We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Wongsun Yoo ("WY").
A state-certified architect with the mention "félicitations du jury" of the École Nationale Supérieure d'Architecture de Paris Malaquais, Yoo Wongsun has been practicing architecture within several renowned offices such as Foster+Partners, Moreau Kusunoki and Ishigami Junya. In parallel, he has been designing furniture and spaces since the age of 15 around the world. His imagination is that of an archaeologist, in search of a previous world - even primitive, as a way of rethinking everyday life and the objects that surround us. His work, from furniture to architecture, is expressed through elegant structures highlighted by meticulously crafted materials.
Wongsun Yoo Designs
We are pleased to share with you original and innovative design work by Wongsun Yoo.
Wongsun Yoo Design - Osso Chair
Designer Interview of Wongsun Yoo:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
WY : I hold the title of “Architecte Diplômé d’État” with the distinction félicitations du jury from the École Nationale Supérieure d'Architecture de Paris Malaquais. My professional journey has taken me across Asia and Europe, working with renowned offices such as Foster + Partners, Moreau Kusunoki, and Junya Ishigami. I began designing furniture and spatial environments at the age of 15 in a small workshop in Seoul. Growing up in an international environment, I was drawn to the similarities between cultures rather than their differences. Architecture and furniture became the unifying elements for me, and entering the design field felt like a natural progression.
DI: Can you tell us more about your company / design studio?
WY : Based in London, Paris, and Seoul, our studio specializes in the Asian and European markets. We focus on furniture and spatial design, using furniture as a conceptual starting point and applying those principles to architectural projects. Currently, we are working on a residential and commercial development in Seoul.
DI: What is "design" for you?
WY : For me, design is akin to archaeology—an exploration of the past, even primitive ways of life, to reimagine our everyday experiences and the objects that shape them. Design, much like cooking, involves assembling ingredients in a precise sequence to create something wholesome. Whether it’s a chair, a building, or a meal, the process is essentially the same.
DI: What kinds of works do you like designing most?
WY : I particularly enjoy designing chairs, as they challenge us to think about both structure and comfort. Regardless of how aesthetically pleasing we want a piece to be, the demands of function and comfort humble us and remind us to prioritize the needs of others.
DI: What is your most favorite design, could you please tell more about it?
WY : My favorite designs are the chairs by Carlo Bugatti, created between the 19th and 20th centuries. These pieces command attention with their richly detailed ornamentation and eclectic mix of materials—from leather to copper. They transcend cultural boundaries, drawing inspiration from Moorish, Spanish, Chinese, and Japanese design traditions. They are, in every sense, masterpieces.
DI: What was the first thing you designed for a company?
WY : My first project was the interior fit-out of a cinema space at the Parramatta Powerhouse in Sydney. The museum, set to open soon, envisioned a dedicated cinema for conferences, exhibitions, and screenings. The concept was to envelop the entire space—furniture, curtains, walls, and ceiling—in blue velvet. This was my initial experience working with manufacturers, textile suppliers, and contractors, and it offered invaluable insight into the process of bringing a design to life.
DI: What is your favorite material / platform / technology?
WY : Rather than focusing on specific materials or technologies, I’m more fascinated by the connections—how joints, cross-sections, and the layering of different elements bring a piece together. The Osso chair is a great example, inspired by the way bones connect within the body.
DI: When do you feel the most creative?
WY : I feel most creative in the morning, particularly after waking up. During my morning runs along the Thames River, I take about 30 minutes to reflect on past ideas and consider the next steps. The rest of the day is then dedicated to executing those thoughts and turning them into actions.
DI: Which aspects of a design do you focus more during designing?
WY : I always begin by asking whether I want the object to prioritize beauty or function. It's not about compromise, but about achieving a balance between aesthetics and practical factors such as cost, weight, and materiality. For instance, in the case of the OSSO chair, I viewed the back spine as the “front of house,” while the seat plates, which follow, serve as the “back of house.” This approach, though uncommon in chair design, is rooted in my architectural background and informs my priorities.
DI: What kind of emotions do you feel when you design?
WY : At the beginning of a design, I feel a mix of excitement and anxiety. The process of exhausting all typical options in pursuit of originality is both daunting and exhilarating. It’s like giving birth to something entirely new. Although the journey can be frustrating, especially in its duration, the outcome is often rewarding—if you’re willing to take that leap of faith.
DI: What kind of emotions do you feel when your designs are realized?
WY : Seeing the final object in person can feel oddly unfamiliar at first—even after months of intense focus. It’s as if you don’t fully recognize it. But once you touch it, sit on it, and notice the fine details you fought for, it begins to feel personal. It reflects who you were during the design process, much like discovering an old diary.
DI: What makes a design successful?
WY : Like Carlo Bugatti’s chairs, I believe a successful design is one that moves people emotionally. Great design achieves this by delivering both aesthetic beauty and physical comfort.
DI: When judging a design as good or bad, which aspects do you consider first?
WY : I assess design based on the emotion it evokes and the clarity of the message it conveys. I look at how well the designer communicates their story through form and material. Poor design tends to be ambiguous or haphazard, while good design tells a coherent story through its details and execution.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
WY : A designer’s responsibility is to improve the built environment and make it more livable. We must also be aware of the origins of our materials—whether it’s the forests providing our timber or the mines supplying our steel. Being close to these sources is essential for responsible, ethical design.
DI: How do you think the "design field" is evolving? What is the future of design?
WY : Sustainability is now at the heart of design—impacting everything from material sourcing and manufacturing to delivery methods. While the shift toward a sustainable future is underway, it won’t happen overnight. Some projects succeed in sourcing responsibly but fail in manufacturing, and vice versa. My role within this movement is to bridge these gaps—by bringing designers closer to the materials, suppliers, and production processes, we can minimize ecological impact and reinvigorate traditional furniture-making techniques with fresh perspectives.