Ib: Are there any other instances where design has been strategically integrated into public policy to enhance the lives of Seoul citizens?
Rhee: There are indeed numerous examples. For instance, we began by focusing on small-scale projects, such as improving playgrounds, updating urban lighting, and creating multilingual signage with consistent colors and fonts to address Seoul’s complex urban landscape.
This included designing signs and signboards for the numerous small shops lining the streets. These initial endeavors served as successful case studies, demonstrating the value of utilizing design in public spaces and building support for larger-scale projects, such as the significant investment in the Dongdaemun Design Plaza.
Ib: The gradual approach, definitely a fan. Starting with smaller, citizen-centric projects to build momentum and trust. Building on that, what would you say is Seoul’s design advantage on the global stage? What unique elements or strategies elevate its design influence beyond its borders?
Rhee: Seoul’s unique advantage in global design lies in its ability to seamlessly blend tradition and modernity. Unlike cities that are mainly dominated by centuries of intact ancient history, such as Rome or Paris -which they can easily rely on- Seoul in contrast, was largely re-built from scratch after the war.
The landscape here is characterized by a juxtaposition of remaining historic sites, surrounded by modern skyscrapers, creating a dynamic environment where diverse experiences coexist. Visitors can spontaneously encounter both the ancient and the contemporary, a harmonious blend that is a hallmark of Korean design.
“Our core purpose is to enrich the lives of Seoul’s citizens by cultivating a vibrant design culture and championing the growth of the local design industry.”
This coexistence is seen, for example, in how we structured our programming approach at DDP, from being a stage for K-Pop, such as the Hunter music awards, to showcasing traditional markets such as the Dongmyo market. It’s a fusion evident everywhere from signage to video design, and beyond. This ability to synthesize seemingly disparate elements reflects the marriage of Korea’s rapidly evolving industry and its rich cultural heritage.
Korean design’s power, then, is not merely aesthetic in nature, but more so in its embodiment of a cultural dynamism that embraces both tradition and innovation.
Ib: The duality, this harmonious coexistence of “Then meets Now,” sets Korean design apart on the global stage. This is the Korean advantage.
Rhee: Yes, exactly. The Korean industry has experienced a very rapid development, one that was fueled by a collective power and united energy. And our culture, in turn -like our industry- has also experienced that change and development as well.
So, in a way, we are compelled to maintain and invest in a very diverse set of cultural assets and spectrums, whether we’re talking about those overseas or from a domestic point of view. Think of Industry and Culture as two special parents, and their marriage resulted in a very special child called “design.” That is the uniqueness of Korean Design: it’s traditional and it’s modern, it’s diverse and it’s specific. Like the spectrums of color.
There’s a very strong power that can be acquired from this rapid change and development, which can lead to a specific and unique experience and fresh points of view.
“It’s an inhale and exhale of everything design, in a way, and at the heart of it all is our belief in the value of cultural dialogue.”
Ib: I’d add that as a non-Korean admirer of Korean culture and design, I see an additional, unique aspect. Korean design strikes me as remarkably experimental and unafraid to push boundaries.
This willingness to try new things is evident not just on a global scale, but even within the Asian context. I feel that Korean design often seems to be more adventurous and innovative. It’s a willingness to experiment, even if it sometimes leads to less successful outcomes, that truly sets it apart. This courage to constantly seek out the “new” is, in my opinion, a defining characteristic of Korean design.
Rhee: Well, one maybe could have labeled such an attitude in the past as “reckless,” but I would define the current Korean attitude you speak about as more of an “invincible” one. No fear anymore.
Ib: I love that attitude; it sure is contagious! Could you elaborate on the Seoul Design Foundation’s objectives, both within the national context of Korea and on a broader global scale?
Rhee: While the Seoul Design Foundation, as an integral part of the Seoul Metropolitan Government, is deeply rooted in local initiatives, it’s important, I believe, to mention that our influence and aspirations extend far beyond the city’s boundaries.
“We envision the Seoul Design Foundation as a dynamic bridge, connecting the world to the unique strengths and competitive spirit of Seoul’s design landscape.”
Our core purpose is to enrich the lives of Seoul’s citizens by cultivating a vibrant design culture and championing the growth of the local design industry. This is achieved through a diverse range of programs and initiatives that seek to elevate the urban landscape, empower designers, and inform the public about the transformative power of design.
However, our ambition doesn’t rest solely on local achievements. We envision the Seoul Design Foundation as a dynamic bridge, connecting the world to the unique strengths and competitive spirit of Seoul’s design landscape. This involves not only sharing our innovative design solutions but also actively seeking inspiration and knowledge from international best practices.
By fostering this reciprocal exchange of ideas and expertise, we believe we can contribute to the global advancement of design while simultaneously enriching and diversifying Seoul’s own design ecosystem.
It’s an inhale and exhale of everything design, in a way, and at the heart of it all is our belief in the value of cultural dialogue.
Ib: From the perspective of our design studio, station, for example, being exposed to the Korean and Canadian perspectives simultaneously is very inspiring. Does the Seoul Design Foundation collaborate with metropolitan or international organizations or entities?
Rhee: Of course. We are always open to collaboration, and we’re a member of the World Design Organization. So, you can imagine that since we have this huge infrastructure in place, which is dedicated to design, we have no choice but to collaborate with other like-minded partners. Whether it’s brands or companies, cities, or museums, we work with others on a global scale.
That concludes part one of our conversation with Sang Mook Rhee. Stay tuned for part two of our interview where we’ll dive deep into the iconic Dongdaemun Design Plaza (DDP). Rhee will share insider insights on its conception, construction, and cultural impact.
Part two drops on Monday, August 26th.
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