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MAEZM

www.maezm.com


INDEX

ABOUT MAEZM OBJECT SPACE PRESS


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ABOUT MAEZM


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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SPACE


04

EAT ME Commercial space design

Space / 2015 / MAEZM Client - ABC Financial Group Location - Gangnam-gu, Seoul, South Korea

‘EAT ME’ that MAEZM conducted branding and designed interior manual is a franchise brand that sells Korean style box lunch. MAEZM suggested an integrated brand identity design of ‘EAT ME’, from naming to package and spatial design, and expressed a specific brand image in a minimized commercial space. MAEZM Partners가 브랜딩 및 인테리어 매뉴얼을 디자인 한 ‘EAT ME’는 한국식 도시락을 판매하는 프렌차이즈 브랜드이다. MAEZM Partners는 ‘EAT ME’의 네이밍 부터 패키지, 공간 디자인까지 통합적인 브랜드 아이덴티티 디자인을 제안하며 최소화 된 상업공간에 특징적인 브랜드 이미지를 표현하였다.


04


With a provocative brand name, ‘EAT ME’, and a modern design suggested to fit for users’ senses, escaping from images of existing Korean style box lunch, MAEZM intended this box lunch brand to be an experience of spatial amusement for users, not just a take-out commercial space where they can have a meal. 기존의 한식 도시락이 가지고 있는 고유한 이미지에서 벗어나 ‘EAT ME’라는 도발적 브랜드 네임 을 설정하였고, 사용자층의 감각에 맞게 제안된 현대적 디자인을 통해 MAEZM Partners는 이 도시락 브랜드가 단순히 식사를 해결하는 테이크아웃 상업공간이기 보다, 공간적 유희를 체험하는 경험적 브랜드로서 의도되길 원하였다.


With a restrained use of colors in a space, MAEZM creates users’ waiting space as an experience space by embodying fairy tale-like clouds on the ceiling. Due to the brand’s characteristic focusing on take-out, the store space has been minimized with various functions inside. Through special emotion and display in the space, this compressed space full of functions makes users feel comfortable and amused during their waiting time. 공간에서의 절제된 색상의 사용과 함께, MAEZM Partners는 천장에 동화적으로 표현한 구름을 형상화 함으로서 사용자의 대기공간을 하나의 체험공간으로 연출하고 있다. 테이크아웃을 중심으로 하는 브랜드 성격에 의해 매장공간은 최소화 되어 있으며, 필요한 다양한 기능들이 압축되어 있는 공간이다. 기능으로만 가득할 수 있는 이 압축된 공간은, 공간의 특별한 감성과 연출을 통해 사용자가 대기하는 짧은 시간 동안 편안하면서도 유희적인 감각을 느낄 수 있도록 해 주고 있다.


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OTOKO Commercial space design

Space / 2016 / MAEZM Client - O T O KO Location - Bundang-gu, Gyungki-do, South Korea

‘otoko’ that MAEZM conducted branding and designed interior manual is a franchise brand that sells Korean style box lunch. MAEZM suggested an integrated brand identity design of ‘EAT ME’, from naming to package and spatial design, and expressed a specific brand image in a minimized commercial space. MAEZM Partners가 퓨전 일식레스토랑인 브랜딩 및 CI 개발, 인테리어 디자인을 촐괄 진행한 프로젝트인 OTOKO는 전형적인 일식 레스토랑의 이미지를 유지하면서도, 수묵화와 같은 공간 이미지로 구축되어진 통합 디자인 결과물이다. 공간 전체는 수묵화의 농담처리와 같이 어두운 먹의 색상이 그라데이션 되어 공간에 물들어 있고, 옷걸이로 사용된 기둥 사이로 물고기가 유영하는 연출을 통해, 식공간에서의 초현실적 체험을 의도하였다.


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With a provocative brand name, ‘EAT ME’, and a modern design suggested to fit for users’ senses, escaping from images of existing Korean style box lunch, MAEZM intended this box lunch brand to be an experience of spatial amusement for users, not just a take-out commercial space where they can have a meal. 일식레스토랑의 이미지를 유지하면서도, 현대적인 디자인 컨셉과 유니크한 디자인 요소의 표현을 통해, 젊은 연령대가 실험적인 퓨전 일식을 경험 할 수 있도록 의도하였으며, 공간과 기타 어플리케이션에 적용되는 변용 그래픽 제안을 포함 하였다.


VIVATAMTAM Dress & Boutique

Space / 2012 / MAEZM Client - Vivatamtam Location - Shinsa-dong, Gangnam-gu, Seoul, Korea

Designed by MAEZM, ‘VIVATAMTAM’ is a dress shop located in Seoul, Korea. This space that sells high-quality luxury wedding dresses to upscale customers, holds together contrasting images of future-oriented and Oriental styles and is quite different from existing dress shops in Seoul that are decorated with European classical-style decor. For this unique interior design, MAEZM made geometric shapes along with crafted embroidery patterns dominate the space. The embroidery pattern on the ceiling and covering the entire front of the main door symbolizes the brand's logo and was also intended as an element that emphasizes the characteristics and delicacy of the future-oriented brand. ."&;.ᯕ ༾᯹ᯙ⌽ Ĺ–eⲹ7*7"5".5".ⲲᎥ ⌽ǎ᎚ ᕽᏙᨹ ᭼⊚⌽ ŕ¤˝ŕąŠáœ… ŕš…á°†áŻ•Ý… á”˘ŕśšâŠ–á¨ąĂ­ Ĺ ÉŞ á­‰ŕŚŠŕ¤˝ŕąŠáœ…ŕˇ?â?ąŕš…⌚۾ᯕĹ–eᎥ Ꭰ๞ŠṼ⣎᎚ᰆ᜞áŽ?ಽ⊚ᰆग़ᨕḼᕽᏙ᎚Ę‘áł•ŕ¤˝ŕąŠáœ…ŕš…á°†Ĺ?‍Ý?‏ŕ¸?  á ™ŕŻšá¸Ąâ¨†áą˘áŻ•ŕť•á•˝ŕ Ľ࠺᧲Ṣᯙá”˘á šŕĄ˝áŻ•á ™á¸Ąŕˇ?⧉̚wĹ ᯊ݅  ᯕŕˇ?᭼⧕ ."&;.Ꭵʑ⌚⌺Ṣ⊜┽᪥⧉̚ ŖኊṢᯙáŻąá™šŕž™á§˛áŻ•Ĺ–eᎼḥ႑⌚࠼ಞ⌚እ݅âƒ˝á°†Ĺ?ŕž™áŽš áąĽŕť•áŽĽ ß?Ĺ  ᯊ۾ áŻąá™šŕž™á§˛áŽĄ ቭ௽ऽ᎚ ಽŠŕˇ? á”˘á¸śâŚšŕť‘  á ™ŕŻšá¸Ąâ¨†áą˘áŻ™ ቭ௽ऽ᎚ ✚ᖒĹ? ⧉̚ á–?ᖙ⧉Ꮌ váł‘áœ˝â”…Űľ፾ᗭಽᕽ᎚࠼ग़ᨊ݅


2013 JCD Award Japan Silver prize


Moving wall_open & close


Another unique feature of this space is its changeability. This space, which is not that wide, has changeable walls. By merely opening the walls and doors, this small space changes its function into an event space that can hold a fashion show by the event. ᯕ Ĺ–e᎚ ੱ ࡙݅ âœšá–’áŽĄ aᄥᖒᯕ݅ մḥ ግᎥ ᯕ Ĺ–eᎥ aᄥṢᯙ á„žâ„•ŕˇ? aḥŠ ᯊ݅ ᄞℕ᪥ ŕž™áŽĽ áŠ?Űľ ä อáŽ?ಽ  ᯕ ᳢Ꭵ Ĺ–eᎥ ➉ᖚá™?ŕˇ?ንᙚᯊ۾áŻ•á„…âœ™Ĺ–eáŽ?ಽáŹŠŕ Ľaᄥ⪾⌽݅

Prayer space


Custom-made embroidery Ceiling panel

Custom-made embroidery Folding door


Space, Brand identity / 2011/ MAEZM, Sarah Kim Client - iCare inc. Location - Seocho-dong, Seocho-gu, Seoul, Korea


everydat chaa 2 Floor Perspective View

!, 2 Floor Plan


EVERYDAY CHAA is a new concept of franchise commercial space with the theme of Korea’s ‘traditional tea’. What client wanted between the saturated cafes of Seoul was a space where consumption was made in more convenient, friendlier, and more modern way through traditional drink rather than coffee. Therefore, the space didn’t have to be traditional, and we hope it to appear in Seoul quietly but strongly where cafes are lining. The space is in gradation from the bottom to the ceiling. The gradation rising from the bottom to the wall crumbles all factors within the space vaguely. As if it is standing in the middle of desert or a space casted with deep choreography. We wanted the space itself to show depth at a clean structure that did not give change in forms and a space without any special details. We hope that this would be sufficient suggestion to an ‘act of drinking tea’ as imagining a space where a light turns up like moonlight casts in the middle of silence and where leaves are in full glory.

&7&3:%": $)""Űľ ⌽ǎ᎚ áąĽâ˜–â‚‰ŕˇ? ▭ชಽ ⌽ ᔊಽᏕ }ֹ᎚ ⼼๭₉ᯕᡊ ᔢᨌŖeᯕ݅ âĄ?⪾ᔢ┽ᨹ ᯕ࡙ ᕽᏙ᎚ â‹•â&#x;šŕĽ…á”?ᯕᨹᕽ â“•ŕŻ?áŻ•á¨™âœ™aᏹ⌽äᎥ â?…âŚ?a ጼ‍ ܭ‏Ꮡŕ¸?᎚ áąĽâ˜– Ꭽഭŕˇ? ☖⧕  ᳥޾ ⠙⌚Š ⊽ᙺ⌚í  ੱ⦽ ⊼‍ݥ‏᎚ ႊ᜞áŽ?ಽ ᗭኼa ᯕྉᨕḥ۾ Ĺ–eᯕᨊ݅ ŕŚ‘ŕŻ?á•˝ Ĺ–eᯕ áąĽâ˜–áą˘áŻ? ⌼፾a ᨧᎭᎥ ŕž?ೠᯕÑ‍܊‏᪥  â‹•â&#x;šŕĽ…ᯕ ᡹ኼ⌽ ᕽᏙᨹ ᳑Ꮚ⯊ É™ŕą?Óšv⌚í༒ᰆ⌚ʙá ľŕ°?Ý…


everyday chaa


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8m cafe Youredway

Space / 2011 / MAEZM Client - Yourway Location - phil-dong, Joong-gu, Seoul, Korea

‘Youredway’ is subminiature café located in Seoul. Designed for the purpose of raising support funds for the underprivileged and neglected people in our society, the café was completed with a minimal budget and by utilizing a worn out space. This small space, that takes up only 8m2 is run by one employee and is designed to provide take-out service. Utilizing the existing run-down structure, it minimized construction and cost. In this modern and minimal architecture, MAEZM used a graphic based on a modern interpretation of Korean traditional pattern, which emphasize the café’s brand identity.


тЛХтЯ╣ :PVSFEXBZт▓▓█╡ сХ╜смЩси▒ снетК╣тж╜ тЕйсЧнтй╢ тЛХтЯ╣спХ▌Е сЧнслЩрб╜ ─етКЦсое снетж╜ с╕бсм▒╔йсое р╕йр▓Йтж╣█╡ р╝Кс▒всоЭр▓╜ ре╡сп▒спЩрб╜спХтЛХтЯ╣█╡ тЖ╜сЧнтж╜со╣сКесмК┼Э╙║тмерб╜┼Цeсоетк╜смКтж╣сйНскесЦТрб╣сий▌Е Nси▒ сЗй┼Этж╜ спХ сп▓соб ┼Цeсоб  тж╜ р╗жсо╣ с╕всм▒спХ смХсйвтж╣р╗С тЦнспХтУНсжесмд сХ╜сКесЬЕр╖Э с▒╜┼ЦтзБ сЩ╣ спй├н ре╡сп▒спЩ рб╣сийсоЭр╗С ╩Сс│Хсо╣╙║тмерб╜╟Нс│Ср╛Эсое╔ЩтАл▌бтАмр▓╜тк╜смКтж╣сйН┼ЦсФНскбсКесмКсоетЖ╜сЧнтк╡тж╣сйб▌Е тйетАл▌бтАмс▒вспХ┼БсБЩ╒йр║бтж╜├ХтЗ╢сЧоси▒ ."&;.собтж╜╟Осо╣с▒етШЦр╛Щсз▓соетйетАл▌бтАмс▒всоЭр▓╜тзХсХ╛тж╜╔Щрп╣тжЮсоесФНсмКтж╣сйб┼Б спХ р╛Щсз▓спХтЛХтЯ╣со╣#SBOEJEFOUJUZр╖Эvс│Стж╣├нтж╣сйб▌Е


Prayer space


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Second face Commercial space design

Space / 2013 / MAEZM + Sungchang S&D Client - Second face Location - Busan University, Busan, Korea


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HILTON H Hotel Hotel Presidentsuite suite President

Space//2014 2015//MAEZM MAEZM + Sungchang S&D Space Client--ABC Keongju HiltonGroup Client Financial Location--Gangnam-gu, Gangnam-gu,Seoul, Seoul,South SouthKorea Korea Location


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Entrance / japaness & Chiness restaurants


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Conference room


HILTON Hotel Swimming pool / Renovation

Space / 2015 / MAEZM + Sungchang S&D Client - Keongju Hilton Location - Gangnam-gu, Seoul, South Korea


HILTON Hotel Chiness Restaurant

Space / 2015 / MAEZM + Sungchang S&D Client - Keongju Hilton Location - Gangnam-gu, Seoul, South Korea


HILTON Hotel President suite

Space / 2015 / MAEZM + Sungchang S&D Client - Keongju Hilton Location - Gangnam-gu, Seoul, South Korea


PA-AN House Architecture Space / 2016 / MAEZM Client - Individual Location - Sungbuk-gu, Seoul, South Korea

This house, which has four families, is an ultra-small house located at the top of a mountain in Seoul city center. This house, which can be connected with the family by a vertical line, uses a very narrow space compared to the existing house. This four-storey building, in a devastated environment around the house, allows children to have fun and use space as a playground. 4인 가족이 살고 있는 이 집은, 서울 도심의 산꼭대기에 위치한 초소형 주택이다. 수직으로 연결되는 동선으로 가족들이 모두 소통할 수 있는 이 집은 기존의 주택에 비해 매우 좁은 공간을 사용하고 있다. 4개 층으로 구성된 이 건축물은, 주변의 황폐한 환경과 조화를 꾀한다.


HILTON Hotel President suite

Space / 2015 / MAEZM + Sungchang S&D Client - Keongju Hilton Location - Gangnam-gu, Seoul, South Korea


Pokemon Korea office & cafe space

Space / 2017 / MAEZM Client - Pokemon korea Location - Pangyo, Gyungki-do, South Korea


pokemon & charawiz office building


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K house Living space design

Space / 2013 / MAEZM + Sungchang S&D Client - Individual client Location - Myungji, Busan, Korea


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COLORSQUARE Foodcourt interior design

Space & Brand Identity / 2012 / Taiho Shin & Eche Client - Dosi & saram inc. Location - Dae-heung Dong, Su-Seong Gu, Dae-gu, Korea

The facility has a variety of dining options combined structure.This space is connected with the theater, and a lot of people use is the resting place. MAEZM takes advantage of the graphics, and using a simple color for multi-function Colorsqure는 극장과 연계된 푸드코트이자 공용공간이다. 편의시설과 함께 연결되는 시설과 레스토랑의 기능을 캐쥬얼 하게 표현하기 위하여, MAEZM은 미니멀한 색감과 함께 드로잉된 그래픽이 공간을 지배하도록 하였다.


Flooring design


BLU Space installation/ 2011/ Eun Whan Cho Christiana Papadaki, Sin Yub Hwang Location - Gloria maria gallery, Milan (Proposal)

‘Blu’ is an experimentation project of light that is meant to evoke emotions and sensations to create two types of feelings, namely discomfort and hope. The tension between these two feelings is illustrated by the water element, which is not used in its physical form, but more on its psychological effects. By perceiving water in different levels and not the normal way of seeing sea water, it allowed us to ‘build up’ a story of emotions for the visitor to experience as he moves through the gallery, depicting 4 stages of water and light. ⲹ#MVâ˛˛âĽĽŕ˛˝áąžâœ™Űľ ᇊጊĹ? âŻ?พᯕŕŻ?Űľ á”˘á šŕĄ˝ ࢹ aḥ᎚ qṜᎼ ኟᯕŕŻ?Űľ ŕš…â„•ŕˇ? ☖⧕ ⢽⊼⌚۾ߑᨹ ŕźŠáą˘áŻ•ᯊ݅ੱ⦽ᯕĹ–eᎼ☖⧕ኟᎼâ˜–âŚ˝ⲹ⊚ᎠⲲŖeᎼኑ⇽⌚ʑ᭼⌽Ĺ–eṽጊᯕ݅ âĽĽŕŻ˛áœ… ኢ⪾ ə௲ቾྉᨹᕽ ⢽⊼ॽ ŕž?᎚ ᔢḜᎥ ᇊጊĹ? ፜พ ᯕᔢᎼ âĄ?ż⌚۾ ‍ݥ‏ᔢáŽ?ಽᕽ  Ꮡŕ¸?Űľ ŕž?Ꮌ ኟáŽ?ಽ ᄥ⪚⌚እŠ aḥ᎚ ᜅ☠ŕ¸? Ṽ}ŕˇ? Ñ⊚۾ ŕ şáŚŠ á”?௭᎚ qṜᎼ ⊚Ꭰ⧠ ᙚ ᯊ۾ Ĺ–eᖅ⊚ŕˇ? ᎚࠼⌚እ݅ ᯕŕˇ? ᭼⧕ ኟĹ? á”?௭᎚ ᏥḢ᯼ᨹ á šáŽ˛âŚšŰľ ᯙ░๪ᖚ ᰆ⊚  Ꭽ⨆ʑʑŕˇ? ⪽Ꮚ⌚áŠ? áąĽáœ˝ŕˇ? ኑ⇽⌚እ݅


Video link / 01' 12"/ Le Grand Bleu http://vimeo.com/35061213

Video link / 01' 09"/ Blu project http://vimeo.com/27956318


HYBRID EXPRESSIONISM Design manual for Deborah Milano

Space / 2011 / Eun Whan Cho Alena Sokhrannova Yana Dadasheva Client - Deborah Milano (proposal)

This project represents a new method of shopping in a store Deborah Milano. Our project is easy to motivate buyers to come into the store to get an immersion in an atmosphere of fantasy, bright colors. Also our project is equipped with modern technical innovations to help customers easily select the products, but at the same time it combines the ease and expression of nature.In this project. Special attention is devoted to highlighting carefully designed products and the quality of the brand. )ZCSJE FYQSFTTJPOJTNᎥ á ĄŕŻ?‍י‏ᨹ Ę‘á šáŽĽ ࢾ âŽľáœ…ŕşľâ?’ ቭ௽ऽ ⲹ%FCPSBI .JMBOPⲲ᪥  Ḽ⧪ॽ ŕ¸?â–­áŻ? ŕš…â€ŤŰ•â€Źá¨? âĽĽŕ˛˝áąžâœ™áŻ•Ý… ᔢᨌŖeᎼ ᭼⌽ ⊼á?…Ṣ ṽጊᎼ᭼⧕ Ꮡŕ¸?Űľŕź‰ŕ¤ŠâŞľŕĄ˝ŕĽľáœ…âĽ­ŕąŠáŻ•áœ˝áœ…â–˝áŽĽŠጊ⌚እŠ݉áŻ?⌽ŕź‰ŕ¤ŠáŽš ⪜ᰆᎼ☖⧕âĽĽŕ˛˝ŕź‰á–šáŽĽ᭼⌽ŕź‰ŕĽ Ĺ–eᨹṢᏊࢠᙚáŻŠŕ Ľŕ˛ž᎚࠼⌚እ݅âœšâŻŠ ʑ‍܆‏ᄼಽṽ⣊Ꮌá‡ĽŕśšâŚšŢšĘ‘áł•á–…ÄĽá‚Šáœžá¨ąá•˝ჸᨕӚ ŕź‰ŕĽ ṽ⣊ᎼᔪᔢáŽ?ಽ á‡ĽŕśšâŚšŰľá‚ŠáœžáŽĽṽጊ⧉áŽ?ಽᕽĹ–eṼℕaᔪᔢáŽ?ಽŕž?đ⊚í⌚እ݅ᯕ۾ %FCPSBI ŠᎠ᎚ ᔪᔢ ᔢḜĹ? ቭ௽ऽ ጼᯕߕ༾â?‘ʭḥ á„ĄâŞľáœ˝â”…Ĺ áŻą ⌚۾ âĄ?żṢṽጊᯕ݅

Video link / Deborah Milano / 1'48" http://vimeo.com/27956281


Modular system for display


DESIGN CUBE

Space / 2009 / MAEZM Client - Korea Design Foundation Location - Seou international airport (In-cheon)

Design Cube is a mobile window gallery which embarks at a city spot at one moment pretending to exist by coincidence and moving to another at the next moment, thus abolishing the fixed idea of an exhibition space. the window is open to anyone who is eager to share imagination of things and images. the gallery being exposed outdoors, it allows more experimental presentations than in the exhibition venues. Meetinf the public through this window gallery, the designer has a unique chance to explore the artist capacity and let himself/herself known by providing a special experience for the citizen in their exveryday space.

༾᯹ᯙ Ⓓቭ۾ áąĽáœ˝Ĺ–e᎚ ŠṜťֹᎼ ˉŠ ᏑኑᖒᎼ aᰆ⌚áŠ? ŕ Ľá?? á—Ž Ĺ–eᨹ ᯹ŕ¸? á°‚Ĺ  ੱ ᔊಽᏕ Ĺ–eáŽ?ಽ ᯕ࠺⧠ ᙚ ᯊ۾ ᯕ࠺⊜ Â…ŕą?ŕ¸?ᯕ݅ á”?ŕž?Ĺ? áŻ•á ™á¸Ąá¨ą ‍ ⌽ݥ‏ᔢᔢಆᎼ ӚټŠ᯹ ⌚۾ á”?௭ᯕŕŻ?ŕť• ŮĽÇ?ᨹíӚ ንಅᯊáŽ?ŕť‘  ፙᇥᨹ ‍ ॽ⇽י‏Ŗeᯕʑ ŕŚ­ŕž™á¨ą áąĽáœ˝á°†á…•Ý… áąĽáœ˝áŠ‘â‡˝áŻ• Ţľ á?…⨚ṢáŽ?ಽ ᯕྉᨕḼ݅ ༾᯹ᯕՊ༅Ꭵ ᯹á? ᎚ ᯕࡼáŽ?ಽ ‍ݥ‏ᾲĹ? ŕ¸­Óšŕť•á•˝ ኎పᎼ┅ᏭӚʙᙚᯊŠáœ˝á ?༅ᎥáŻ?ᔢĹ–eᨹᕽâœšá„ĽâŚ˝Ğ⨚Ꮌ⌚íॽ݅ ኊᚠ᎚Ṽ‍ݚ‏Ꮌ Ę‘áąąáŽ?ಽ áœ˝áŻ˛âŚ˝ ༾᯹ᯙⒹቭ۾ ⊼á°? ԉᔑ᎚ /┥Ꮽ᪥ Ĺ˛âŞľŕž™ $ᜅ⑚ᨕ  áŻ™âƒ˝ÇŽáą˝Ĺ–â§Ž  ჊ ⇽Ç?ᨹ ᯹ŕ¸?á°‚Ĺ  ᯊ݅ ጿáŽ?ಽ ŕ Ľá?? ŔŔ᎚ ༾᯹ᯙ ጼᯕ⎚áŽ?ಽ ޾Ꮢ ⪜ᰆ⌚áŠ? áąĽáœ˝ ʑ⍭ŕˇ? ฯᯕ wḥ ŕźœâŚ˝ á? Ḽ ༾᯹ᯕՊ۾ŕž?ŕł Ę‘á–’༾᯹ᯕՊ༅ᨹí࠼⏉Ĺ?ṢáŽ?ಽ᯲ᨌᎼá ˝â˘˝â§ ᙚᯊ۾ Ĺ–eᎼṽŖ⧉áŽ?ಽá&#x;‰ ༾᯹ᯕՊ༅Ꭵ᯹á? ᎚ᯕࡼáŽ?ಽ‍ݥ‏ᾲĹ?ŕ¸­Óšŕť•á•˝኎పᎼ ┅ᏭӚaĹ áœ˝á ?༅ᎥáŻ?ᔢĹ–eᨹᕽâœšá„ĽâŚ˝Ğ⨚Ꮌ⧠ᙚᯊ۾ŕž™âŞľĹ–eáŽ?ಽ Ꮥኢ⌚Š᯹⌽݅


section plan

ceiling plan

design cube rignt / front view


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Sulwha Culture Exhibition space design

Space / 2013 / MAEZM + Jihoon Ha Client - Amore pacific Location - Palfan, Jongro, Korea


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NIKE-Hoopcity Commercial space design

Space / 2013 / MAEZM Client - NIKE Korea Location - Shinsa, Gangnam, Korea


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UNTITLED SHOP Boutique

Space / 2012 / MAEZM Client - Individual client

Designed by MAEZM, ‘Untitled shop’ is a boutique shop located in Seoul, Korea. This space that sells high-quality luxury goods to upscale customers, holds together contrasting images of fantasy and dreamy atmosphere. For this unique interior design, MAEZM made dramatic images along with flowers and mirrors dominate the space. The flowers on the ceiling and covering the entire front of the main door symbolizes the brand's logo and was also intended as an element that emphasizes the characteristics and delicacy of the dreamlike brand.

."&;.ᯕ༾᯹ᯙ⌽Ĺ–eⲹ6OUJUMFETIPQⲲᎥ⌽ǎ᎚ᕽᏙᨹ᭼⊚⌽ᇥ௠â“?ŕš…á°†áŽ?ಽᕽļ⍎ग़ᨊ݅ á”˘ŕśšâŠ–á¨ąĂ­Ĺ ÉŞ➉ᖚᏊ⣊Ꮌŕˇ?â?ąŕš…⌚۾ᯕĹ–eᎥ ༾⪹ᱢᇼ᭼ʑ᪥⧉̚ ⪚ᔢᯕá šáŠ˘ŕĄ˝á”˘á šŕĄ˝ áŻ•á ™á¸Ąŕˇ?⧉̚wĹ ᯊ݅  ᯕŕˇ?᭼⧕ ."&;.ᎥΤáŽ?ಽâ ?ℹḼṼᅖॽáŻ•á ™á¸ĄaĹ–eᎼḥ႑⌚࠼ಞ⌚እ݅âƒ˝á°†Ĺ?ŕž™áŽšáąĽŕť•áŽĽ ß?Ĺ ᯊ۾ÑᏙᎥቭ௽ऽŕˇ?á”˘á¸śâŚšŕť‘ ༾⪹ᱢቭ௽ऽ᎚✚ᖒĹ?⧉̚á–?ᖙ⧉Ꮌváł‘áœ˝â”…Űľ፾ᗭಽᕽ ᎚࠼ग़ᨊ݅


Reception desk & Entrance

Show window& Entrance


Lounge & resting area

Corridor to private room


UNFOLDED POLYGON

Archtecture & Interior design / 2008 / Tai Ho Shin (in B&A architects) Borneo Golf Resort Club Spa facilites / Kota Kinabalu, Malaysia

Õ⇜á °á?…Ô•á–…ÄĽ ኼᨾᨹᯕጼ┅▎âŠ

ᅕࡕօ᪅ʼn⼼ŕ¸?áł‘âœ™â“•ŕąž ᜅâ?­áœ˝á–…ŕ¸ąŕąŠáŻ•áœ˝áŚĽ âŽľâ”Ąâ”…Óšá ˝ŕľ‰ 

ʑᏙʑᄥ⪾aá??⌽Ý…b᎚ḥᇜᎥáł‘bṢᯙጼࡼ݅Ꮵá?ąጼ‍܊‏ŕŻ? ԕᇥĹ–eᨹᕽ ݅᧲⌽Ĺ–eqᎼ⪜ᅕ⌽݅ੱ⦽áŻ?áąś‍׳‏ᯕᨹᕽáąśŕ¸?ॽᄞᎥ ԕፙᇥ᎚á—­â˜–áŽĄŕž?ŕł  Ŗʑ᎚ᙽ⪚Ĺ?áœ˝á§?⪜ᰆᎼ☖⧕âŞ˝ŕ şáą˘áŻ™Ĺ–eqᎼḥ‍܊‏íॽ݅


unfolded polygon


UNFOLDED POLYGON

Archtecture & Interior design / 2009 / Tai Ho Shin (in B&A architects) Borneo Golf Resort Club Restaurant / Kota Kinabalu, Malaysia

Õ⇶ၰᝅԕᖅĥ እᨵᨱᯕᦥ┅▮⊁

ᅕ෕օ᪅ʼn⥥ญ᳑✙ⓕ౞ ౩ᜅ☁௲ั౩ᯕ᜽ᦥ ⎵┡┅ӹၽ൉ 

3D modeling / Perspective


unfolded polygon


SCULPTED FACET 3D modelings

Architecture & Interior design / 2008 / Tai Ho Shin SD/DD/CD participation Location - Nonhyen-dong, Gangnam-gu, Seoul, Korea Design - B&A architects


unfolded polygon


SHINSEGAE DEPARTMENT STORE Grand stair, Shoes shop, Trinity shop

Interior design / 2007 / Eun Whan Cho Local CD/ Participation Client - Shinsegae Location - Choongmu-ro, Joong-gu, Seoul, Korea Construction - 2007 Design / Kesson, Adam D. Tihany


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Trinity shop / Roof garden Interior design/ 2007 / Eun Whan Cho Local CD/ Participation Client - Shinsegae Location - Choongmu-ro, Joong-gu, Seoul, Korea Construction - 2007 Design / Kesson, Adam D. Tihany


SAMSUNG DELIGHT Elec. Head office showcase

Interior Design / 2007 / Eun Whan Cho Local CD / Participation Client - Samsung Location - Seocho-dong, Seocho-gu, Seoul, Korea Construction - 2008 Design - Kesson, RAA


Samsung delight


WESTIN CHOSUN HOTEL SEOUL Lobby & Restaurant

Interior design / 2007 / Eun Whan Cho Local DD/CD participation Client / Westin Chosun Hotel Seoul Location - Sogong-dong, Joong-gu, Seoul, Korea Construction - 2007 Design / Kesson, Adam D. Tihany


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Sohyang Academy Commercial space design

Space / 2013 / MAEZM + Sungchang S&D Client - Dongseo University Location - Centum city, Busan, Korea


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Brand identity


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Woolim pavillion Facade remodeling

Space / 2013 / Eun Whan Cho + Sungchang S&D Client - Daewon construction Location - Haewoondae-gu, Busan, Korea


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Facade mass-study


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SAGA FOREST CARRIERS Office design

Space / 2012 / Eun Whan Cho Sungchang S&D Client - SAGA Norway

Saga Forest Carriers is an international shipping company specialising in the transportation of forest products and breakbulk cargoes. Maezm designed office Interior with Sungchang S&D. 노르웨이의 해운회사인 Saga의 한국지사는, 바닥과 천장을 변형하지 않는 제약조건하에, 기업의 정체성을 담는 공간 매뉴얼로서 디자인 되었다. 이를 위해, 노르웨이의 전통 섬유의 패턴을 활용한 디자인을 제안하였으며 10여 개국에 진출해 있는 기업의 사무공간에 통합 적용될 계획이다.


Norwegian pattern on patition


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Conference room


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HOTEL AMBASSADOR SEOUL Lounge & Bar design

Space & Brand Identity / 2012 / MAEZM Client - Ambassador Hotel Seoul

This project represents a new style of Lounge bar in hotel space. for this project, MAEZM made a design proposal about new style of lounge bar with brand identity. Our project is easy to motivate User to come into the bar to get an immersion in an atmosphere of fantasy, sensitive colors with video art works.

호텔의 라운지 바의 새로운 스타일로서 제안된 이 공간설계는, 대형호텔에 위치하게 되는 컨셉추얼한 디자인과 함께 라운지의 아이덴티티 까지 함께 제안된 프로젝트이다. 감각적인 분위기와 영상, 제공하고 이를 향유하는 하이엔드 사용자를 위한 각각의공간에는 통합 브랜드의 정체성과 함께 영상작업이 공간을 지배하게 한다.

서울의 브랜드 음료를 구축된

B.I design


Lounge bar space


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Main bar & inside sign

B.I design


Second lounge & bar


OBJECT


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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. ."&;.ᯕÝ…ÖĽeṽ᯲⌽ⲹ3FMPWFⲲáœ˝ŕ¸?ᡊᾲ⌚Ӛᯙᯕᄅ⊚۾ ⌽ǎ᎚኎á”?ṢᯙÕ⇜ŕž?ᯙÇ?ᕽᏙ኎᎚ ᯾⧕ಽอ༅ᨕᲭ݅Ç?ᕽᏙ኎Ă•ŕž?Ꭵ ÖĽᯕᔢᕽᏙ᎚ᾲá??ᇥᨹá­ĽâŠšâŚšŕť‘⌽ǎ᎚É?‍ݥ‏á”?᪥⧉̚⧊݅ âœšâŻŠ᜞á ?ḥ᪥ṼᰢᯕŕŻ?Űľ⌽ǎ᎚ጼ⼊኎á”?ŕˇ?⧉̚⌚እʑᨹ⌽ǎᯙ༅ᨹíᯕÕ⇜ŕž?Ꭵâ“‘áŽšá ™ŕˇ?aḼ݅ ↽É?  á•˝áŹ™áœ˝Űľ ᯕ Ă•ŕž?Ꮌ á…–â§Šŕž™âŞľĹ–eáŽ?ಽ ŕ¸?â€Ť×™â€Źá„ áŻ•á–šâŚšŕť‘  ኎á”?Ṣᯙ ༩á°? Ç?áł‘ŕž?༅Ꮌ ℠Ñ⌚እŠ ."&;.Ꭵᯕá°?ഭอᎼᯕᏊ⌚áŠ? ᔊಽŕ¸?‍י‏ᄠᯕᖚॽĹ–eᨹ‍״‏áŻ?ᄅ⊚ŕˇ?อ༅ᨊ݅

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 ྪ⩹Š É™ Ŕᨹ á”?௭ᯕ ጪᎼ ᙚ áŻŠŕ Ľŕ˛ž áŻ?ᇥŕˇ?࠼ಅԕᨊ݅Ô‚Ĺ ‍ŕĄ˝âŹĽ×™â€ŹŕźŠá°?ᯕḥอ ࠼ಅԕᨕḼᇥ᭼᎚ԕᇥ۾ᔊಽ᯹ŕŻ?Ó˝â˛ąá”•â˛˛âƒšŕą? ˉҸ⌚Šᔊ೎݅."&;.Ꭵᄅ⊚ᨹጪᎼá•˝áŹ™áœ˝á ?༅ᯕ ə༅᎚኎á”?Ṣጼ⼾Ĺ?ᔊಽᏕá ™ŕŻšŕˇ?ᯕ ᯲⣊Ꮌ☖⧕ग़ᔊʙᙚᯊʙᏹ⌚እ݅


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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.


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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. áą˛áœ˝ŕ˛˝ ▭ᯕቾᎼ ß?۾݅ áą˛áœ˝âƒšŕą? ᅕᯕ۾ Ꭰኑ⌽ ▭ᯕቾᅕ۾  áœ…áœ…ŕ˛˝a ᏹ⌚۾ ᨕ༾ᨹᕽ༠ḥ â ?⊚۾ ⧪᭼อáŽ?ಽ ᜞á”?ŕˇ? ᭼⌽ ŕź‰ŕĽ  ᾥኼŕˇ? a‍⌚܆‏í ⌽݅ ᜞á”?⏼ᨹ۾ UBCMFEJTIDPWFSŕˇ? Ă˜á¨•Ô• ŕž?ᨹ áŚœáŽ­áŽ?ಽá&#x;‰ŕź‰ŕĽ ᜞á”?aŕ¸Šŕž•ŕ¸?ॽ݅⌽ᰆ᎚Ꭰኑ⌽áœžĘ‘ŰľṲÑӚÇ?ĘĄáŽ?ಽᕽ Ĺ–eĹ?ᔢ⍊ᨹṽ᧞ᨧ۾ ᔊಽᏕâ§Şŕ şá§˛áœžáŽĽa‍⌚܆‏í⧠äᯕ݅ ᜞â?ąᎥáľ?ಽáƒĽŕ¸?ŰľᎭ᜞ŕž?Ꮌ↽ᗭ⪾⌚ÑӚĆąŕ Ľá—­ ⌺ƹ༒᜞á”?ŕˇ?ዠࡕŠe⠙⌚í⃚ŕ¸?⧕á§?⌚۾Ŕᨹᕽ á”?Ꮚ⌚۾ÄŠáœžáŻ•ᨧ۾ŕž?Õᯕ݅Ꮡŕ¸?Űľᯕŕą?⌽⏉ᎉṢᯙá‚ŠáœžáŻ• áł‘ÉŠŢľĊ᜞ᯊŠâ ™ŕ¸?⌽ŕ ĽÇ?aग़ᨕ ኊኊ⯊á”?Ꮚࢠᙚᯊ۾ႊጊᨹ‍⧕ݥ‏á?…⨚⌚እ݅


table-dish-cover


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ŕ şá§˛Ĺ? ᕽ᧲᎚ ᜞á”?ŕž™âŞľŕˇ? áł‘á”?⌚۾ Ĺ?áąśĹ? ṢᏊᎥ  á…™ á?…⨚ᯕ ݅᧲⌽ ŕž™âŞľÇ­á¨ąá•˝á”?Ꮚ⧠ᙚᯊ۾a‍܆‏ᖒᎼ⪜ᅕ⌚۾Ĺ?áąśáŽ?ಽᕽ᎚࠼ॽ݅

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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•á¨¨áŻ™a TPGBESFTT Űľ Ĺ–e ༾᯹ᯙ ᯲ᨌᯕ᯹ aÇ? ༾᯹ᯙ᎚ áą˝áŚŠáŻ•Ę‘ŕ Ľ ⌚݅ Ę‘áł• ᎚᯹ᨹ á—­â?­TPGBŕŻ?Űľ áŞ˜áŽĽ ᯌ⯊۾ ⧪᭼อáŽ?ಽ Ĺ?Ñ᎚ á”?ŕž?༅Ꭵ áł‘ÉŠ Ţľ ⣚á? ⌽ aÇ?aŕĄšŕť‘ ੱ⦽zᎥ⢽âŚ?ŕˇ?á¸Ąâ€Ťâ˜–ܭ‏áŻ?ॽĹ–eáŽ?ಽᕽ᎚࠼aa‍⧕܆‏Ḽ݅TPGBESFTT۾Ŗe᎚ኟᎼ ☖⧕Ĺ?Ñ᎚á”?ŕž?༅Ꮌâš?áŠ˘áœ˝â”‰Ý…ᯕ۾Ĺ?Ñᨹ‍⌽ݥ‏᪼Ṽ⌽ṽÑᨧᯕᔊಽᏕ⊼á°?ŕˇ?a‍⌚܆‏í⧕ᾥ݅ᯕ ༾᯹ᯙᨹᕽá—­á°?ᨹᔞʑ۾áľ?ࡼᎥ ช⊚áŞ˜⃚ŕą?ᜅâ?ĄáŽĽᯕᏊ⧕Ý…ŕ¸?Ḋᯕa‍݅⌚܆‏


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


рае рансжеa спй█╡ сЪМсп▒тЭ▒со╣ сп▓соб сДбтк╡█╡  сФНсмКсп▒со╣ таЩсо╣скб ▐╡сЗйсиХ тФбспЩси▒ тАл тж╜▌бтАмсВСр▓Есо╣ со╣сБЩр╖Э aс╕е▌Е сп▓соб сБ╜сФвсо╣ с▒етк╣соб  ─вси▒спй█╡ тФбспЩ рй▒█╡ р╕йс╡ЭсЕХ┼Б спй█╡ тФбспЩ┼Э сЬ╜─ер╖Э ┼ЦсоБтж╣█╡ ├дспХ aтАлраетж╣▄ЖтАмр▓╛ тж╜▌Е спХ ╘РсЦБ сДбтк╡скб ┼ЦсоБр╖Э тШЦтзХ  смСр╕Н█╡ тФбспЩ┼Эсо╣ ┼б─ер╖Э сЬ╜eсое р╣Е}р▓╜ тж╣сйН сФйр│О├н ─Юти╣тзБ сЩ╣спйсоЭр╗С ."&;.соб спХ сЬ╜─еa спХр╖Э снетж╜ ─е╩Ср▓╜сХ╜ сп▓смКтж╣╩Щ см▒тж╣сйб▌Е сЕХтШЦсо╣ сЧ▒р╝КсЬ╜─е█╡ тЭ╡сое сп▒сЭБсо╣ р╝Щс╝ЮсоЭр▓╜ ╩СсмЩсйбсое ржнси▒ сЪМсп▒a с▒╢р╗ХсоЭр▓╜ сЕХспХ├нрб╜▌Етж╣с╕бр╕нсЪМсп▒тЭ▒соераеранр╕Н█╡сп▓собсДбтк╡р╖ЭтШЦтзХ сЬ╜─еa╘ХтбНтж╜ со╣сБЩ█╡ сДбтк╡тж╜▌Е ╘Хa сБ╡рпЭсЕХ█╡ сЬ╜eсоб  ╙╣ }спЩсо╣ сЬ╜eспе┼Э тзЙ╠╣ тФбспЩсо╣ сЬ╜eспХрб╜▌Ерй▒тж╜╙╣тАл┘╡тАмсобр╛Эс╕йс▒втВЙсм▒си▒сХ╜тзкснесо╣qсЦТсоЭр▓╜сДбтк╡тж╜▌Е

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•ŕ˛˝ อऽ۾ ⌽ǎ᎚ áąĽâ˜– ᳌ᯕಽᕽ  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 áąĽâ˜–á—­á°?ಽ‍ݥ‏ℕ⧠ᙚᯊᎭᎼá…•áŠ?áľ?Űľâ˛ąáŹ•ŕ şâ˛˛áŻ•áŻąⲹá?…â¨šâ˛˛áŻ•ŕť‘ ⲹ."&;.ⲲᎥ݅᧲⌽ṽ⣊á °Ĺ–e á°?ഭಽᯕá?…⨚Ꮌ⪜‍⧕ݥ‏Ӛiäᯕ݅


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.

⌽ǎ᎚áąĽâ˜–᳌ᯕⲹ⌽ḥⲲ۾ᕽ᧲᎚᳌ᯕ᪥ฯᎥ₉ᯕṹᎼaḥŠᯊ݅âŠ˝âŞšÄžáą˘áŻ•ŕť•á•˝ŕ Ľâƒ˝ÖĽ ᯕᔢ᎚á™šŕťŚáŽĽaᲙ ⌽ḥಽԉĉḼ⌽ǎ᎚ʑಞŕž?༅Ꭵᙚâƒ˝ÖĽeÉ™ᏹ⊜Ꮌə‍ݥ‏ಽᅕṼ⧠ᙚ ᯊᨊ݅ ੱ⦽ ᳌ᯕ᯼ᨹ࠼ ᇊÇ?⌚Š Ŗʑ᎚ ☖Ĺ?a a‍⌚܆‏Š ᅕ᪉ᖒᎼ aá¸Ąŕť‘  Ĺ–e᎚ áœ–ŕ ĽáŞĄ ᪉࠼ŕˇ?᳑Ṋ⌚۾✚ᖒáŽ?ಽᯙ⧕ ⌽ǎ᎚áąĽâ˜–Ă•â‡śĹ?ᔞ⪽ᗭ⣊᎚á°?ഭಽ࠼á”?Ꮚग़ᨊ݅ ⲹ."&;.ⲲᎥ ᯕŕą?⌽ ᰆṹ༅Ꮌ ⊼‍ݥ‏ᔞ⪽ᨹ ṢᏊ⌚Š ⪚Ğᨹ Ꭰ⧕⌽ ⼭ŕŻ?ᜅâ?’Ꮌ ‍ݥ‏ℕ⧠ ᙚ ᯊ࠼ಞ ⊼‍ݥ‏Ṣ Ę‘áƒśáŽ?ಽ á?…⨚⌚እ݅ ᯕŕˇ? ᭼⌚áŠ? ⌽ǎ᎚ áąĽâ˜– ᰆᯙ á ° Ę‘ĹĄĹ? Ŗ᳑⌚እáŽ?ŕť‘  ⌽ḥŕˇ?⊼‍ݥ‏Ṣá? á—­á°?ಽ}á ˝âŚšŰľĹ?ṜᎼ༾᯹ᯙĹ?ᱲ༩⦹áŠ?É™a‍܆‏ᖒᎼᅕᯕŠ᯹⌽݅ ⌽ḥ⼭ŕŻ?ᜅâ?’᎚ℌ჊ᚙâĽĽŕ˛˝áąžâœ™Űľ᎚᯹ᯕ݅ᯕ᎚᯹۾áŻ?á šáą˘áŻ™⼭ŕŻ?ᜅâ?’᎚᯹᪥zᯕŕź‘ŕ¤˝á¨ą ᎚⌽ᖒ⊜áŽ?ಽŕ¸­ŕĽ…á¨•á˛­á¨•ŕť‘ ᏹഭaग़۾ᏊᧂᎥ Ý†Óšŕž•á¨ąá•˝⇾⇽ aŖॽ݆ᾞĹ?â‚šá?ĄâŁĄ༒ᯕ âŞ?⧊ॽ᯹ኑᏹഭaá”?Ꮚग़ᨊ݅ᯕŕˇ?âœĄNPMEᨹᕽṽÑ⏼ Ý…áœ˝⌽ḥಽชq⧉áŽ?ಽᕽâˆŠá‡ĽâŚ˝ v࠼᪥ Äžŕ Ľŕˇ? wĂ­ ॽ݅ ੱ⦽ áŞœâ‹  ,PSFBO MBDRVFS NBEF CZ TVNBD ಽ ⎾â?Śŕ¸Šq⧉áŽ?ಽᕽ á°?ഭ᎚ᖒḊᎼɚ‍ᙚ⧠⪾ݥ‏ᯊ݅ ᯕŕą?⌽á‚ŠáœžáŽĄáŻ?á šáą˘áŻ™⼭ŕŻ?ᜅâ?’á”?⇽ᨹᕽ⌼፾⌽⧊ᖒâŞ?⧊ŕž? Ğ⪾ṽ༒ ᯕṼ⊥á”?Ꮚग़ḥግŠ ᪅ಽḥ⌽ḥ᪥᯹ኑ⣥HMVFCZGMPVSᎼá”?Ꮚ⧕ᕽ⼭ŕŻ?ᜅâ?’á…•Ý…Ţľ݉݉⌽ṽ⣊Ꮌá¨œáŽĽᙚᯊᎭᎼ á…•áŠ?ᾥ݅ᯕ๨íṽ᯲ॽ᎚᯹۾ ࢹ̚aNNá ˇá¨ąጊग़aá„?áŹ‘ŕť•á•˝ŕ Ľ᎚᯹ಽᕽâˆŠá‡ĽâŻŠʑ‍܆‏Ꮌ ݅⌽݅Ꮡŕ¸?Űľᯕŕą?⌽áœ˝ŕ Ľa⼭ŕŻ?ᜅâ?’Ꮌ‍ݥ‏ℕ⌚۾á?…⨚ᯕࢠäáŽ?ŕŻ?ᔞb⌽݅


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. ŖᎠ᪥ Ӛ‍پ‏Ꭵ  áœ…áœ…ŕ˛˝áŽš ŕž•á¨¨áŽĽ ŕ¨?ᨕԕ۾ âŻ?ᔞᯕ ŕĄšĘ‘ŕ Ľ ⌽݅ É™ŕą?Óš  Ḽá?…⌽ ŖᎠ۾Ӛ‍پ‏Ꮌ☖⧕áœ…áœ…ŕ˛˝ŕˇ?á–’á°†áœ˝â”…ŰľáŽšá ™áŻĽáŽĽᏑŕ¸?ŰľጭŠᯊ݅ⲹ4IBSJOH 8BUFSᎥáœ…áœ…ŕ˛˝a⌼፾⌽อâ“?᎚ŕž?ᎼນɊŠᯪáŠ?᎚ᨹՊḥŕˇ?⇜Ṣ⌽݅ᏹ௚᎚ ⪾ᇼ༅ᨹíᕽ ᯪáŠ?ᇼ᎚ ŕž?Ꭵ  ŕźŠáą˘á¨§áŻ• ⎚ŕą?՚⊚ḥอ ⲹ4IBSJOH 8BUFSŰľ É™ ᯪáŠ?᳑₉ ࡙݅á”žŕťŚá¨ąĂ­ᨹՊḥಽᕽá™˝âŞšâ˜ ŕ˛ž⌽݅


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༅ᨕԕḥግᎥä⌽ǎṢᯙⲹ݉ᨕⲲᾲᨹⲹá”?ᯕⲲ᪥â˛ąĹĄâ˜–â˛˛á¨ąť⌽⧕ᕞᨹḲᾲ⌽݅"7 ʑʑ༅ᯕ ‍״‏ᯕí ग़۾ ᯕ aÇ?Űľ  É™ ʑʑ༅Ꮌ ᪉Ṽ⯊ q⇾ḥ ግ۾݅ əäᎥ ݉ᙽ⯊ ʑ‍܆‏Ṣᯙ ᯕᎠอ ጼ‍  ܭ‏aÇ?ᨹ ᔊಽᏕ a‍܆‏ᖒᎼ ᇥáŠ?⌚۾ äᯕ݅ åᎥ ŕš…á›? á”?ᯕಽ ᨙŕĽ? áŠĽâˆ‘á¸ĄŰľ Ç?áł‘ŕˇ? ☖⧕ aÇ?Űľ É™ ᯹ℕಽ ݅₼ಽᏥᎼ ḥ‍܊‏í ॽ݅ ŠṜॽ ⊜ᔢáŽ?ಽÇ?⇜ग़۾äᯕጼ‍ ܭ‏aá„?ᏥáŽ?ಽ⊜┽ŕˇ?á„ĄâŞľáœ˝â”…ŰľäᯕᯕaÇ?aaḊᙚᯊ۾á ™ŢśáŻ•Ý… ੱ⦽áŻ?áąś݉᭼ಽӚ‍Ú â€Źáą˝áŻ˛ŕĄ˝ᎠܟÇ?ᖒᎼ☖⧕Ĺ–eᨹ฿۾aÇ?႑⊚aa‍݅⌚܆‏۾áąąáŠŽáœ˝eĹ?⧠ᙚᨧ݅ᎠܟᎥaಽ᪥ ᖙಽಽâŞśá°†âŚšŕť‘Ĺ–eᨹŕŚ‘ŕˇ™á…?ࡉᎼwíॽ݅aÇ?Űľáœ…áœ…ŕ˛˝âš?໦⦹ḡอ ə᳕á°?qᎥá‡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. ⌽ǎ᎚᪅௚ॽáąĽâ˜–aÇ?༅Ꭵ áł­áœžá”žâŞ˝áŽĽ⌚ޚ⌽ǎá”?⍭aáŻŚáœžá”žâŞ˝ŕ˛˝á„Ąŕź‰âŚšŕť‘ʑ‍܆‏Ṣ⌼፾ᖒᯕᾼᨕ༅ᨊ݅ᯕŕą?⌽ᯕᎠಽá•˝Ç?áœžáŻ™⌽ǎ᎚⊼‍ݥ‏aṜᨹᕽəä༅Ꭵ  á‚Š⌽Ç?ᕞᨹᇥ᳑⪾⌽ŕź‰áœ–áŽ?ಽá°†áœžâŁŠâƒšŕą?‍״‏áŠ?ᯊ݅ੱ۵ áł’á…•aᨧ۾É?‍ݥ‏᎚Ĺ aÇ?༅Ꭵ⨹sᨹᰆᗭŕˇ?áŻ•ŕ şâŚšÝ…áƒĽŕ˛…á¸ĄŰľäᯕáŻ?á šáą˘áŻ•Ý… 'PSUVJUPVTWBSJBUJPOⲲኑ᯲Ꭵá•˝Ç?⪾ॽ⌽ǎ᎚ᔞ⪽⪚Ğᗎᨹᕽ ⌽ǎ᎚áąĽâ˜–aÇ?a≉⧠ᙚᯊ۾ᔊಽᏕŕź‰áœ–áŽĽᔞŕž?⌺ṢĹĄáąąáŽ?ಽ⧕ᕞ⌽áœ˝ŕ¸?ᡊᯕ݅."&;.Ꭵ ŕ şáœžŕž?᎚⣊᳌Ꮌ}ప⌚۾äᯕᔊಽᏕ⪚ĞᯕӚ⌼፾ᨹṢᎲ⌚ʑ᭼⌽äᯕŕĽ?ᯕ Ꮡŕ¸?᎚áąĽâ˜–aÇ?a⊼‍ݥ‏ᨹṢᎲ⌚۾á‚ŠáƒśáŽĽᯕ᯲⣊Ꮌ☖⧕ṽጊ⌚Šᯊ݅ áŽšŕśšŕš…á°†áŽš ᗭ⣊ ŕĽľáœ…âĽ­ŕąŠáŻ•ŕˇ? ᭼⧕ ṽ᯲ॽ ᯕ áœ˝ŕ¸?ᡊ۾  áł­áœžŕž™âŞľá¨ą ฿⇾ᨕ ṽ᯲ॽ áąĽâ˜– aÇ?༅ᯕ áŻŚáœžŕž™âŞľáŽš ŕš…á°†á¨ąá•˝ ṢᎲ⧠ ᙚ ᯊ࠼ಞ ᔊಽᏕ Ý…ŕ¸?a ᯹ŕŻ?Ó˝ ⊜ᔢᯕ݅ᯕ᯲ᨌᎼ᭼⧕."&;.ᎥฯᎥĘ‘e࠺ጊ ᔢ┽aᇊ᪼Ṽ⌽⌽ǎ᎚áąĽâ˜–aÇ?༅Ĺ?á•˝Ç?᜞â ąaÇ?ŕˇ?ᙚḲ⌚እáŽ?ŕť‘ ᯕá”?ŕž?༅ᯕⲹƹṲⲲ⧠ᙚᯊ۾á‚ŠáœžŕĽ…áŽĽ á?…⨚⌚እ݅ኟᨹâš?ኢग़۾ᔊಽᏕaÇ?Ç?áł‘Űľ ᮹ඹŕš…á°†á¨ąá•˝áŽšʑ‍܆‏Ꮌ᭼⌽ä᯼Ĺ?ŕ şáœ˝á¨ą ᔊ೎í┼ᔞ⌽ᯕ࠭ኑᄥᯕ༅᎚᳌᳒ṢᔢḜáŽ?ಽᕽ᎚࠼ग़ᨊ݅


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. ኟᎼ‍ݕ‏Šᯊ۾äĹ?ŕ şáœ˝á¨ą ኟᎼá”?ᯕಽᕽಽŕˇ?ĹĄâ˜–áœ˝â”‰Ý…Ꮡŕ¸?aጭŠᯊ۾ᄲ⣎᎚ʑ‍܆‏ᎥĹ–e᎚႑ĞᯕࢉĹ?ŕ şáœ˝á¨ąáœ˝á§?ŕˇ? ₉݉⌚۾኎⧠࠼aḥŠᯊ݅-JHIUUISPVHI1BSUJUJPOáŠŽáœ˝᭼᪥zᎥʑᅙṢᯙᄞ⣎᎚ʑ‍܆‏Ꮌḥ‍܊‏Šᯊ݅ੱ⦽޾ᇊᨕᕽ É™ ጊᨹáœ…áœ…ŕ˛˝aኟᎼ‍ݕ‏ᎭáŽ?ಽᕽ࡙݅ႊ᜞᎚QBSUJUJPO኎⧠Ꮌ⌚íॽ݅əäᎥ⯂á”?ኟᯕ༅ᨕ᪅۾₞ᯕÑӚŕž™áŻ?ᙚ࠼ ⪚Ꭵá„žáŻ? ᙚ࠼ᯊ݅݅อᏑŕ¸?۾əá”?ᯕŕˇ?᡹ʙá?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 şáŚŠá”?Ꮚ⧕᪉á”?ŕž?Ꭵ áœ˝e᎚ÄžĹ?ಽᯙ⧕ᅙ௚᎚ʑ‍܆‏Ꭵ⇜ᗭग़ḥอ É™á”?ŕž?Ꭵᨕਠ⌽ }ᯙᨹí۾á”?ŕž?ᯕᔢ᎚áŽšá ™ŕ˛˝á•˝ᔊಽᏕa⊚ŕˇ?aḥíग़ʑ࠼⌽݅Ꮡŕ¸?۾əŕą?⌽‍ݥ‏ᔢᎼ ࡙݅áœ˝báŽ?ಽá”?௲⌚۾á‚Šáƒśá¨ą‍⧕ݥ‏ṽጊ⌚Š᯹⌚እáŽ?ŕť‘ ᯕ۾á°?⪽ᏊĹ?Űľ࡙݅áŽšá ™áŻ•Ę‘ŕˇ? ᏹ⌽݅ 3&@-07& -*()5*/( áœ˝ŕ¸?ᡊᨹᕽ  á?…áą˝ á”?Ꮚ⌚እޚ ᎚᯹۾ ኟᎼ ☖⧕ Ĺ–eáŽ?ಽ ⪜ᰆॽ݅ᯕŕą?⌽ᄥ⊜Ꮌ☖⧕ Ꮡŕ¸?ŰľBSUXPSLᯕṽ⣊áŽ?ಽᕽ᎚á° á°?ᖒᎼaḥ࠼ಞ᎚࠼⌚እ݅


re-love lighting


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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?Ñᨹá”?Ꮚ⌚ޚáŞ˜Ĺ?᎚᯹‍ݥ‏ᇥᇼᎥ á?…áą˝༾᯹ᯕՊ᪥áľ?á­Ľá”?௭༅ಽᇥ░ᙚḲग़ᨊ݅ᅙ௚᎚ʑ‍܆‏Ꭵá”?ŕŻ?ḥŠʑᨖอԉᎥá”?ŕž?༅ᎼᔊಽᏕႊ᜞áŽ?ಽ á”?௲⌚Š ༾᯹ᯙ ⌚݅ Ĺ?Ñ᎚ ᎚᯹۾  Ý…áœ˝ ᯹á? ᎚ ᇥᔑŕž?ᯙ áŞ˜aḥ༅Ĺ? ⧉̚ ⣎ᖒ⌽ á—­â?­a ॽ݅ ᎚᯹ಽᕽ᎚ ʑ‍܆‏Ꮌ a‍⌚܆‏í ⌚۾ äᎥ áœ…áœ…ŕ˛˝áŽš ᇥᔑŕž?ᯙáŞ˜aḥ༅ᯕ݅əäᎥੱ⦽᯹á? ᎚Ĺ?Ă‘áŻ•Ę‘ŕ Ľ⌚݅áŞ˜aḥ༅ᎼᕽಽáŠ?Űľá‚ŠáƒśáŽ?ಽÉ™ʑᨖ༅Ꮌŕž—á¨•ᔊಽᏕá”?௲Ꮌaâ€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'. 3FMPWFQSPKFDUŰľŕ şáŻ?⌽ᱽ༩᮹ࢹaḥ᯲ᨌáŽ?ಽḼ⧪ग़ᨊ݅ᯕ᯲ᨌ༅Ꮌ᭼⧕ᕽᏑŕ¸?ŰľᏑŕ¸?aá?…ṽಽá”?Ꮚ⌚እޚ᪅௚ॽ aÇ?᪥áŞ˜༒ᎼᙚḲ⌚እáŽ?ŕť‘ ᯕá”?ŕž?༅ᎼÝ…áœ˝á”?௲⌚۾á‚Šáƒśá¨ą‍⧕ݥ‏ṽጊ⌚Š᯹⌚እ݅á”?ŕž?ᎼÝ…áœ˝á”?௲⌽݅۾äᎥ ᯕá”?ŕž?༅ ᯹ℕaáŻ•á ™ⲹá°?⪾Ⲳಽᕽ᎚ʑ‍܆‏ᯕፙ᎚áŽšá ™ŕˇ?aḥíग़ᨊ݅۾ŕŽœáŻ•Ę‘ŕ Ľ⌚݅áŠ?Ę‘á•˝ᯕá§?ʑ⌚۾Ý…áœ˝á”?௲⌚ʑ᎚áŽšá ™Űľ  á°?⪽ᏊĹ?ŰľÇ?ᇼग़ᨕá§?⌽݅  Ô•ႊᨹ‍״‏áŠ?ḼÔ‚Ĺ ᪅௚ॽ᎚᯹۾ ጪʑ᭼⌽ᅙ௚᎚ʑ‍܆‏Ꭵáąąáąąáą˘á¨•á¸ĄÄ á¸Ąŕ¸­ ʑ‍܆‏ᯕፙᨹӚ᪥ŖᎠ⌽áœ˝eĹ?Ĺ–eᎼ☖⧕ á”?ŕž?á…•Ý…Ꮡ᭼᎚a⊚ŕˇ?aḥíॽ݅Ý…ŕ¸?aদᨱ‍ݠ‏ḥግጚޚᨙᲠa᎚ኢᔢᎼeḢ⌚ʑ࠼ á”?௲⌚ޚŮĽÇ‘a᪥ชáľ?ጪጼᯊޚ ᨙᲠa᎚áœ˝e༅ᎼĹ áœ…ŕŻĄâŻŠeḢ⌚ʑ࠼⌽݅É™áœ˝eĹ?ʑᨖᎼŖᎠ⧠ᙚᯊ۾äᎥ Ӛ᪥É™á”?ŕž?อ᎚ŕš…áŹ‘á”?ṢᯕŠá Ąáą˛âŚ˝ ťļ᎚ ŕž™áą˝áŻ•Ę‘ŕ Ľ ⌽ äᯕ݅ É™ŕą?Óš ጼᛞí࠼ Ꮡŕ¸?Űľ ʑ‍܆‏ᨹ ‍ ⌽ݥ‏a⊚ಽ ᯙ⧕  ŕž•á??đᨹ É™ ᯹ŕ¸?ŕˇ? ᔊಽᏕ ⲹá°?⪾Ⲳಽ â€ŤÝĄâ€Źâ„•áœ˝â”…Űľᔞ⪽Ꮌá šá…–âŚ˝Ý…á”?ŕž?Ĺ?á”?௭e᎚ťļᨹ‍⌽ݥ‏ᯕ⧕۾ á”?ŕž?Ꮌ᎚ᯙ⪾áœ˝â”…Ĺ áŻą⌚۾áŽšá ™áŻ•Ę‘á…•Ý…ŰľÄ‘Ĺ?ṢáŽ?ಽ ᯹ʑáœ…áœ…ŕ˛˝á¨ą‍ⲹ⌽ݥ‏᯹ʑ᧠Ⲳᨹ‍⌽ݥ‏⢽⊼áŽ?ಽᕽᯕ⧕⌚እáŽ?ŕť•⌽݅  á”?ŕž?Ĺ?᎚ťļ᪥á”?ŕž?ᎼÝ…áœ˝á”?௲⌚۾⧪᭼۾Ӛ᎚áœ˝eĹ?Ĺ–e ʑᨖᨹ‍⌽ݥ‏ᔊಽᏕá”?௲áŽ?ಽᕽbᯙग़Šᯕŕą?⌽á”?௲ᯕSFMPWF QSPKFDUŕˇ?☖⧕á‚Šáƒśáą˘áŽ?ಽṽጊग़ʑŕˇ?᎚࠼⌽݅


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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.

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11-01

BONE X SKIN

Furniture 560 x 560 x 700 (mm) 2010


11-02

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.


05

3W CHAIR

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


05

3W chair


05

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


05

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჊ᚙâĽĽŕ˛˝áąžâœ™áąĽáœ˝áŻ™ⲹ$PNNVOJDBUJPOGPSEJGGFSFODFŰľâ˛˛ŕš›áŽ­â˛ąáŻ•ŕŻ?Űľáœ…â›˝ŕĽľáŞ…ᖒĊ᎚â˘˝âŠĽáŻ•Ę‘ŕ Ľ ⌚݅ᯕáąĽáœ˝ŰľÖĽᇥ░ÖĽʭḥࢹá”?௭ᯕƹ⪚⌽áŠ?☖᎚⠙ḥŕˇ?É?eáŽ?ಽḼ⧪ग़ᨊ݅ áąĽáœ˝á¨ąá•˝Ꮡŕ¸?aᯕá§?ʑ⌚۾á—­â˜–áŽĄÑ₞⌽ŕž•á¨¨áŻ•ጼ‍ጼ ܭ‏áľ?᯲Šᗭᗭ⯊Ꮡŕ¸?Ģᨹᯊ۾ä༅Ĺ?᎚á—­â˜–áŻ•Ý…Ꮡŕ¸?Űľ ݉ḥáœ…áœ…ŕ˛˝áŞĄ Ꮡŕ¸?᎚áŻ?ᔢĹ? Ô•a᭼⊚⌽Ĺ–eĹ? É™ŕ¸?Ĺ ᯲Ꭵá”?ŕž?༅Ĺ?᎚á—­â˜–áŽĽᏹ⧊݅


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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ALICE MUSEUM Installation / 2007/ MAEZM Co-designer - Min Uk Tak, Jong Ho Kim Media Art - Seung Jun Choi Location - Seoul Art Center Client - Design Museum, Seoul Art Center / Art Center Nabi Sponsor - Ministry of Culture, Sports and Tourism

Interactive remote control


alice museum


04

NIKE-LUNARLON Conceptual products

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


04


05

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


05


Publication - Work shop / USA

EAT EAT / Hong kong

Abitare / Italy

AWM / Netherland

Diseno / Spain

Publication - Work shop / USA

360 / China

TED X Hongik / Korea

Diseno Interior / Spain

d(x)i /

Interiors / Korea

style H /

Design Jung


pain

GQ korea / Korea

Ambientes / Chile

orea

Domus / Italy

F5 / Russia

Bob / Korea

Publication / Independence design guide / UK

/ Korea

Casad / Italy


06

ELLE Decor / Italy

Interiors / Korea

GQ Korea / Korea

CA design / Korea

Publication - Objet / USA, Korea

dezeen / UK

DH / China

Design / Israel

Pub

Desing Art & Business / Korea

Lighting & Interiors / Korea

MD / Israel

Detnk. / UK

about design

Culture + Seoul / Korea


06

Designboom / Italy

icaton - red dot year book / Germany

Masion / Korea

Design Art & Business / Korea

BVD / Russia

Design Jungle / Korea

Design net / Korea

Daily Chosen / Korea

Interiors / Korea

La Vie / China


Cabinet 1F 13-23, Hangangro-1ga Yongsan-gu Seoul, South Korea www.maezm.com +82.02.797.5503 maezm.info@gmail.com


INDEX

SPACE PLANNING BRANDING INTERIOR DESIGN ART DIRECTING ARCHITECTURE BUSINESS CONSULTING

MAEZM book  

MAEZM www.maezm.com design studio MAEZM 2012+2

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