INDUSTRIOUS & INDUSTRIAL: SABUKARU MEETS NICEWORKSHOP.
Based in Seoul, niceworkshop. design studio specializes in objects, furniture, and interior design. Their distinctively essentialist and industrial visual language boasts utilitarian details, sleek and gleaming silhouettes and surfaces. They expertly balance the fine line between practical and artistic.
To give a loose comparison from another creative discipline, think about what Errolson Hugh’s Acronym does for outerwear. Provoking interaction, showcasing functionality and structural systems with meticulous care for proper industrial-level engineering.
Since the inception of niceworkshop. in 2021, the multi-disciplinary company has achieved quite a trajectory in just two years. It is already involved in a plethora of projects. Their BOLT series- accompanied by a RIMOWA co-sign - and the interaction-stimulating AFFORDANCE series were shown across major Asian, European, and North American cities. In Seoul, they also held a solo exhibition at HAHOUSE, a space they designed themselves. Within their local creative scene, they also work with several fellow South Korean fashion labels to adequately display their garments. With J EONGL I, they presented an exhibition called “The Office Culture“ and some of their custom-made objects were used in FFFPOSTALSERVICE’s Paris showrooms.
We had the pleasure of meeting founder Oh Hyunseog in Tokyo and speaking at length with him about their journey so far, the exhibition in Tokyo, and his ambitious visions for the future of niceworkshop.
Images by Yuji Kaneko
We are welcomed by Oh and his business partner, Yoo Sangmyeong, at THE PLUG, a newly established showroom in Shibuya's Harajuku neighborhood, where they exhibit their representative BOLT series to a Japanese audience for the first time. The clean, airy space with its open glass front lends itself perfectly to showcasing the experimental yet essentialist designs.
The designers met while studying interior architecture in Seoul and bonded over their approach to work. “I thought he was like my older brother, but he was three years younger than me. We naturally got along, and both had similar work ethics - we were always the last two people left in school every day, every night. So in university, we became brothers and I started niceworkshop. subsequently. After about one-and-a-half years, he quit his job and joined me."
BOLT SERIES
The already mentioned BOLT series was niceworkshop.’s first big break. While many clothing brands talk a lot about craftsmanship, praising uneven stitches with a wabi-sabi ideology in mind for example, niceworkshop., approaches the same idea from the polar-opposite direction of industrial engineering, materials, and design by showing you the construction. Nothing is hidden in the work. Oh says their intention was to "focus on what we miss”. It is uncompromising, maybe even brutal utilitarianism.
Constructing the BOLT BENCH 2.0
While overseeing various construction sites, Oh developed a particular interest in full-threaded bolts – which were easy to encounter on most sites. They are often used while installing ceilings and quickly discarded after the construction process is finished. Repurposing those bolts and thus adorning them with a sculptural notion beyond their industrial, solely functional properties was the main idea behind the BOLT series. It aims to expand the audience's focus towards overseen and often carelessly discarded objects.
The project quickly developed into a weekend obsession for Oh. While pointing out various details on the sleek steel furniture to us, he recalls: “The functional purpose of the threaded bolts is not intended for making art pieces, furniture, or objects (usually). [...] My curiosity arose as a by-product of my proximity (and familiarity) to the material. After that, I found materials that had an organic match with the bolts, which at the time conveniently were metals, aluminium, and stainless steel."
This series, which materialized out of sheer curiosity and passion, effectively became the first realized niceworkshop.output. It garnered considerable visibility online - and caught the attention of RIMOWA. The luxury luggage manufacturer invited them to contribute a design to the “As Seen By“ global exhibition tour alongside creative peers like Benjamin Edgar, doublet, Emmett Moore, Maxwell Arkin, and Nicole McLaughlin. They submitted an adapted version of their BOLT lounge chair using full-threaded bolts and nuts while incorporating the grooved aluminium plates typically associated with the German suitcases.
BOLT LOUNGE CHAIR 2.0
This quick and large-scale co-sign by one of the big names in the global design industry was a total surprise. “Initially, I thought it was a scam when we first established contact. [...] I was relatively new to the scene and an unknown designer. My experience with RIMOWA has been productive and positive. Showcasing my work across eight cities globally fast-tracked my career – I am incredibly thankful for the support." During the New York City stop, niceworkshop. had their first bonafide viral moment. "[K-pop superstar and BLACKPINK member] Rosé had just been announced as a global ambassador for RIMOWA. On site, their team informed [her] that "this section is the Korean artist section," which led Rosé to sit on my chair."
BLACKPINK’s Rosé sitting on the niceworkshop. BOLT LOUNGE CHAIR.
As Oh tells us that story, he cannot help but laugh, seemingly still in blissful disbelief. “When I saw the video, I couldn't sleep. My heart was pounding, it was surreal." Another adrenaline-inducing surprise, supplied via a RIMOWA suitcase (kind of). They own the said chair by now.
KOREAN SCENE
It was no coincidence that there were multiple Korean designers in that travelling exhibition. The country and its capital Seoul are increasingly becoming the contemporary epicenter for everything creative and cool. “I see a lot of young Korean designers who are coming up. I think it's a really good time for Korean culture, K-pop, and Korean cuisine - they are all emerging in popularity. As young creatives, we are fortunate to be living in this era and to be able to build our careers [there]," Oh assesses.
“Japan has been at the top of design for many years," he acknowledges while naming Tokujin Yoshioka and Tadao Ando as some of his main inspirations before adding that “Korea is emerging into the better position, in terms of design, food, and culture."
When asked what he identifies as the main reasons for that development, Oh takes a second to think before giving us an unsurprisingly analytical and pragmatic answer. “I think it's easier to do your own project in Korea because, compared to America or Europe, manufacturing costs are cheaper. So, the young [generations] who are starting their own projects here are lucky [to have more access] in that regard." In his estimation, those possibilities are also resulting in Korean youth breaking out of learned work-life structures and trying to go for it, he tells us. “In the past, most people wanted to get into big corporations because it offered a more secure life. But for our generation, I think people are more willing to take a risk and do something cool – a lot of rapid changes across many different facets in the market and culture."
PROCESS
To keep up with the pace, niceworkshop. regularly improve the existing designs. They have made several improvements in the quality of craftsmanship using full-threaded bolts, for example. Simultaneously, they are steadily creating new products, too. But, as one can imagine, their industry-grade developments take some time.
001. BOLT PEN
“For [the] cigarette box, it took two years to complete the development. We have to find the right spring to put inside, and there are just a lot of small parts inside, so it's a long process. Making a detailed, little object is very time-intensive. When people find these details and come to appreciate them, it makes us feel like we did our intended "job”. Making something simple is actually the hardest part about design - the manufacturing behind it can be complicated. The [amount of] work that goes into a simple design is often the opposite of what people might think it is."
003. BOLT CIGARETTE BOX 2.0
Oh describes his general design process as follows: “I usually start with a sketch, and then I change it to a 2D on AutoCAD. From there, I create a plan and lay out what the various perspectives (e.g. top and side views) would look like. Afterwards, it‘s all compiled together in 3D modelling. Then, samples are manufactured [by] the factory [...]and then finalized following an assembling process in our workshop.“
How to assemble the BOLT CIGARETTE BOX 2.0
PHILOSOPHY
Oh characterizes the design philosophy of niceworkshop. as very focused and essentialist. He explains that - as with many young designers - their initial spark was kickstarted by sheer necessity. “In the beginning, we designed what we needed. I wanted to use a pen, but the style of pen I was looking for wasn't available - so we designed and made our own. We also made a file box for our office."
Of course, the designer’s personal habits also seep into his work. Being a loyal customer of Mevius [a Japanese cigarette brand], making a custom cigarette box felt necessary. “I like smoking a lot. So we made a cigarette box. Cigarettes feel very familiar to me; I smoke and touch a cigarette almost every day." As many people touch a lot of cigarettes every day, niceworkshop. had another viral moment on their hands.
BOLT CIGARETTE BOX 2.0
That sense of connection with a broader audience was further reinforced by transparently sharing detailed info about the manufacturing and assembling of the object. Trying to pin down its success, Oh explains: “I put up the process of making the BOLT cigarette box - people really liked it because a lot of people smoke, and even if they don't smoke, everyone is fascinated about cigarettes and the process of activating the cigarette box."
Assembling the BOLT CIGARETTE BOX 2.0
Talking about furniture, designing environments for objects, or objects for environments - and where those lines blur - Oh summarizes his approach and ambition towards the creative discipline.
“The process of designing a space and the objects that occupy it, are procedurally aligned naturally. Within the confines of an interior design project, there's an emphasis on furniture design as well as small object designs (such as door handles, lamps, or a little stool) – it’s hard to separate interior design, furniture design, and object design as the process denotes a relationship that’s cohesively aligned. They all fall under a broader umbrella of just general design. I would say, for a designer, it's natural to explore a bit of all facets or types of these designs."
Those very considered and focused principles also apply to the fashion sensibilities of the niceworkshop. crew. Their all-black setups convey a sophisticated seriousness - silhouette over logos, texture over color, the opposite of flashy. But even if you don’t see them at first glance, you know all details are on point and that every piece is worn intentionally.
“I think the style of clothing we choose is really important. The clothes, watch, and shoes tell a story," Oh says. “My girlfriend gave [this watch, designed by Tokujin Yoshioka] to me for my birthday - she knows my taste. I think we have similar taste, simple – without any color. I like simple shapes embedded with a lot of details. I think it's one of the ways to characterize good design."
Still, he makes a clear distinction between their work and their style. “We don't want to express ourselves with our fashion, we're not fashion people. We just try to focus on what we want to showcase - our objects and furniture.“
Showcasing is our cue for steering the conversation toward exploring niceworkshop.’s (for now) strict offline-only sales strategy. Oh values presenting their artworks and products in exhibitions as essential in getting an audience to interact with niceworkshop., and encourage an interaction.
"I mean, it is everything. We don't sell our furniture online. I want to meet people in person, and if someone wants to buy our work, they have to see it in person because we want to showcase the details. They cannot be seen well through digital photos. I want people to feel, see, and touch through the physical exhibition - that is the most important thing for my furniture and design.“
FUTURE PROJECTS
Naturally, when asked about future projects, Oh gives us a peek into his upcoming exhibition calendar. “We will be showcasing our new furniture work in Design Miami this December. We're also preparing for the next Milan Design Week in [2024]. I suppose, a significant emphasis on exhibition preparation whilst working on some collaborations with fashion brands.“
He also shares an important aspect of his overall vision for the brand. “Our next step will be combining technology. For example, speakers - design and production. At our scale, we can make something we want, but we want more. So, the next step will be adding technology to our design. But I think it will take some time. Our goal is to collaborate with brands that [excel in] technology.“ Naming Teenage Engineering as a dream collaborator, he adds that “they've got a good balance between technology and design.“
O0T. BAGUETTE BOX
ADVICE
After glancing into the future of niceworkshop., Oh generously leaves us with some advice to forward to you, our sabukaru readers: “I believe design or inspiration do not come from coincidence but rather a consequence of long hours and work ethic. It's not like we are talented or we got lucky. Some people seem to think that good design comes from a Eureka moment. It was never like that for us. We had to think deeply about design and experiment with it.“
We leave their Harajuku showroom impressed and highly motivated.
Written by Moritz Lux
Edited by Thea Jowsey-Cavanagh
Interview by Natsuki Ludwig
Production by Katie Takada and Natsuki Ludwig
Layout by Patryk Kulig
Photos by Yuji Kaneko
Special thanks to Paul Jeong
