Seoul Design
International Forum
서울디자인국제포럼

[Chair]

We have arranged this special gathering today to highlight DDP's contributions in leading global design culture, strengthening industrial competitiveness, and spreading design values. We are honored to have Mr. Craig Kiner, Mr. Junggi Sung, Mr. Sang Lee, Prof. Dr. Peter Zec, and Curator Dahyoung Chung join us for an in-depth discussion about balance, universality, and public nature in urban design.

This session will serve as a cultural forum to examine how design thinking outcomes influence our city's competitiveness and policy development. Today's discussion will particularly focus on the philosophy and culture inherent in design, inclusive design, accessibility, and non-discriminatory design, along with their contexts, experiences, and creativity.

Urban Design and Inclusivity

[Chair]

Director Sung, we understand that the product design exhibitions you held at DDP received great response from citizens. Your work 'Speaking of Design Without Discrimination Beyond Language and National Borders' on the 'Long Black' platform has garnered significant reader interest. Could you tell us more about your DDP exhibition that showcased designs embodying universal values, balance, and thoughtful consideration?

[Junggi Sung]

Hello, I am designer Junggi Sung. DDP, designed by Zaha Hadid, presented a truly challenging space for designers. Rather than feeling like a simple exhibition space, it felt more like a living organism. Instead of using traditional exhibition methods like setting up pillars or structures, I decided to utilize the floor space. By arranging works on the floor, like a farmer sowing seeds, we were able to reduce unnecessary resource waste and focus on the works themselves.

The fifteen works exhibited demonstrated a balance between differential and universal values. The first piece, a trash bin design, featured a mesh-like lid that encouraged people to think beyond simple waste collection to consider waste generation and processing. A water-saving faucet was designed to face the user, naturally encouraging water conservation, while the water bottle project conveyed a message promoting tap water consumption rather than designing new PET bottles. The shampoo bottle design incorporated texture to help all users, including the visually impaired, distinguish products even with their eyes closed.

Through these works, we demonstrated that considering both differential and universal values benefits a broader user base. Unlike clients who typically categorize people as 'users' and 'non-users', viewing them as 'current users' and 'potential users' offers greater possibilities - this was the core message of the exhibition.

[Chair]

Thank you very much for sharing your deep insights on design and inclusivity. Your approach of seeing the exhibition space as a 'living organism' was especially impressive.

Global Design Competitions and Recognition

[Chair]

Prof. Dr. Peter Zec, has had a significant impact on Korea's design industry development during the construction of DDP and has been named an honorary citizen of Seoul. He is recognized as a creative and groundbreaking thinker in Germany and provided substantial assistance in establishing Design Seoul 1.0.

I would like to ask Prof. Dr. Peter Zec three questions. First, could you please briefly introduce the Red Dot Awards to our citizens? Second, I'm curious about the status of Korean designers' achievements in winning Red Dot Awards. Finally, I would like to know if there are any city-led projects in Germany that have strengthened global design competitiveness, and specifically, whether the relocation of the Red Dot Museum to Essen Zollverein is an example of such a city-led initiative?

[Prof. Dr. Peter Zec]

The Red Dot Design Award operates in three distinct categories, each serving different purposes in the design world. The traditional Product Design Award evaluates industrial design products ranging from toothbrushes to automobiles. These entries undergo rigorous assessment by international jury members across various product groups, with only the most exceptional designs receiving the Red Dot recognition.

Our second category, the Brand and Communication Design Award, celebrates excellence in communication projects, including city initiatives that effectively engage with the public. This award encompasses all forms of communication design, from websites and posters to light installations, recognizing innovative approaches in public engagement.

In Singapore, we host the Red Dot Design Concepts Award, which holds particular significance for emerging designers. This unique platform allows participants to submit design concepts before actual production, providing valuable feedback on their ideas. We've witnessed numerous success stories where concept winners have gone on to develop their designs into products, subsequently winning in the Product Design category. This approach has proven valuable not only for individual designers but also for companies testing prototypes before full production.

The Red Dot organization maintains three museums globally. Our German Museum in Essen is housed in a former coal mine, featuring architecture by Norman Foster and contributions from various renowned architects, including Studio SANAA and OMA. Our Singapore location in the Marina Bay area, though compact, offers a powerful showcase of design excellence. Our newest and largest museum in Xiamen, China, has become a crucial development platform for Chinese designers and attracts visitors from across the country to explore its extensive collection.

Architecture and Urban Regeneration

[Chair]

Now I'd like to ask a question to Mr. Craig Kiner. You worked with Zaha Hadid, a creative female architect with iconic global influence, during the design of DDP. I've heard that among the many urban buildings you've designed, you have a particular attachment to DDP. What is the reason for this?

[Craig Kiner]

My involvement with the DDP project spanned nearly six years from concept to completion. During groundbreaking, workers discovered cultural relics that halted construction and required careful documentation. This led to redesigning the park area west of the city wall, incorporating specific display requirements from the Seoul Cultural and Historic Department through new fields and pavilions.

The design presented unique structural challenges, particularly with the building's cantilevered "nose" section over the sunken plaza and the bridge running through the building. These elements were complicated by the Seoul Metro running underneath, which prevented major structural elements in that zone. Our solution involved a "mega column" supporting a 35-meter cantilever, working with trusses around the building's edge. While the budget was substantial, the project's scale and ambition were challenging. Thanks to Mayor Oh's dedication and everyone's collaborative effort, we successfully completed what became a project filled with memorable experiences.

Architecture and Cultural Sensibility

[Chair]

Next, I would like to ask Curator Dahyoung Chung. As the artistic director of the Korean Pavilion at next year's Venice Architecture Biennale, please share your thoughts on urban sensitivity and sustainable values.

[Dahyoung Chung]

Today, I would like to discuss urban sensitivity, particularly how pavilions function as architectural devices that mediate the city. Recently, however, we've seen an increase in cases where pavilion projects are being misused, sometimes proceeding without careful planning or adequate budgets. We've reached a point where we need to seriously consider sustainability rather than simply installing temporary structures. Especially with the emergence of architectural waste issues, how to design and operate these structures more thoughtfully has become a crucial challenge.

In this context, the Korean Pavilion at the Venice Biennale, where I will serve as co-artistic director next year, is one of 29 national pavilions in the Giardini. This exhibition starts with questions about imagining the pavilion 30 years from now and how we can redefine it in the context of the Venice Biennale.

Thanks to the recent archive donations from architect Kim Seok-chul and Professor Franco Mancuso, we are actively researching previously unknown histories and memories of the Korean Pavilion. I believe that gathering and examining these traces of the past, piece by piece, will be a meaningful first step in exploring the sustainability of pavilions.

Interaction Between City and Design

[Chair]

Now to Partner Chris van Duijn. As a partner at OMA, you have showcased many innovative architectural works. The Hongik University remodeling project was particularly impressive. I'm curious about your secret to creating public designs that solve urban problems through creative design thinking and can be enjoyed by citizens.

[Chris van Duijn]

Every project is different, so there isn't one recipe. In architecture, there's still this perception that one individual, in one magic moment, comes up with the brilliant idea that leads to the design. That's absolute nonsense.

It's never just one person. We have 300 very talented architects, and it's always a group process. Many people bring in ideas, and we've created an environment where the best ideas can be developed to the next level.

Our most successful projects have multiple narratives and layers - you can explain them through the local context, city history, culture, and the people who use and pass by the building.

When we start a project, we don't begin with design. Take Hongik University - we spent the first few weeks purely on analysis: What is this project about? How does it work? You need to ask the right questions before you can answer them.

For us, architecture isn't just about creating a volume with a facade - that's the last thing we do. It's about understanding a project's true potential. We're here to design something that might be provocative at times because it can push boundaries to the next level. 

K-Culture and Korean Designers’ Global Competitiveness

[Chair]

I'd like to ask Mr. Sang-in Lee a question. You've gained experience at global companies like TikTok, Microsoft, and Google, and you've also authored books on design thinking. Based on your diverse experience, where do you see the global competitiveness of Korean designers, and in what direction should they move forward?

[Sang Lee]

When I started my career in New York, Korea's standing was quite modest. However, I believe that design evolves alongside cultural background and the zeitgeist.

Korea's design industry has consistently received policy support and socio-cultural attention, which also influenced my decision to become a designer. While working abroad, I directly witnessed the rising status of Korean design. I believe these achievements are not just the result of individual capabilities but the outcome of collective interest and effort. Currently, Korean designers have reached global standards, and internationally, being a 'Korean designer' has become synonymous with recognized skill.

This is the result of a harmonious combination of national investment aligned with the times and individual effort. Going forward, if we continue to maintain steady interest and effort in keeping pace with rapidly changing times, I expect the status of Korean designers will rise even further.

Conclusion

[Chair]

Let me share some closing remarks. Through today's discussion, we have confirmed that design, especially public design in cities, is a crucial challenge of our time. Individual projects contribute to forming the overall image of the city, improving citizens' quality of life, and enhancing national competitiveness, which is why we need a strategic approach.

Just as various policies pursued by the Seoul Metropolitan Government have come together to create today's 'Seoul, My Soul', we must continue to pursue future-oriented values together.

This concludes Session 1. 

Thank you.