╣ ─ЮсмС р╛Э├Хсо╣ сФ╛сФС┼Э тВЙтмесо╣ со╣сБЩси▒█╡ сФв┼б┼б─еa сизсЬЦтАл▌Й ▌Е▄йтАмс╕б смСсйСспХ├С╙╣ сФНсмКтж╣█╡ сФНрпнсо╣ ─Юти╣┼Э сЬ╜eспХ со╣сБЩр╖Э сЗбсйНсЬ╜тФЦтАл тж╜╠╣тзЙ ▌Е▄йтАмсФНрпнсое тзОсФв █▒╙Э├н тж╣█╡ тж╣тВПсоб тНЦспХ╙╣ с╕б╔йрае сиЭ╟Хсое сЗк├н р╕нрд╜█╡ скЕрп╣рб╜ спЩтй╢спХ ╔Щр▒исЬЦтАл ▌Е▄йтАм сЫНсмХ спЭсоб сжетАл▄йтАмс╕бр╕н р╛Э├ХспХ р╕нреЕсиХ с╕й ржнси▒ ╔Щ├дспХ aс╕б├н рвБ ▌Ер╖Щ со╣сБЩa со╣раерб╣сиХ с╕б├С╙╣ сййс▒╢рб╣сиХ с╕й сЩ╣ спйсое╩нрпЭ█╡ с╕йр╛Щсое ▐╣с▓ЩсЕжтАл ▌Е▄йтАм╔Щр╕Н┼Б ╔Щ ре╡сп▒спЩсое спХ р╜╣сКеси▒ тАл сже▌ХтАмсЕжтАл ▌Е▄йтАмс▒╜a с▒в┼Б спй█╡ спХ ╔бспХ с▒╜ р╛Х▀Еси▒ с▒втйбс╕й ╘Бсое сжн сЩ╣█╡ сизсЬЦтАл ▌Е▄йтАм╔Щр▒Н╙╣ сиХр╕С с╕б╔йси▒ с▒╜ сФЧ┼Э тАл▌ЪтАмсЭБреЕсо╣ сФЧсое рб╣сФй╩Ср╗С смдсиХсЕжтАл ▌Е▄йтАм╔Щрп╣сХ╜ спХ ╔бсоб с╕б╔йсо╣ с▒бси▒├н ╔Щр╕Н┼Б с▒╜a риБ╙╜ тмесо╣ тАл▌ЪтАмсЭБси▒├нр╕н со╣сБЩa спйсое ├д z╩Срае тзКтАл ▌Е▄йтАм╔Щр▒Нтж╜ со╣сБЩскб qс▒╢реЕспХ спХ р╜╣сКеси▒ тАл▌ХтАм╩С╩Щ ╩СтАл ▌Е▄йтзК▌бтАмс▒бсо╣ ╔бспХ тАл▌ЪтАмсЭБсо╣ сЬ╜eреЕси▒ со╣сБЩр╖Э ▐╡тж╣█╡ ─е╩Сa рб╣╩Щ сБ╡рпе сР▒спжтАл▌Ъ ▌Е▄йтАмсЭБсо╣ со╣сБЩреЕсо╣ сжес╡Э сп▓соб сЗбсЗеси▒ с▒бсо╣ ╩СсиЦспХ ╘Йсже смСр╕Нсо╣ ╩СсиЦсое ▌ЕсЬ╜ ╙╣┘ер╗С спХсзЭ╩С тзБ ╘Бсое ╩С▌Ер╕Х сР▒спжтАл ▌Е▄йтАм


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BONE X SKIN

Furniture 560 x 560 x 700 (mm) 2010


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material : Carbon Fiber, Natural Wood

A light weighted and solid epidermis that is composed of carbon fiber makes its function by being covered by a form that makes structure. In other words, few simple form of component and combination of components make basic structures like a bone, and an epidermis of carbon fiber material that is created from this functions as the minimum skin. An experiment about this relationship is achieved through a chair, which is the closest structure to human life. A shape of chair is made from lines of a simple structure, and this structure plays its role as an epidermis of carbon fiber material holds it. That is, a structure and an epidermis can't exist by themselves and they are complementary. Beginning of the concept is from material called carbon fiber. The material is light and solid, and it has enough tensile force as a reinforcing agent of structure even though it can't be the structure itself. It also works as protecting a product by covering it with its high elasticity according to figuration. A concept of 'bone and skin' is deduced from this characteristic of the material, and the results from this are proceeded.

This project was proceeded with joint works of KDM (Korea Design Membership) students and MAEZM (designer Shin Taiho) and cooperation with DGDC center and Material Connextion Daegu, and productions are displayed through Tokyo Designersweek in tokyo and one-gallery exhibition in Seoul, 2010.


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3W CHAIR

Furniture / 2005 / Eun Whan Cho 450 x 550 x 750 (mm) Bending wood, steel


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3W chair


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MOVIN_TREE

Graphic / 2006 / Tai Ho Shin at ‘communication for difference’ Digital print, Video clip

Video link / Movin_tress / 1'36" http://vimeo.com/36402486


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SKIN OF SKIN

Graphic / 2006 / Tai Ho Shin at ‘communication for difference’ Digital print

“Blowing a piece of skin, what is the real part of me?”


COMMUNICATION FOR DIFFERENCE

Solo Exhibition / 2006 / MAEZM part 1_BMH gallery seoul part 2_Theater seoul media center part 3_www.maezm.com

“Communication for difference", which is the first project exhibition of MAEZM is also the characteristic expression of the studio. This exhibition roots from the 200 letters exchanged by the two members from 2003 to 2005. The communication we are talking about is not about gigantic messages, rather it is about very small communication which always stays around us. We simply wanted the communication among ourselves, our daily lives, our existing locations, and small objects. ."&;.Ⲳ᎚ â„Œ ჊ᚙ ⼼ಽṞ✙ Ṽáœ˝áŻ™ ⲹ$PNNVOJDBUJPO GPS EJGGFSFODF Űľ Ⲳŕš›ᎭⲹᯕŕŻ?Űľ áœ…â›˝ŕĽľáŞ… á–’ÄŠ᎚ ⢽⊼áŻ•Ę‘ŕ Ľ ⌚Ý… ᯕ Ṽáœ˝Űľ ÖĽ ᇥ░ ÖĽ ʭḥ ࢹá”?௭ᯕ ƹ⪚⌽ áŠ?☖᎚ â ™ḥŕˇ? É?eáŽ?ಽ Ḽ⧪ ग़ᨊÝ… Ṽáœ˝á¨ąá•˝ Ꮡŕ¸?a ᯕá§?Ę‘⌚۾ ᗭ☖Ꭵ Ă‘â‚ž⌽ ŕž•ᨨᯕ ጼ‍ጼ ܭ‏áľ? ᯲Šá—­á—­âŻŠ Ꮡŕ¸? Ģᨹ ᯊ۾ ä༅Ĺ?᎚ á—­â˜–áŻ•Ý… Ꮡŕ¸?Űľ ݉ḥ ᜅᜅಽ᪥ Ꮡŕ¸?᎚ áŻ?ᔢĹ? Ô•a ᭼⊚⌽ Ĺ–eĹ? É™ŕ¸?Š᯲Ꭵ á”?ŕž?༅Ĺ?᎚ ᗭ☖Ꮌ ᏹ⧊Ý…


Privaty domein Part 1_BMH gallery seoul


One thing we focused before the communication is the difference between each member. The common communication method is the same with the subject, and it is an easy theory that the more similar they are the more perfect the communication is. However the communication method and expression we tried to show was from the acknowledgement of the difference of the members. By understanding difference between the members and sharing the different experiences, their differences are more emphasized and we can seek for a harmonious method of communication while preserving each member’s unique character. Harmony gains bigger meaning when the difference of the member is well defined, and the essence can be drawn as the amount of the conversation increases for the understanding the difference. This idea roots from the relationship between the two members who executed this project. The conversation started from the point of finding what each member was worrying about, and they started to tell that the communication was what each member was worrying about. That conversation was the process of finding each other, and through the conversation we gained clear sense of our differences. This process coincides with the process of the project which solves the issue of communication. The communication subject itself can be the space. The space can be physical location, but before that it is the range of awareness. Therefore the understanding of communication started from the self, the range of awareness. The unified concept, me and self, is the same subject when talking to oneself, but it begins from the attitude of a different self from ‘me’.Therefore people seek for the conversation with oneself, and through the conversation it can increase the range of space to other subjects. If the conversation with oneself can be compared, it is similar o the behavior when people look at the mirror, like making funny faces or playing around. However generally when we look at ourselves on a mirror we tend to fix our hair or take a thorough look at our skin, not wanting to talk to ourselves. The communication with oneself is easy but unfamiliar process. From the conversation with oneself, our point of view naturally shifts to external environment from our own space of self. This curiosity, rather than the interests in other things, is the natural instinct to realize oneself through things that surround us. The reason is that all the things that surround us such as objects, people, nature, etc are the shadows of ourselves. External things such as objects, people, nature, etc can be newly realized through this process and the repetitions of the conversation with each subject make us realize the differences. These conversations and communications are the process of connection.

Video link / 31' 27"/ part 2_Theater seoul media center http://vimeo.com/35034707

Web link / part 3_Web exhibition http://www.maezm.com/project/c_f_d/project_index.htm


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