Interview with Seungbum Ma
Studio SMA transforms everyday life into meaningful experiences that extend beyond sensory stimulation to provoke intellectual reflection.
Designer Interview
27 June 2026
I work across a range of disciplines, using art and design to make everyday life more meaningful. Rather than limiting myself to a single medium, I enjoy exploring different scales and formats—from architecture and spatial design to objects, installations, and visual works.
I have wanted to become an architect since I was a child. That dream naturally led me to study and practice architecture, which remains the foundation of everything I do. Over time, however, I realized that many of the ideas I wanted to express could not be confined to architecture alone. This encouraged me to expand into other creative fields while keeping architectural thinking at the core of my practice.
So, yes—I have always wanted to be a designer, specifically an architect. Today, I see architecture not as a boundary but as a starting point for creating experiences and objects that enrich people's everyday lives.
I have wanted to become an architect since I was a child. That dream naturally led me to study and practice architecture, which remains the foundation of everything I do. Over time, however, I realized that many of the ideas I wanted to express could not be confined to architecture alone. This encouraged me to expand into other creative fields while keeping architectural thinking at the core of my practice.
So, yes—I have always wanted to be a designer, specifically an architect. Today, I see architecture not as a boundary but as a starting point for creating experiences and objects that enrich people's everyday lives.
Studio SMA is a multidisciplinary design practice that works across architecture, interior design, furniture, objects, installations, and writing. Rather than treating these as separate disciplines, we see them as different ways of exploring the same ideas and creating meaningful experiences.
Our vision is to make everyday life more meaningful through thoughtful design. We believe that even small interventions—whether a building, a piece of furniture, an object, or a written text—can change the way people perceive and engage with their surroundings. By moving freely between different scales and mediums, we aim to create work that is both conceptually rich and deeply connected to everyday life.
Our vision is to make everyday life more meaningful through thoughtful design. We believe that even small interventions—whether a building, a piece of furniture, an object, or a written text—can change the way people perceive and engage with their surroundings. By moving freely between different scales and mediums, we aim to create work that is both conceptually rich and deeply connected to everyday life.
For me, design is the process of bringing together multiple, often conflicting, requirements into a coherent order. It is about finding a solution that not only resolves practical constraints but also creates something greater than the sum of its parts.
Good design should go beyond fulfilling functional needs. It should offer aesthetic value, provoke thought, and create meaningful experiences for people. When design succeeds, it doesn't simply solve a problem—it enriches the way we live, perceive, and connect with the world around us.
Good design should go beyond fulfilling functional needs. It should offer aesthetic value, provoke thought, and create meaningful experiences for people. When design succeeds, it doesn't simply solve a problem—it enriches the way we live, perceive, and connect with the world around us.
I find almost every kind of design fascinating. While architecture and interior design are the fields I feel most at home in, I don't like to limit myself to a single discipline.
What excites me most is the opportunity to explore different types of design and learn from them. Designing furniture, objects, installations, or even writing about design allows me to approach the same questions from different perspectives. Each discipline has its own methods, constraints, and ways of thinking, and those experiences continually enrich my work as a designer.
For me, the medium is less important than the idea behind it. If a project has the potential to improve everyday life or offer a new way of seeing the world, I'm interested in designing it.
What excites me most is the opportunity to explore different types of design and learn from them. Designing furniture, objects, installations, or even writing about design allows me to approach the same questions from different perspectives. Each discipline has its own methods, constraints, and ways of thinking, and those experiences continually enrich my work as a designer.
For me, the medium is less important than the idea behind it. If a project has the potential to improve everyday life or offer a new way of seeing the world, I'm interested in designing it.
One of my greatest design influences is the work of Dieter Rams. I admire the way he brought together numerous functional requirements into a clear and minimal order without sacrificing usability or beauty.
His designs are simple, but never simplistic. They are aesthetically refined, economically efficient, and incredibly intuitive to use. Every detail has a purpose, yet the overall result feels effortless.
What I appreciate most is that his work demonstrates how good design is not about adding more, but about carefully removing the unnecessary until only the essential remains. That philosophy has had a lasting influence on the way I approach my own work across architecture, interiors, furniture, and objects.
His designs are simple, but never simplistic. They are aesthetically refined, economically efficient, and incredibly intuitive to use. Every detail has a purpose, yet the overall result feels effortless.
What I appreciate most is that his work demonstrates how good design is not about adding more, but about carefully removing the unnecessary until only the essential remains. That philosophy has had a lasting influence on the way I approach my own work across architecture, interiors, furniture, and objects.
The first design I created for a company was a custom stamp for marking books. Rather than treating it as an ordinary office tool, I wanted to turn it into something people could interact with and enjoy.
The stamp was made from machined aluminum, with several triangular forms of different shapes. I also designed a base that allowed these pieces to be arranged in various configurations. Together, they formed a small, ever-changing composition—almost like a miniature village.
What interested me most was the idea that even a simple object could invite creativity and imagination. Instead of designing only for function, I wanted to create an everyday object that people would enjoy using and that could bring a small sense of discovery to their daily routine.
The stamp was made from machined aluminum, with several triangular forms of different shapes. I also designed a base that allowed these pieces to be arranged in various configurations. Together, they formed a small, ever-changing composition—almost like a miniature village.
What interested me most was the idea that even a simple object could invite creativity and imagination. Instead of designing only for function, I wanted to create an everyday object that people would enjoy using and that could bring a small sense of discovery to their daily routine.
I don't have a single favorite material or technology. What I enjoy most is exploring and experimenting with a wide range of materials, tools, and fabrication methods. I'm equally interested in discovering the possibilities of new technologies and learning from the knowledge embedded in traditional materials and craftsmanship.
don't think there is a particular moment when I suddenly feel creative. In fact, I've never really looked at my work and thought, "That was truly creative." I'm usually more aware of what could have been improved and how much more there is to learn.
For me, creativity isn't a moment of inspiration—it's the result of staying curious, working consistently, and giving my best to every project. I try to approach each challenge with an open mind, enjoy the process, and learn something new along the way.
Rather than chasing originality for its own sake, I focus on making thoughtful decisions and continuously growing through the work itself. I believe creativity emerges naturally from that process.
For me, creativity isn't a moment of inspiration—it's the result of staying curious, working consistently, and giving my best to every project. I try to approach each challenge with an open mind, enjoy the process, and learn something new along the way.
Rather than chasing originality for its own sake, I focus on making thoughtful decisions and continuously growing through the work itself. I believe creativity emerges naturally from that process.
The first priority is always to satisfy the project's functional requirements. A design must work well before it can become meaningful.
Beyond that, I focus on how those requirements can be integrated into a coherent formal language. I'm interested in transforming practical constraints into a unified design that feels inevitable rather than assembled from separate solutions.
I also think about how a project can create a deeper aesthetic and intellectual presence. Good design should do more than perform its function—it should communicate an idea, evoke an emotional response, and leave a lasting impression. For me, the goal is to create work that possesses both clarity and a sense of aura, where function, form, and meaning become inseparable.
Beyond that, I focus on how those requirements can be integrated into a coherent formal language. I'm interested in transforming practical constraints into a unified design that feels inevitable rather than assembled from separate solutions.
I also think about how a project can create a deeper aesthetic and intellectual presence. Good design should do more than perform its function—it should communicate an idea, evoke an emotional response, and leave a lasting impression. For me, the goal is to create work that possesses both clarity and a sense of aura, where function, form, and meaning become inseparable.
Designing makes me feel truly alive. It can be challenging and frustrating at times, but there is great joy in solving a difficult problem and seeing it realized as a beautiful piece of work.
The most rewarding moment, however, is seeing people appreciate and enjoy the finished design. Knowing that it brings value or happiness to someone's everyday life is what motivates me the most.
The most rewarding moment, however, is seeing people appreciate and enjoy the finished design. Knowing that it brings value or happiness to someone's everyday life is what motivates me the most.
When a design is realized, I first reflect on how closely the final result matches the idea I originally imagined. I'm always interested in understanding how much of the conceptual intention has been successfully translated into a physical form.
At the same time, I try to discover the new qualities that emerge through materialization. A built object often has a presence and potential that cannot be fully anticipated in drawings or models, and I enjoy reading and learning from those unexpected possibilities.
At the same time, I try to discover the new qualities that emerge through materialization. A built object often has a presence and potential that cannot be fully anticipated in drawings or models, and I enjoy reading and learning from those unexpected possibilities.
A successful design is one that balances care for people, thoughtful problem-solving, and a clear sense of beauty. It should respond to real needs while organizing complex requirements into a coherent and creative order.
For me, good design is not only functional—it should also enrich people's everyday lives through its form, meaning, and experience.
For me, good design is not only functional—it should also enrich people's everyday lives through its form, meaning, and experience.
The first impression is the most important to me. A design should immediately communicate a sense of clarity, beauty, and purpose.
Function is essential, but I see it as the starting point rather than the final goal. If a design fulfills its function but lacks aesthetic quality or emotional impact, it feels incomplete. Great design should be both useful and beautiful.
Function is essential, but I see it as the starting point rather than the final goal. If a design fulfills its function but lacks aesthetic quality or emotional impact, it feels incomplete. Great design should be both useful and beautiful.
I believe designers have a responsibility to create work that endures. A good design should remain meaningful over time and continue to inspire people, even years after it is made.
Rather than following short-lived trends, designers should aim to create thoughtful and lasting work. Timeless design is not only better for people but also more responsible for society and the environment because it encourages long-term use instead of constant replacement.
Rather than following short-lived trends, designers should aim to create thoughtful and lasting work. Timeless design is not only better for people but also more responsible for society and the environment because it encourages long-term use instead of constant replacement.
I think the boundaries between design disciplines will continue to disappear. Architecture, product design, furniture, digital media, and art will increasingly overlap, leading to new ways of thinking and creating.
At the same time, the gap between design and fabrication will become much smaller. As digital tools and manufacturing technologies continue to advance, designers will be able to move more seamlessly from concept to production. I believe the future designer will not only conceive ideas but also make them—a designer who is, in many ways, also a maker.
At the same time, the gap between design and fabrication will become much smaller. As digital tools and manufacturing technologies continue to advance, designers will be able to move more seamlessly from concept to production. I believe the future designer will not only conceive ideas but also make them—a designer who is, in many ways, also a maker.
My most recent exhibition is the Solid Mirage series, which has been on view at the COOR brand building in Seongsu, Seoul, from September last year through June this year.
My next exhibition will be in November, when I will be participating in the UIA Architects Exhibition. I'm looking forward to presenting new work and continuing to explore the relationship between architecture, objects, and everyday life.
My next exhibition will be in November, when I will be participating in the UIA Architects Exhibition. I'm looking forward to presenting new work and continuing to explore the relationship between architecture, objects, and everyday life.
My inspiration comes from architecture, cities, history, and travel. I enjoy observing how places have been shaped over time and how people interact with the built environment in their everyday lives.
I believe creativity is not about inventing something from nothing. It comes from seeing familiar things in unfamiliar ways—re-editing and recombining existing forms, relationships, and ideas to create new meanings. I try to stay curious, and every place I visit or building I experience becomes part of that ongoing process.
I believe creativity is not about inventing something from nothing. It comes from seeing familiar things in unfamiliar ways—re-editing and recombining existing forms, relationships, and ideas to create new meanings. I try to stay curious, and every place I visit or building I experience becomes part of that ongoing process.
At the moment, much of my work explores repeated geometric forms and ordered compositions. These elements allow me to create clarity, rhythm, and a strong sense of structure.
That said, I don't want to be defined by a fixed style. I believe every project has its own context, purpose, and character, and my role as a designer is to find the design language that best fits each situation.
My approach is not to impose a signature style, but to develop the most appropriate solution for every project. For me, good design is about responding to context with clarity, rather than repeating the same visual language.
That said, I don't want to be defined by a fixed style. I believe every project has its own context, purpose, and character, and my role as a designer is to find the design language that best fits each situation.
My approach is not to impose a signature style, but to develop the most appropriate solution for every project. For me, good design is about responding to context with clarity, rather than repeating the same visual language.
I live in Seoul, South Korea. One of the strengths of Korean design culture is how quickly it embraces new ideas and technologies. However, trends also change very quickly, and meaningful designs can easily be forgotten.
This is why I'm interested in creating work that is both contemporary and timeless—designs that people can continue to appreciate for years to come.
This is why I'm interested in creating work that is both contemporary and timeless—designs that people can continue to appreciate for years to come.
work closely with companies to balance practical needs with conceptual thinking. As a university professor, I constantly move between academia and professional practice, and I believe each strengthens the other.
My goal is to deliver solutions that are not only technically and commercially successful but also introduce new ideas and meaningful design value.
My goal is to deliver solutions that are not only technically and commercially successful but also introduce new ideas and meaningful design value.
I believe the best collaborations are built on mutual trust, open dialogue, and shared growth. Companies should look for designers who have a clear philosophy and a unique perspective, while also being open-minded and flexible throughout the process.
A good designer is not simply someone who delivers a service, but a creative partner who can challenge ideas, create synergy, and work toward a shared vision.
A good designer is not simply someone who delivers a service, but a creative partner who can challenge ideas, create synergy, and work toward a shared vision.
My design process begins with understanding the project's requirements and researching relevant references. Once the functional challenges are clear, I explore the conceptual potential of the project—looking for ways to create new meaning rather than simply solving problems.
From there, I develop a formal language that integrates these ideas into a coherent design. I make a series of physical models to study materiality, proportions, and craftsmanship, refining the design through hands-on experimentation.
Finally, I complete detailed drawings and prototypes to prepare the project for production, ensuring that the original concept is translated into a high-quality finished work.
From there, I develop a formal language that integrates these ideas into a coherent design. I make a series of physical models to study materiality, proportions, and craftsmanship, refining the design through hands-on experimentation.
Finally, I complete detailed drawings and prototypes to prepare the project for production, ensuring that the original concept is translated into a high-quality finished work.
t's difficult to choose just five, but these are some of my favorites.
First is my reinterpretation of Le Corbusier's Grand Confort, created for Magazine C as part of my Op series. I also have a stainless steel table that I designed, which I appreciate for its simplicity and material presence.
Among works by other designers, I particularly admire Jean Prouvé's Standard Chair, a vintage lamp by Mario Botta, and the Tizio lamp. They all combine strong functionality with a timeless formal language, and I continue to find new inspiration in them.
First is my reinterpretation of Le Corbusier's Grand Confort, created for Magazine C as part of my Op series. I also have a stainless steel table that I designed, which I appreciate for its simplicity and material presence.
Among works by other designers, I particularly admire Jean Prouvé's Standard Chair, a vintage lamp by Mario Botta, and the Tizio lamp. They all combine strong functionality with a timeless formal language, and I continue to find new inspiration in them.
No two days are exactly the same, but I do have a routine. I start my day with breakfast, get ready, and head to my studio. There, I spend my time reading, writing, sketching, and developing ideas for ongoing projects.
If I have classes, I teach at the university. Otherwise, I dedicate most of the day to design work and research. In the evening, I try to exercise, study a new language, and relax by reading manga before going to bed.
Although my schedule changes from day to day, I enjoy balancing professional work with continuous learning and personal interests.
If I have classes, I teach at the university. Otherwise, I dedicate most of the day to design work and research. In the evening, I try to exercise, study a new language, and relax by reading manga before going to bed.
Although my schedule changes from day to day, I enjoy balancing professional work with continuous learning and personal interests.
My advice to young designers is simple: observe more, think more, and stay curious. Even when you encounter the same things every day, keep asking questions and imagine how they could be different.
Most importantly, work with your own hands. Draw, write, build, and experiment. I believe real understanding comes from making, and your own experiences will become the foundation of your ideas and your voice as a designer.
Most importantly, work with your own hands. Draw, write, build, and experiment. I believe real understanding comes from making, and your own experiences will become the foundation of your ideas and your voice as a designer.
One of the greatest joys of being a designer is that everything in life can become a source of inspiration. Everyday experiences, places, and conversations all have the potential to spark new ideas.
The challenging part is turning those ideas into reality. The process can be stressful, demanding, and sometimes financially uncertain. There are moments of frustration and even sleepless nights.
Despite that, I wouldn't choose another path. The satisfaction of seeing an idea become a meaningful design is something unique. As designers, we experience a sense of joy and fulfillment that few other professions can offer.
The challenging part is turning those ideas into reality. The process can be stressful, demanding, and sometimes financially uncertain. There are moments of frustration and even sleepless nights.
Despite that, I wouldn't choose another path. The satisfaction of seeing an idea become a meaningful design is something unique. As designers, we experience a sense of joy and fulfillment that few other professions can offer.
My golden rule is that a design must first fulfill its function, but it should never stop there. The final form should also embody conceptual depth and aesthetic value.
I believe good design invites new interpretations. It should not only solve a problem but also encourage people to see, think, and experience something in a new way.
I believe good design invites new interpretations. It should not only solve a problem but also encourage people to see, think, and experience something in a new way.
I believe the most important skill for a designer is the ability to organize and express ideas clearly. Designers must listen carefully to the client's needs, but they should also be able to reinterpret those requirements through their own perspective and design language.
A good designer doesn't simply execute a brief—they transform it into something original, meaningful, and well resolved.
A good designer doesn't simply execute a brief—they transform it into something original, meaningful, and well resolved.
My toolbox is a combination of both analog and digital tools. I rely on architecture and art books, sketching, and careful observation to develop ideas. For design development, I use software such as Rhino, SketchUp, and rendering programs to refine and communicate my work.
More than any specific tool, however, I believe that my greatest source of inspiration comes from everyday life. The things I see, hear, and experience each day are an essential part of my creative process.
More than any specific tool, however, I believe that my greatest source of inspiration comes from everyday life. The things I see, hear, and experience each day are an essential part of my creative process.
Time management is one of the most challenging parts of my work. I begin by setting an overall schedule and defining the major milestones of a project. Within that framework, I focus on finding the best solutions without losing sight of the bigger picture.
I don't believe creativity can be rushed, but a clear structure helps me balance exploration with deadlines.
I don't believe creativity can be rushed, but a clear structure helps me balance exploration with deadlines.
It depends entirely on the project. A building may take six months to a year—or even longer—depending on its scale, while a small object can sometimes be designed in just a day or two.
That said, I rarely think of a design as truly finished. Even after a project is completed, I continue to reflect on it and explore new variations. In that sense, every design remains part of an ongoing process of refinement.
That said, I rarely think of a design as truly finished. Even after a project is completed, I continue to reflect on it and explore new variations. In that sense, every design remains part of an ongoing process of refinement.
The question I'm asked most often is, "How much will it cost?"—whether it's the design fee or the construction budget.
It's a practical and important question, but I always explain that good design is not simply about cost. It's about creating the greatest possible value within the available budget.
It's a practical and important question, but I always explain that good design is not simply about cost. It's about creating the greatest possible value within the available budget.
I don't think there has been a single most important project. Every project, regardless of its size, has taught me something valuable. I try to give my best to each one, because every experience contributes to my growth as a designer.
I enjoy architecture-related projects the most because architecture is the foundation of my design practice. Even when I work on furniture, objects, or installations, I approach them with an architectural way of thinking—considering space, proportion, material, and experience.
I prefer working as part of a team, as collaboration often creates better results. However, depending on the project, I also enjoy working independently. I always choose the approach that best serves the design.
The best way to contact me is by email or through Instagram. I'm always happy to hear from people who are interested in collaboration, design, or simply starting a conversation.
Interview about Op.2-3 Trophy Grand Interview