Interview with Studio Atelier11

Since childhood, I was drawn to spaces — not just visually, but emotionally. I remember being fascinated by how architecture shapes human behavior and memory. This interest led me to study architecture, and as I delved deeper, I discovered that design was a way of translating abstract ideas into tangible environments that influence lives. There was no single person who pushed me toward design, but rather a constant curiosity and desire to create things that matter.

I prioritize three core elements: context, materiality, and atmosphere. Every project begins with understanding its physical and cultural context. I then explore how materials can respond to that context with honesty and clarity. Finally, I focus on the atmosphere — the intangible qualities that make a space feel meaningful. Our team uses a mix of hand sketches, physical models, and digital tools like BIM and photorealistic renderings throughout the process.

Designing brings a wide range of emotions — anticipation at the start, challenge and sometimes frustration in the development phase, and deep satisfaction when a concept finally clicks. The most exciting moment is often when the design begins to take on a life of its own, especially during model making or site interaction. I find joy in solving problems in unexpected ways, and each completed project gives a strong sense of fulfillment.

A deep interest in literature and philosophy shaped my approach to design. I also value empathy — being able to put myself in the user’s position has always helped me make more human-centered decisions. Traveling extensively during my studies gave me a broad perspective on different architectural languages. These non-design experiences have been just as formative as the technical ones.

We aim to expand Studio Atelier11’s scope internationally, especially in cultural and public architecture. I dream of designing a small urban library or a contemplative retreat in nature — spaces that provide calm and inspiration. Personally, I strive to mature as an architect who listens deeply to people and places, and to leave behind work that is modest yet enduring.

Be patient and observant. The best architects are not just skilled, but sensitive — to people, to place, to time. Don't rush to find a "style." Instead, build your foundations through curiosity and resilience. One of the best pieces of advice I received early in my career was: “You’re not designing for yourself — you’re designing for others to live.”

Stay true to your convictions but remain open to critique. The most successful designers I know are not necessarily the most famous — they are the most thoughtful. Avoid trends that pass quickly and focus on creating timeless work. Surround yourself with people who challenge you intellectually and ethically.

My mornings usually begin with reviewing emails and reading architecture news or journals. Then, I move on to team meetings and design reviews. Afternoons are often reserved for studio time — sketching, modeling, or reviewing drawings. I try to walk or visit a site if possible, and I always end my day by reviewing the work quietly.

I do follow design journals and attend exhibitions or biennales, but I believe design trends should be interpreted with a critical mind. Rather than adopting trends, I reflect on what enduring values lie beneath them. Inspiration for me often comes from literature, cinema, or even daily life rather than just architectural sources.

Good design is quiet, generous, and necessary. A well-designed project doesn’t scream for attention — it supports the people using it. For me, a project is successful if it continues to reveal itself over time and age with grace. Clarity, purpose, and a certain emotional resonance are my key criteria.

Design is rarely “finished” — it’s a balance between striving for excellence and accepting when a project has reached maturity. I know a design is ready when further changes would dilute its original intent rather than improve it. Iteration is crucial, but so is learning when to let go and move forward.

One of my most meaningful projects is the Studio Atelier11 Office, which recently received the Golden A’ Design Award. Designing our own studio was both a challenge and a joy — it reflects our ethos of modesty, clarity, and material integrity. It’s a space that not only supports our daily work but also embodies our values.

I deeply admire Peter Zumthor for his poetic use of materials and atmosphere. His buildings speak with silence and depth. I also appreciate the intellectual rigor of Alvaro Siza and the spatial clarity of Tadao Ando. Among contemporary designers, I find the work of Junya Ishigami and Studio Mumbai quite inspiring.

I live and work in Seoul, a city that constantly inspires me with its layers of history and energy. Music, particularly ambient or classical, often accompanies my design process. Korean culture values quietness and subtlety — both of which influence my work deeply. Good design, for me, is an everyday practice that improves the quality of living, one gesture at a time.

At Studio Atelier11, collaboration is central. We maintain a horizontal studio culture where every team member contributes to the design conversation. I seek partners and employees who are reflective, responsible, and empathetic. We emphasize deep listening — to clients, to context, and to each other — as a way to build lasting architecture.

We believe in architecture as a public act. I regularly engage in community workshops and contribute to local architecture education initiatives. Our studio also takes on small pro bono projects, especially for underprivileged communities. I support the idea of socially engaged design that addresses real needs, not just aesthetic ambitions.

Participating in the A’ Design Award has provided visibility, credibility, and global connections. First, it introduced our work to a broader audience. Second, it gave us valuable PR exposure and media presence. Third, it connected us to an international community of thoughtful designers. Being named Designer of the Day was a humbling and encouraging recognition that reinforced our design values.

The reason I decided to become a designer is that I wanted to create spaces that harmonize with the beauty of nature. Through architecture, my goal is to provide people with comfort and beauty, making the spaces they live in not just buildings, but integral parts of their lives. I wanted to act as a bridge connecting people with nature, and that is the motivation behind my design work.

Additionally, I see design as a process of solving problems. Finding the optimal solutions while considering people's needs and environmental constraints is incredibly interesting and challenging. The sense of achievement and fulfillment I gain from this process keeps me continually dedicated to design.

I chose by myself to become a designer

I am engaged in architectural design and work on projects across various fields. Recently, I have been primarily designing unique single-family homes and cafes for Airbnb.

I believe it is no exaggeration to say that continuous learning, reading, and field trips have shaped who I am today. I think only those who maintain a learning attitude can create good designs.

A good designer understands the fundamental design principles and techniques well and creates practical and beautiful designs that meet user needs. They clearly understand the project's goals and present designs that effectively achieve those goals.

In contrast, a great designer creates value beyond that. They uncover hidden user needs, propose innovative solutions, and bring positive changes to people's lives through design. Great designers do not just follow trends; they create new trends and push the boundaries of design. They possess creativity and vision, elevating design to a perfect harmony of art and function.

As an architect, I believe that for a building design to be truly excellent, it must satisfy three fundamental elements: structure, function, and aesthetics. Based on this foundation, the emphasis on specific aspects may vary depending on the designer. A really good design will be one where the architect's profound thoughts are reflected on the basis of these three elements.

I believe that good design is created when it fulfills both aesthetic and functional requirements. Such design inherently enhances our quality of life.

Aesthetically pleasing design provides visual enjoyment and emotional satisfaction. Beautiful spaces and products positively impact our daily lives and promote psychological well-being, contributing to overall life satisfaction.

Functionally excellent design meets user needs and offers convenience and efficiency in the use of products or spaces. It reduces everyday inconveniences and increases comfort and productivity for the user.

Overall, good design creates value for us, which is why everyone should invest in it.

I am thinking of designing a small memorial space for my late father. I want to create a space that reflects the loneliness he felt as an outsider settling in Jeju, and paradoxically, the sense of place that Jeju became his true home. This memorial will also encompass my memories of him.

The dream project I haven't yet had time to realize is designing a small memorial space for my late father. I want to create a space that reflects the loneliness he felt as an outsider settling in Jeju, and paradoxically, the sense of place that Jeju became his true home. This memorial will also encompass my memories of him.

Louis kahn. The Architect

Louis Kahn's sense of order. A space where silence and light overlap within it.

My greatest design is Studio Atelier11, which won the A'Design Award. The land where Studio Atelier11 now stands was a very small, seemingly worthless triangular lot. Through my architectural skills, I was able to construct the building, breathing life into the site.

I think I would have become a traveler.

Opening new perspectives for people while being highly functional and useful—this is my definition of design.

My family.

also my family.

While working in architectural design, I faced a variety of issues. Realistically, there were also significant emotional burdens stemming from relationships with people.

Currently, I am designing a small stay on a compact 7-pyeong plot of land. This project tests my capabilities by creating something both compact and aesthetically beautiful.

The Architecture of Eternity.

As a designer, the most important thing is reliability.

Architecture design is a powerful element of design that can influence people's behavior and even change their way of thinking.
Therefore, good architectural design is needed to create a better society.

Currently, I am working on designing a compact and aesthetically beautiful small stay on a 7-pyeong plot of land. This project is a great opportunity to test my capabilities, focusing on maximizing space efficiency and aesthetic value. The process of finding creative solutions within a limited space is extremely exciting.

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It depends on the scale of the building, but typically, the small to medium-sized projects we handle take about six months to complete.

First, I visit the site where the building will be constructed to see and feel the location.

First, I visit the site where the building will be constructed to see and feel the context.

to create architectural designs with depth.

I believe that more important than whether design sets the trends or trends set the designs is the need for timeless, immortal design that remains relevant despite changing times.

Technology plays a crucial role in ensuring structural safety when designing.

Hand Drawing.

Three elements greatly influence the atmosphere of a space.

The question "why".

The question "why" with anything

I first ask the question "why." Why is this design special? Why is it effective? Through these questions, I try to understand the core idea and philosophy behind the design.

The architects and thinkers of previous generations in books

Also The architects and thinkers of previous generations in books

Louis I. Kahn: silence and light

book, travel, thiking, always asking why and how

Louis I kahn.

They provide me with a greater sense of accomplishment and motivate me to strive harder.

Dark Blue, november with rain.

When a great design emerges from unintended parts.

Always, keeping reading books

Looking back, my parents' presence has shaped who I am today.

AGI, ASi, A shift in paradigm.

As a designer, always ask "why?" and keep reading consistently.

Studio Atelier11 is an architecture office based in Jeju Island, Korea. We focus on designing spaces that respect both people and place, regardless of the size or program. Our goal is to create calm but layered architecture, grounded in its context.

Design is the beginning of a conversation. It’s not about defining or completing something, but about asking questions and creating relationships — between people, spaces, and time.

I’m drawn to small-scale projects, especially those involving living and contemplation. There’s something profoundly joyful about crafting compact, high-density spaces that hold both emotion and logic.

One of my favorites is a two-story stay in Jeju, with each floor measuring only about 23 square meters. Despite its small size, the spatial experience is rich and layered. I carefully designed the way light moves, how bodies rest, and how silence is felt.

It was the redesign of a small café. I focused less on function and more on ambiance and emotion, which continues to influence my design attitude today.

I often use exposed concrete and timber. Both materials change their expression over time, making the passage of time tangible in space.

When I walk through a site, sense its smell, light, and silence. My creativity is at its peak when I experience the place with all my senses.

Light, the flow of the gaze, the texture of materials — and also the invisible emotional grain of the space.

A mix of tension and immersion. It’s an organic process of listening to the land and translating imagined atmospheres into form.

Gratitude, and also a sense of humility. The space ultimately belongs to its users, and I always try to accept the gap between my intentions and reality.

A successful design acknowledges the body and emotions of the user. When a space allows for both use and sensitivity, I consider it meaningful.

Whether it contains a spatial narrative — beyond forms or aesthetics, I value how the experience unfolds inside.

Designers make choices. Rather than creating more, I believe in making what’s truly needed — with care, honesty, and responsibility.

While technology evolves rapidly, I believe the true change lies in relationships. Design is moving toward a more emotional, human-centered direction.

y last exhibition was a small architecture show held in Jeju in 2024. I’d love to hold the next one in Seoul, exploring the theme of the city and sensory perception.

From walking, music, film, and the wind. I find most of my ideas when I spend long hours observing a place without distraction.

My style is minimal in form but dense in feeling. I focus more on designing the unseen — light, time, and silence — than on decorative elements.

I live in Jeju, a volcanic island in Korea. The island’s distinct character and the Korean sense of spatial "emptiness" influence my work deeply.

Through dialogue. Rather than offering immediate solutions, I prefer to begin by asking shared questions with my clients.

See the designer not just as a problem-solver, but as a creative partner who grows with you.

I start by walking and observing the site. I then sketch by hand, imagine spatial rhythms, and alternate between drawing and modeling until the design settles.

A Vitra lounge chair, an Inno light fixture, a handmade paper lamp, a carved ceramic cup, and a compact Muji Bluetooth speaker.

Morning meetings with the team, afternoon site visits or client discussions, and evenings spent sketching or reading architecture books.

Don’t rush. More than speed, what matters is holding onto your own questions for a long time.

The positive: you’re always learning. The negative: it never ends — everything becomes your responsibility.

Have the courage to subtract.

The ability to observe, to question, and to translate emotion into space.

Hand sketching, Rhino, Enscape, AutoCAD, Adobe Suite, and books — especially the writings of Louis Kahn and Tadao Ando.

I set clear milestones and regularly review ideas and timelines with my team.

Small projects take 2–3 months. Larger ones can take 6 months or more. Good design needs time to ripen.

"How did you come up with that atmosphere?"

Completing our studio’s first solo project. That’s when I truly realized how architecture quietly enters people’s daily lives.

Mainly small-scale stay operators, private homeowners, and cultural space curators in Jeju.

Spaces for contemplation. When architecture touches one’s inner life, it feels most rewarding.

I plan to experiment more at the threshold between city and nature. I’m currently working on a small pavilion in an urban setting.

Initial ideas often come from me, but every project is developed collaboratively with the team.

Yes — we’re preparing a pavilion inspired by wind and light in Jeju. It will be a space where music and architecture meet.

Email: atelier11a@hanmail.net

https://www.atelier11.co.kr/

Architecture is a discipline that refines life itself. I want to continue exploring the quiet but powerful relationship between people and places.