Issue 5, Plus Connect

Teo Yang

The past in the future

Words PLUS MAGAZINE

Photography YUN SUK SHIM

Under the theme “the past in the future,” Teo Yang has cultivated a new aesthetic of Korea. Yang’s practice makes you feel calm, welcomed, and at ease while fostering curiosity through his intricate and detail-oriented design. By respecting the heritage of his motherland and adding his own contemporary taste, Yang’s meticulous approach has led to numerous projects (from commercial spaces to public institutions and residential buildings) that invite visitors to experience Korea’s past, present, and future.

In the following conversation, we take a visit to Yang’s historical and art-filled Hanok house tucked away in a quiet alley in Bukchon. Each room embodies a different layer of Yang’s intimate memories and demonstrates how art can be embedded into one’s daily life. Upon meeting him, it soon became clear why he is considered the most beloved designer and creative representing Korea. He doesn’t take time for granted but rather cherishes each moment of his day as an opportunity to translate his roots into the elegant language of design.

PLUS MAGAZINE: I want to begin by discussing the earlier days of your design career. You lived overseas before establishing Teo Yang Studio [in 2009] in Seoul.

TEO YANG: I grew up in Seoul but studied [interior architecture and environmental design] in the States. After, I moved to Amsterdam, where I worked for Marcel Wanders. I have always admired his approach to design practice and how he communicated his heritage, making me reflect on my own roots. I’ve learned a lot during this time, as it allowed me to visualize my design process to the next step. The turning point was when I moved back to Korea and realized the importance› of embedding my cultural identity into my practice.

As you know, Korea is a highly populated country, and Seoul, especially, is a dense city. The country went through a lot of evolution, innovation, and change within a blink of an eye. With everything changing rapidly, it acted as a substantial driving force in shaping the city—many of the old traditional sites and buildings have been demolished and disappeared and replaced with modernized buildings and fancy skyscrapers. Witnessing and overseeing all of these changes [gave] me an urgency to take action as a designer, to revisit our heritage in a modern sense, which we can all relate to.

P: These experiences have shaped the foundation of your practice.

TY: Yes, and I feel fortunate to find my lifetime passion, and sometimes that’s not easy. I think it’s a true luxury to have something you can work with, especially in the creative industry.

P: You reside in one of the most significant landmarks in Seoul, Bukchon (Northern Village), and in a Hanok (traditional Korean home). How has this environment influenced your lifestyle?

TY: Living in Bukchon and a Hanok definitely influenced me in many ways. Hanok has a long history representing various historical periods of Korea. And we have different names and aesthetics reflecting different periods and regions based on where and when it was built. The Hanok where I currently reside was constructed at the end of the Joseon dynasty, during the Japanese occupation. During this time, the hierarchical system between the servant and the master of the house, women, and men, has disappeared, so this Hanok has a modern family structure reflecting that change.

I try to showcase how Hanok can cater to the lifestyle of people in the 21st century. So, this house has been a case study for my practice ever since. I try to experiment by discovering the possibilities of Hanok while preserving the traditions and its craftsmanship. Hanok has many different rooms, each structured and arranged for specific uses. My home has a stunning quarter called Sarang Bang, which was used as a men’s room for studying, greeting guests, writing poetry, and leisure activities. And I still use that room as my library to welcome guests and do meetings. And for the servant quarter, I now use to keep my art collections, to meet people very briefly—like in a casual setting. I try to embrace the traditional philosophy of Hanok living, understanding the old functions of each room but catering to my current needs.

P: And can you share about your creative process?

TY: With each project, I try to stay true to the academic ways of approach and the definition of design. I am using design as a tool to discover societal issues and provide creative solutions. So the first step is always to delve deeper into finding a statement to tackle within the project and keeping in mind to avoid giving aesthetical solutions, such as just making a space pretty. And then, we take considerable time to do extensive research, translate it into the design and ask if this can make a positive impact.

P: In that way, storytelling and finding purpose in design are crucial elements for you.

TY: Absolutely!

P: You are constantly creating and giving a new life to a space and thinking beyond the present moment. What’s your take on the essence of planning, and what does it mean to be looking ahead?

TY: It’s great that you asked because I always think about the context of the future and ask myself how I can create a meaningful statement and bring a new perspective. It’s essential to think about how my project will be remembered or last as time passes, and I hope my works can inspire future generations. So in this sense, I’m constantly being chased and mocked by the future. And it has inspired me to be true to myself.