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: The first project of LENZ showcases the perspective of imagining text through sound and vision, translating yyyyynnn’s text into a texture of video. While that might sound a bit abstract, let’s dive into the details of the project.

The text we chose from yyyyynnn is Henri Michaux’s “A Miserable Miracle” from 1956. Let’s begin by listening to Michaux’s words.

MeeJee Lee: Henri Michaux’s A Miserable Miracle from 1956. You used this text to describe the yyyyynnn space—was there a particular reason for selecting it?

Jin Kyung Lee: We initially tried to describe the space literally, but it ended up sounding overly detailed and lacking charm.

MeeJee Lee: Writing can be incredibly challenging.

Jin Kyung Lee: It truly is. Then our UNRAVEL director happened to suggest this poem, saying that the process and methods we used to create this space resonated with the essence of the poem. They proposed using it as our description. After reading it, I realized how closely the emotions and methods we applied align with the spirit of this poem. That’s how we came to adopt it as the introduction to our space.

MeeJee Lee: Hearing it in Jiro’s voice gives it a completely different feel. After reading this poem, or perhaps calling it a poem feels more fitting, I was struck by how light serves as a central motif for expressing the narrator’s emotions. Unaware of why this text had been chosen, I found myself paying close attention to the use of light in the yyyyynnn space, realizing how integral it is to the overall atmosphere.

MeeJee Lee: At one point, you both gave us some insight into the light at yyyyynnn. Could you explain the ideas about light that you proposed to us?

Jin Kyung Lee: We started with the idea of showcasing the texture of the space. Then we thought, what if a large light source could sweep across this texture, revealing it? That was the direction we discussed.

Young Won Kwak: I think it began with the concept of narrating the time of this space. For instance, during early morning, when sunlight filters in through the entrance and seeps deep into the interior, moving around the space—that idea was where it all started. It’s a kind of light that visitors wouldn’t typically get to experience. But those textures revealed as the light passes through are so captivating, and we felt it might align with your vision for this project. Jin Kyung suggested focusing on how materials in the space either reflect or absorb light. Even artificial light spilling through gaps, if it’s visible within this space, could still be considered a part of its light. We really deliberated over how to present this type of light.

Jin Kyung Lee: We also didn’t want those morning sunbeams or other fleeting lights to be something only we noticed or cherished. The goal was to make them perceptible to everyone, allowing others to experience and appreciate them. So, this project became an opportunity to make that visible and to articulate, “This is what we wanted to show.” I think that’s what this work was all about.

MeeJee Lee: While working on this project with yyyyynnn through LENZ, the one thing I kept focusing on was, “Let’s not make it too obvious.” What I really wanted to conceal was the fact that it was a video. The moment people recognize it as a video, it feels like the entire process is laid bare. I wanted to hide that it was a video. But we had our share of trial and error before reaching that point. Borisu and Jiro, could you share some of the challenges you experienced with us?

Borisu: What stands out to me the most was when you first introduced the idea. You mentioned how, when natural light from outside meets this structure or these pieces of furniture, unique light patterns are created. At first, it was just a verbal explanation. But natural light moves at a pace that’s so different from human activity, right? So, the most memorable moments for me were spending time in this space, experimenting, and actually witnessing those light patterns ourselves. Those were the moments when it all clicked, and it was so much fun discovering them firsthand through trial and error.

MeeJee Lee: It really was fun.

Jiro: We conducted a lot of experiments with light. As mentioned earlier, we wanted to create the effect of light sweeping across the space, like the intense sunlight that streams in during the day. But honestly, it turned out to be quite difficult. The light wasn’t strong enough, and it didn’t feel right. Since light constantly changes with time, I found myself wanting to capture and express those transformations. Ultimately, I think the process became about continuously discovering the essence of yyyyynnn. For me, there was real joy in that process of exploration.

MeeJee Lee: There were phases of failure throughout the process, but in a way, those failures felt liberating. We failed so spectacularly that there was no going back. It wasn’t like we felt regretful—it was more like a realization: “Oh, this definitely isn’t it.” What we truly learned was that sunlight cannot be replicated in any form. That was such a huge lesson for us.

Jiro: It really taught us that you shouldn’t try to compete with nature.

MeeJee Lee: We really didn’t expect it to be like that.

Jiro: We conducted a lot of experiments with light. As mentioned earlier, we wanted to create an effect where light sweeps across the space, like the intense sunlight that streams in during the day. But honestly, it was much harder than we anticipated. The light wasn’t strong enough, and it didn’t quite capture the feeling we were aiming for. Light constantly changes with time, and I found myself wanting to capture and express that dynamic quality. In the end, I feel like the process became about continuously rediscovering the essence of yyyyynnn. I found a lot of joy in that journey of discovery.

MeeJee Lee: There were definitely phases of failure during the process, but those failures actually felt oddly satisfying. We failed so thoroughly that there was no room for lingering regrets—no sense of, ‘Oh, maybe this could have worked.’ Instead, we came to this big realization: sunlight simply cannot be replicated, no matter what. That was a really profound lesson for us.

Jiro: It really taught us that you shouldn’t try to challenge nature.

MeeJee Lee: We absolutely didn’t expect it to turn out that way.

Gyowon Kwak: The moment I remember the most was when Jiro came out with the silver tray.

MeeJee Lee: We assumed too easily that the reflective effect would be simple to achieve. We underestimated the challenge of capturing the light, thinking it would be straightforward. After going through that experience, the light movements reflected on the rectangular window in front of us felt like we had finally approached a more honest and deliberate path, thanks to all those trials and errors.

Jiro: I think that became another process of discovery. At first, we didn’t intend for things to go that way, but when they didn’t work out, it pushed us to look for something new—to explore and create something different. So, even though it felt like failure at the time, it was a meaningful period for me.

MeeJee Lee: As Borisu mentioned earlier, we didn’t fully grasp the speed of natural light. At certain moments, it suddenly changes so subtly yet so dramatically, creating a strange sense of rhythm. Trying to replicate that wasn’t easy. Ultimately, we aimed to mimic it with a motor, implementing slow and continuous movements—not by rotating the light itself but by rotating the reflector, making it appear more natural. Through our collaboration with yyyyynnn for this LENZ project, the most valuable experience we gained, what we learned the most, and our biggest experimental takeaway was discovering the method to express something indirectly. There were moments when things unfolded so naturally and serendipitously during the process of experimentation.

Now that I’m saying this, it feels somewhat similar to what you described about your material experiments. When we tried too hard to express something directly, it didn’t work out. But as we questioned, “Why isn’t this working?” and kept experimenting, we stumbled upon an effect that came about naturally. That serendipitous moment of finding something that worked so seamlessly—that was deeply rewarding.

MeeJee Lee: In the end, I used projections to create the multicolored shadows. But it couldn’t be done with a high-performance projector. When the projector was too prominent, it didn’t work. So, we intentionally used a less advanced projector to achieve the effect, and the joy came when people didn’t even notice the projector. One of the key factors that made this possible, I think, was the finishing touches. This was a personal takeaway for me from this project. At the heart of it, yyyyynnn is STUDIO UNRAVEL—a design-focused creative studio. That’s why I realized how crucial the final details are in what we create. Even when we found the right way to project, it needed to blend perfectly into the space. And it was hidden so well—it became a defining point for the project. Truly. And you pulled it together so effortlessly.

Jiro: It was impressive—truly envious.

MeeJee Lee: You cut and welded that heavy metal frame like it was nothing. It made us say, “Wow, this is something else.” We were so amazed back then.

Jiro: We were thrilled. We even clapped!

Stay tuned for more in Vol. Text-ure #‘Crafting Elegance in Time’…