Interviews with Wongsun Yoo

The chair’s complexity lies in its joints. To achieve a minimal yet effortless silhouette, the design drew inspiration from bone joints where structural integrity is maintained while elements naturally interlock. This concept was expressed through the intentional exposure of rounded edges at the joinery. The prototype was developed in close collaboration with the manufacturer, with each element individually stained and assembled to achieve a seamless black finish across all joint points.

I would like to expand my design explorations with many more experiments and prototypes to come. Additionally, I would like to reach out to design brands to collaborate and optimise the design to create a commercially viable product as well.

The design took 3-6 months with precise mock-ups using VR technology to minimise waste. This process accelerated the experimental phase as I was able to visualise it on a 1:1 scale. It took an additional 3-6 months to collaborate with Brimbois, who was able to manufacture this with great attention to my intended details.

It began as a personal pursuit of inspiration. The moment came when I sat on a simple wooden stool and realized that a well-designed timber frame could offer a level of comfort comparable to upholstered furniture. That experience revealed a new possibility—timber, when thoughtfully designed, could be both structural and comfortable. This design exploration aimed to celebrate timber in all its forms, embracing its full range of properties and potential.

Currently the prototype is in a showroom in Paris, at Ateliers Brimbois, who were the manufacturers who made this piece come to a reality. The production right is open to be negotiated for sale; currently for small quantities it is open for production.

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.

The chair functions as a versatile piece, suitable for restaurants, antechambers, clubs, and reception halls. At the same time, it embodies a sense of balance, solidity, and stoicism. Through its striking silhouette, the design conveys a quiet presence and understated strength. It is intended for those who seek to express these qualities within their space.

Osso draws inspiration from traditional Oriental architecture and natural bone structures. The design embodies principles of balance, proportion, and craftsmanship, employing wood joineries that exemplify the precision of enduring architectural techniques. The back of the chair is designed as its second façade, where the horizontal structural components come together like the bones of a spine i.e. Osso. These elements combine to create a chair that is both functional and sculptural, blending tradition with nature in a clean and harmonious design.

While the joineries appear effortless, much like bones, the framework is informed by architectural principles that enhance structural integrity while creating a visually dynamic rhythm reminiscent of traditional Oriental architecture. Rather than relying on thick, bulky materials for stability, the beams curve and interlace to form a cross-bracing structure. This allows the chair to support a concave seat that follows the contours of human anatomy, reducing pressure points compared to flat seats. The gap between the double columns at the back naturally accommodates the horizontal beams, seamlessly supporting the plates and reinforcing the design's harmony.

The production process bridges technology and craftsmanship. On one side, a strong focus on geometry and modularity resulted in extrusion based forms from 3 - 5cm planks of timber, that ensures a CNC manufacturing process. On the other, luxurious finishes to seamless joineries were developed in partnership with French cabinetmaker, Brimbois, bringing back century old techniques and know-hows. The result is a black-stained wood that adds a modern, minimalist elegance while allowing the grain texture to subtly remain visible.

The research aimed to achieve ergonomic comfort in a solid surface, offering an alternative to upholstered furniture. This led to an exploration of seat and backrest angulation, as well as a subtly curved seat plate for better anatomical support. Using VR technology, multiple prototypes were tested to refine ergonomics. In collaboration with French cabinetmakers Brimbois, locally sourced ash wood from Franche-Comté was used. A detachable 3cm upholstered plate was also developed for added versatility. Debuting at Paris Design Week 2023 at the Salon de l’Atelier de France, the chair received valuable feedback from designers, architects, and gallery owners. This led to the addition of 5cm timber “toes,” which can be trimmed to adjust seat height without altering the design.

Making this idea opened up more ideas for better furniture pieces. Some details that were lost during the design and manufacturing processes are to be incorporated in the next line of work. Much more is to come.

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.

I chose to become one around 15.

I design spaces and furniture. I want to design more architectural details like door knobs, handles, door stops.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.