Labotory is a design studio based in Seoul, South Korea. Their design concept is simple and aims to achieve the best space through maximum effort. Labotory seeks to realize the space in the dream, overcoming the limitation of space through pleasant, free and unrestrained interpretation and design. They are not satisfied with visual beauty and aim to express more mature values by presenting unique information, impressions and spatial nuances.

Yinji：Why did you guys set up LABOTORY Studio? Why did you name the studio LABOTORY? Does this name represent your design proposition?
Labotory：After graduating from the interior-design programme at Konkuk University in 2013, Seoul natives Kee Min Park and Jin Ho Jung initially went their separate ways. Park founded his own studio, while Jung joined a company called Studio Vase to learn more about the design process within the ranks of an established firm.
Despite working separately, we kept in touch during that time, each becoming the other’s sounding board. It was during those conversations that the pair realized just how aligned their design philosophies were, prompting them to team up as LABOTORY in 2016. Since then, the studio has populated its portfolio not with mere spaces but with what they call ‘brand experiences’. We think of brands as human beings – ‘as people we want to understand on an intimate level’.
LABOTORY is a compound word that adds the meaning of two different words, laboratory and story. It means a studio experiments and studies their own story of a brand. We create brand experience through space and brand identity design.

Yinji：What is your design philosophy? How did you realize the combination of Eastern and Western culture in your work?
Most LABOTORY’s works are based on minimalism. We basically thought that the interpretation of minimalism between East and West is a little different. Someone could define Western minimalism as a clean vacuum, where there is nothing more to be removed. Eastern minimalism has an essential concern about why only one spot on a blank white sheet of paper should exist, and whether it is here. This kind of difference is pretty interesting. We want to stay somewhere in the middle of both by absorbing the advantages of Eastern and Western minimalism.

Yinji：We agree with your interpretation of minimalist design. How did you from a minimalist design style?
Labotory：When we design, we value design according to the essential interpretation of objects among oriental minimalism and express it as one of the most important points in our space. Also, I would like to reinterpret the formative language of constructivism among the artistic ideas of Western minimalism and express it in the space in the language of LABOTORY. We used to use the most basic elements, such as dots, lines, and faces, to put the formative elements in the space. Each project has a different personality, but it allows LABOTORY's spatial language to be expressed in plan, elevation, and furniture as well. The use of these two different minimalisms begins with the fact that should be seen as a brand by LABOTORY. We desire that when others look at our space and they notice that "Isn't this space LABOTORY designed?"

Yinji：What do you think is the design direction of commercial space in the future? Will there be designable possibilities in the future?
Labotory：I think the direction of the commercial space is currently immersed in vast image data such as Pinterest. It has become a period when it has become so easy to create a moderate space through those images. As like this, we thought that we have to think about the essence and the constant things. We thought that current space designers should not be limited to space design. We need to be able to catch and induce various emotions that one can feel in space. This is not limited to the space where the brand should be expressed. Every single wall should have a reason to move emotions, and every table should have a reason to move emotions in that space as well. That's the sincerity that our LABOTORY, and I think it's the romance of being a designer.

Yinji：We rarely see your private house design? What is your standard for accepting projects?
Labotory：Among the projects that we have carried out for 5 years, there are about 3 private houses. There is no special standard when we receive a project. We usually work with projects that look from a brand perspective, so we do project that allow more people to emphasize and recognize the brand image than houses that have private personalities. I think the client recognizes our advantages and requests more commercial projects. However, housing doesn't mean you don't see it from a brand perspective. Because the brand is a very wide range of people and objects. We think our project is not one's own concept, but a medium that tells the story of the brand. For this reason, it expresses rational logic and emotional design for the brand, so it can cover various genres.

Yinji：Your latest project “Sappun” would you introduce its design background and concept for us?
Labotory：There were many concerns about allowing domestic and foreign customers to experience the brand of ‘SAPPUN’ in Myeong-dong, which is the hub of shopping and tourism in Seoul. We have decided to tag ‘hit the stage,’ which means ‘make a special stage for.’It makes special stage moments for customers. From this concept, we chose the design language, such as the stage, the main character, and light. The floor from the outside to the inside becomes the runway where the main character appears. To show the specialty and attention felt on the stage, the image of the curtain expresses as a layered wall and a light. The light that came down the wall gently spread through the space to create a soft mood.

Yinji：How does your latest project achieve an organic balance of lighting, materials, and colors, and shape the elegance of the space?
Labotory：One of our recent project YUN, we wanted to complete the unique spatial experience of bringing about the coexistence of conflicting values with the minimal sensibilities of Korea in the East. To enhance the spatial concept, we created signature material. We put ‘Dansaekhwa’ and nuance of ‘white porcelain’ in the space to express minimalism of the YUN’s texture. As the simple but repetitive language that expression technique of Dansaekhwa permeates the Hanji and immerse in numerous colors, white light penetrates the texture of concrete and reflects light in the space. The form of the ceiling is convex or concave so that one can feel various spatial feelings. Even the elements dedicated to each function, they still balance each other. With minimal emotion, the brand YUN's sense of balance expresses a space where you can communicate faithfully. At the YUN SEOUL, all elements had their unique characteristics and proper balance, so a warm spatial experience completed.