Magazine

Wood is the material most closely tied to our daily lives. Crafted into artworks, it serves as an object of appreciation, while also being widely used as a raw material for everyday furniture, tableware, and interior finishes. Having touched and lived with wood since childhood, remembering its tactile warmth makes it only natural that the thought of wood brings tradition to mind.

The four brands introduced here approach the same material, wood, through distinct methods of processing and design. While modern techniques for handling wood have diversified significantly, wood remains a material for which traditional craftsmanship remains deeply relevant. Mother-of-pearl is embedded onto surfaces to catch the light, ink is applied to mute the wood grain, hollowed-out chambers amplify sound without electricity, and ultimately, nothing unnecessary is added. These four touches represent four distinct attitudes toward tradition. Beyond merely copying ancient patterns, they have translated the technology of woodworking itself into objects for contemporary living. It is the birth of a new heritage.

It is black. Onheuk's furniture covers even the grain of the wood in an ink-black hue. The name itself, "Onheuk (溫黑)," signifies a serene black steeped in ink tone—a color drawn from traditional roof tiles, inkstones, and ink wash paintings.

The most painstaking step in the process is the finishing. Since industrial painting cannot yield the desired depth, layers of ink-black pigment are applied meticulously by hand. Co-founded by a spatial design studio and a woodworking gold medalist, the brand places its emphasis on finish over mere shape. Following the B-Line (inspired by roof tiles and eaves) and the K-Line (reminiscent of inkstones and ink sticks), their latest exhibition presents the L-Line, combining dark wood with translucent acrylic and live plants.

"Respect for tradition and modern reinterpretation are at the core of Onheuk."

— Director Kyoungsik Yoon

Some wood loses its charm the more it is carved. That is why Standout chooses to carve less. By preserving the natural curves and knots inherent to natural timber, they create truly unique objects with no two pieces alike.

This minimalist approach brings to life products like the 'Elephant' mini stool for plant pots, the 'Parrot' wall hanger, as well as palm-sized decor objects like 'Chestnut' and 'Foxtail'. Rather than conforming to rigid dimensions, these objects let the natural shape of the wood lead the design.

Every time a drawer opens or closes, mother-of-pearl catches the light. The 'Wolhwasu' bedside chest by Illung Illung houses a reinterpretation of Irworobongdo, the royal folding screen painting of the Joseon Dynasty. The sun and moon that once rose over five peaks have been re-envisioned as a crescent moon and stars, finely inlaid in shimmering mother-of-pearl.

The structural framework of the furniture draws inspiration from Hanok (traditional Korean homes). Joinery techniques connecting main beams, purlins, and rafters are applied inside the chest, layered with contemporary materials such as translucent acrylic and stainless steel. Unfamiliar materials overlay time-honored structures. The series continues across bedside chests, three-tier chests, and four-tier open shelving units (Sabangtakja).

Sound flows from a speaker plugged into no power outlet. Placing a smartphone onto the wooden body allows the hollowed inner cavity to amplify and enrich the soft audio. This forms the core acoustic principle of the non-electric Ollim Speaker, which expanded into a full lineup alongside electronic Bluetooth models.

Studio OLL&ALL embeds mother-of-pearl into these wooden bodies. In front of mother-of-pearl inlaid speakers and wooden vases, the boundary between functional audio gear and collectible craft art blurs. The Ollim Speaker has been selected for lifestyle curations at Ananti resort shops and featured in stage audio demonstrations—proving that solid wood accessories can comfortably command a place in the world of acoustic technology.