작업 소개

57STUDIO는 2019년 서울문화재단 최초예술지원사업에 선정되어 자체 기획한 LENZ Magazine Project를 진행하였습니다. LENZ는 텍스트를 청각과 시각으로 확장하여 새로운 해석과 감각적 접근을 제안하는 Audio Visual Magazine입니다.

이 프로젝트는 텍스트를 선정하고 이를 다양한 방식으로 해석하며, 텍스트에서 시작되는 텍스처(Text-ure)를 탐구하는 과정으로 이루어졌습니다.

첫 번째 텍스처는 북촌에 위치한 공간 yyyyynnn으로, 이 공간을 디자인한 이진경, 곽영원 디자이너와 함께 작업의 철학과 과정을 중심으로 공간을 해석하는 다양한 이야기를 나누었습니다.

57STUDIO launched the LENZ Magazine Project in 2019 as a self-initiated endeavor after being selected for the Seoul Foundation for Arts and Culture’s First Arts Support Program. LENZ is an Audio Visual Magazine that expands textual content into auditory and visual dimensions, offering new interpretations and sensory approaches.

The project involved selecting texts, interpreting them through various methods, and exploring the textures (Text-ures) that stem from these texts. The first texture focused on the space yyyyynnn located in Bukchon, where designers Jin-kyung Lee and Young-won Kwak engaged in discussions about the philosophy and process behind their work, offering diverse interpretations of the space.

MeeJee Lee: We’re here with Studio UNRAVEL designers Jin Kyung Lee and Young Won Kwak, talking about yyyyynnn. Listening to your stories makes this space feel fresh and different. Every time I’ve been here, I’ve felt that the textures of the tables, chairs, and walls are particularly unique. They feel raw yet finely crafted at the same time. Do you have a distinctive philosophy when it comes to the materials you use in this space?

Young Won Kwak: Rather than calling it a philosophy, I think it’s more about creating a sense of unfamiliarity. We often talk about this among ourselves—the fact that there are so many interior materials already available and widely used. So, the challenge lies in how to make them appear unfamiliar or fresh. It’s about taking materials that are already in use and presenting them in a way that makes people see them differently. Jin Kyung often delves deeply into this question of how to achieve that. That’s how some of these materials came to be used here.

Even after finding the right materials, we struggled to show them in the intended way, which took a lot of time. For example, this table was actually created through sanding, shaping, and refinishing the material ourselves. It was a lengthy process. So while it’s true that we constantly explore new materials, I think we’re always searching for ways to present them in an unfamiliar light.

MeeJee Lee: Can I ask a bit more detailed question about the material experimentation? For instance, with this table—though it might be a trade secret—could you tell us a little more about the material itself?

Jin Kyung Lee: We first discovered this material a couple of years ago when we were preparing for a project. It was part of a competitive pitch for a corporate client, and we wanted to stand out by showing that we were different. We proposed this material at the time, but it wasn’t accepted. Even though I really wanted to use it, I couldn’t find the right opportunity. Then, when we were creating this space, there was no one to hold us back—no restrictions or limitations—so we decided to use it and experiment with it as much as we wanted.

MeeJee Lee: What’s fascinating is that you keep referring to it as “this material,” but we still don’t know what it actually is. It really is a secret! The question remains: what is this mysterious material?

Jin Kyung Lee: The material is fiberglass. It’s commonly used for things like amusement park structures or outdoor sculptures. Usually, what people see is the finished surface with layers of paint on top, not the raw material underneath. But we decided not to “decorate” it, so to speak, and instead expose the base material as it is. That’s how we ended up choosing this material.

MeeJee Lee: So, in a way, it’s like using an interior material on the surface.

Young Won Kwak: Exactly. It’s the kind of material used for building boats or crafting those animal sculptures at amusement parks. What we’ve done is strip away the outer layer and reveal the raw inner material. We then adjusted the color to black, sanded it down ourselves, and let the patterns emerge naturally. It kind of ends up looking like stone, doesn’t it? It’s had a really big visual impact. We’ve been treating it as a trade secret, but now we’ve just openly revealed it.

MeeJee Lee: It seems today has turned into the big reveal of your secret material.

MeeJee Lee: Honestly, I think the most iconic texture in the yyyyynnn space is the exposed concrete walls. How did you come up with the idea for these?

Jin Kyung Lee: To put it simply, I really wanted to try creating this wall. I’ve always wanted to experiment with this texture, but no client ever approved it because it’s expensive and time-consuming. So, we thought, why not test it out in our own space and show it to others? Another reason was that the original walls in this space were just awful—there wasn’t a single wall worth preserving. I wanted to showcase an exposed wall, but since none existed, we decided to create one from scratch. That’s how we ended up with the rough concrete walls on both sides of the space.

Young Won Kwak: In a way, it’s like we added new architecture inside the interior design.

Jiro: I have a question, not just about this space but also about the experimental lab downstairs. It might be a fundamental question, but I’m curious—why are you so drawn to materials?

Jin Kyung Lee: One reason is that I wanted to stand out. We’re not the kind of group that’s exceptionally good at design. But we thought, “How can we make this look well-executed, fresh, and captivating?” That’s when I realized that the power of materials is immense. I think that’s why I became so interested in them—because I wanted to be different.

MeeJee Lee: That’s such a fundamental approach. When people think about design, they often misunderstand it as being just about appearances. But what you’re doing feels like rethinking everything from the core. It seems like the form emerges from the essence of the material rather than being predetermined. For example, this table and those concrete walls—they weren’t created to achieve a specific look. Instead, it feels like the form came about naturally through experimentation and research. There must be a sense of unexpected delight in that, even as a creator. I feel like that’s why you continue exploring materials.

Jiro: Your approach feels incredibly fundamental and deeply rooted. That perspective comes through strongly in the space—it’s very noticeable.

Borisu: Listening to you, I became curious about the process. Is it more common for you to first envision a piece of furniture and then choose the material to match it, or do you sometimes discover a material and decide to create something specific with it? It feels like the two approaches might overlap.

Youngwon Kwak: There are definitely two approaches here. When we meet clients, we always make it clear: we’re not artists, we’re designers. Clients often approach us feeling a bit intimidated because our results tend to look distinct and unconventional. But when it’s a client project, we design based on the atmosphere and functionality of the space. While we might have a specific material in mind, we always check if it harmonizes with the space before proceeding. On the other hand, for personal projects, it’s more like, “Why not just try this out? We couldn’t do it elsewhere, so let’s do it here.” That’s the mindset we bring to those.

Jin Kyung Lee: As Youngwon mentioned, both approaches coexist. Sometimes there’s no clear order. At times, we start by creating the form of the design and then find a material that complements it. Other times, it’s more like, “We absolutely want to use this material—it’s perfect for this space,” and then we build the form around that. The sequence really depends on the project’s context and, of course, the budget. The budget often determines everything.

Jiro: When I think about the objects or items in this space, they seem to be the results of your exploration and experimentation. As someone who creates, I feel like I’d be anxious leaving these pieces in a café where many people interact with them. I’d worry about them being taken, used improperly, or damaged. Do you ever feel concerned about that?

Gwak Young-won: Honestly, I’m more worried about someone getting hurt while using them.

Lee Jin-kyung: It’s our first time doing something like this, so we’ve had to face mistakes and issues, not on our own, but through our guests’ experiences.

Gwak Young-won: It might sound a bit irresponsible, but we’ve already factored in the possibility of repairs or replacements when necessary, so it’s not a big issue for us. What concerned us the most initially was how customers would perceive or react to these pieces. That was our biggest worry.

MeeJee Lee: That sense of unease and tension in this space is actually what makes it so appealing. It feels detached, unpretentious, and doesn’t offer many explanations—almost as if it doesn’t care to. It’s refreshing because it challenges the typical expectation of a café as a comfortable space to linger. Here, just sitting in the space feels like an experience in itself, which I think is a key part of its charm.

MeeJee Lee: Which part of this space do people seem to like the most?

Gwak Young-won: Definitely the photo spots. The wooden table and chairs near the entrance, and the black table against the concrete wall with the corner seats on either side. Quiet visitors tend to favor those spots. I’d say the preferences are split between those two types.

MeeJee Lee: People really seem to enjoy the entrance area. Personally, that’s what first drew me to yyyyynnn—it completely captivated me. I also love the view from inside looking out, especially when it’s raining. It feels like looking through a giant frame. But what I’ve noticed is that many people seem to gravitate toward the wall with that chair. It’s so fascinating.

MeeJee Lee: Audio Visual Magazine LENZ. In our first feature, we’re diving deep into not just space design, but also architecture, interiors, furniture, and art through the lens of yyyyynnn. In Part 3, we’ll discuss the TEXT-ure project that LENZ collaborated on with yyyyynnn. See you in Part 3.