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Interviews with Woohyun Roh
Designer profileDesigner Interview
7 July 2025
At first, I joined an art academy simply because I wanted to become a designer, without having a clear direction. Then, by chance, I got to experience hands-on making, and that sparked my interest in industrial design. Especially in creating physical objects. That experience naturally led me to pursue studies in industrial design.
I’m still a student, so I don’t have a company of my own yet. However, I’m currently active in a design group called HiPD at Hongik University. HiPD mainly focuses on product design, and through this group, I’ve been able to gain various experiences and grow alongside my peers.
To me, design is about kindness. It’s not just about being beautiful or functional, but about approaching users with warmth. I believe kindness in design means deeply considering how the product will be used and what users genuinely need. That’s why I think design, above all, should be kind.
Since I’m still a student, most of my design work is related to class projects. That said, I’ve found the most enjoyment in working on home appliances. I found those projects particularly fun and engaging.
My favorite design is the Wall Mounted CD Player by Naoto Fukasawa. Its minimalist design blends naturally into any space, and the pull cord invites interaction through its strong sense of affordance. It’s harmonious and gentle, making you want to reach out and use it. That’s why I love it.
I haven’t had the chance to work with a company on a project yet.
My favorite material is textured plastic. Plastic is a widely accessible material that can be used across many products. Textured plastic, in particular, adds a classic, comfortable feel to the common plastic surface, which I find very appealing.
As for platforms, I primarily use Rhino and KeyShot. I started using them early on and naturally became most comfortable with them.
In terms of technology, I like 3D printing. Seeing an idea materialize in real life gives me the sense that my design exists beyond the virtual—it becomes real.
As for platforms, I primarily use Rhino and KeyShot. I started using them early on and naturally became most comfortable with them.
In terms of technology, I like 3D printing. Seeing an idea materialize in real life gives me the sense that my design exists beyond the virtual—it becomes real.
I feel most creative when I’m talking and working with others. I tend to speak a lot during those moments, which can lead to some unnecessary thoughts, but it’s also when my most creative ideas come out.
I focus most on whether the design aligns with the project’s purpose. Since each project has a different goal, I believe design should adapt accordingly. That’s why I always prioritize the project’s objective when designing.
I feel excitement. The process of bringing an idea to life, from ideation to development, gives me a sense of imagination and new perspective. That joy is what keeps me drawn to design.
When a design is realized, I feel both relief and emotion. There’s relief in knowing it works as intended, and a sense of awe seeing it come to life before my eyes. I believe those emotions are only possible when something becomes real.
Persistence. To complete a successful design, seeing it through to the end is essential. Along the way, there are always failures and difficulties that make you want to give up. But regardless of the outcome, if you push through to the end, you learn something from the process. That alone makes it a successful design in my eyes.
I first ask whether it fulfills its intended purpose. For example, when evaluating an air purifier, I consider whether any added concept truly fits the purpose of the product and blends well into the overall design.
I think designers have a responsibility not to waste materials. During the design process, it’s easy to overuse materials unnecessarily. We should always use materials thoughtfully and avoid excess.
I think the design field is shifting from simplicity to more distinctive, characteristic designs. While clean and minimal styles have dominated so far, I believe we’ll begin to see more designs that carry a unique identity tailored to each product.
My last exhibition was held on the second floor of the annex building at Hongik University’s Sejong campus. It was a lighting exhibition connected to one of our courses, and I was fortunate to work alongside talented designers.
I hope to hold my next exhibition around mid-September when the current project I’m working on is complete.
I hope to hold my next exhibition around mid-September when the current project I’m working on is complete.
I usually get inspiration from viewing different works or taking walks. I believe design is closely tied to everyday life, so I try to absorb as much inspiration and creativity from my surroundings as possible.
I would describe my design style as function-centered. I think about the core function and try to find harmony and minimalism within the form and components.
I started exploring this style because I believe the essence of design lies in the purpose of a product. Function exists to fulfill that purpose, so I focus on achieving maximum harmony and clarity with minimal elements.
My approach to design is to begin from functionality and expand outward.
I started exploring this style because I believe the essence of design lies in the purpose of a product. Function exists to fulfill that purpose, so I focus on achieving maximum harmony and clarity with minimal elements.
My approach to design is to begin from functionality and expand outward.
I live in Korea. I think one of Korea’s cultural values is a sense of kindness. The warmth and care that Koreans show to one another influence me to incorporate that sense of kindness into my designs.
As a student, I mainly participate in company collaborations facilitated through my school.
A good designer is someone who stays aligned with the purpose of a product. Companies should look for designers who aren’t just decorating things but are creating meaningful, purposeful designs.
I start by finding inspiration from everyday life. Then I research to make sure the idea is original. This includes reading articles, academic papers, and online sources. Based on the research, I conduct interviews and surveys to clarify my design direction.
Once the concept and background are set, I begin sketching and ideating using mood boards and motifs. I also develop mock-ups and 3D models in parallel to explore function and usability. I test these with myself and others to evaluate their practicality.
After several iterations, I finalize the design and choose the CMF elements.
Once the concept and background are set, I begin sketching and ideating using mood boards and motifs. I also develop mock-ups and 3D models in parallel to explore function and usability. I test these with myself and others to evaluate their practicality.
After several iterations, I finalize the design and choose the CMF elements.
My laptop, 3D printer, iPad, paper, and pencil. I guess everything I like is related to working on design.
As a student, I attend classes during the semester. When I’m not in class, I usually work on personal projects or class assignments.
I’m still a young designer myself, so I don’t have much advice to give. But I would say this: whenever an opportunity comes your way, do your best and don’t leave any regrets.
One of my strengths is staying aligned with the design’s purpose. I try hard not to lose focus, so my designs rarely stray from the core concept.
A challenge for me is that I often come up with too many ideas, which makes it hard to choose and focus. During critical moments, I need to spend extra time narrowing things down.
A challenge for me is that I often come up with too many ideas, which makes it hard to choose and focus. During critical moments, I need to spend extra time narrowing things down.
Always consider the user. Observe how they use the product, and test it yourself to truly understand the usage context and behavior.
I think problem-solving is the most important. No matter how well you plan, unexpected issues will arise. A good designer must find the best solution within the given constraints and still create something that meets the purpose.
I mainly use Rhino and KeyShot. For organizing presentations and collaboration, I usually use Figma.
I plan each day by setting goals and listing out tasks that match those goals. Then I prioritize the tasks and estimate how long each one might take. I try to follow the priority order but stay flexible depending on the situation, rather than being overly strict about timing.
Usually around two to three months. Product design often involves building mock-ups and refining aesthetics, so even at the fastest, it takes at least one to two months.
People often ask me what kind of design I like. As a designer, I think that’s something I’ll be reflecting on for the rest of my life.
It wasn’t a job, but one of my most important experiences was designing a light fixture. I hadn’t built many working prototypes before, but this project required me to consider CMF elements and make something functional. I learned a lot through the challenges of real-world design and production.
As a student, I had the opportunity to work with MUJI on a project.
I enjoy design work that helps users. I especially like creating something that offers a slightly new solution or perspective, even if it’s based on an existing product. When I can add value in that way, it feels meaningful.
I’ll be graduating next year, and I plan to either join a design studio or continue into graduate studies. I still have a lot to learn, so I want to keep growing.
Lately, I’ve been doing a lot of team projects. I enjoy the process of developing ideas together and seeing how everyone’s input shapes the final outcome.
I’m currently working on an AI companion design for an industry-academic collaboration project. I can’t share too many details, but it involves exploring various structures and interaction methods, and it’s been really interesting.
You can reach me at buun1235@naver.com. I’ll try to reply as soon as possible. I welcome all kinds of inquiries and conversations.
I wish the best for everyone pursuing design. Let’s keep going with joy and a smile.
Let me know if you’d like this compiled into a document or formatted for submission.
Let me know if you’d like this compiled into a document or formatted for submission.
Grand Interview
22 October 2025 · Solic Prodotto per Incenso
Solic began with one clear insight: busy office workers crave a moment of truly personal rest. Because many cannot switch off work thoughts even during a short break, the act of resting often feels like another task. To solve that, we built the product around automation that lets users enter a relaxed state with zero effort. One press ignites the incense, and a gentle ambient light immediately calms the mind. We balanced colour and form so the device blends harmoniously anywhere in a room and always looks reassuring. By leading people unconsciously into a natural flow of rest, Solic enables effortless breaks inside their daily routine, ultimately improving work-life balance and overall quality of life.
Our design began with a wish to give exhausted minds and bodies a brief sanctuary after work. We chose the sunset on the commute home as our symbol: it marks the close of a hard day and the journey back to comfort. In our interpretation, sunset also implies tomorrow’s sunrise—a seamless cycle of closure and renewal. That philosophy shaped every material and colour decision. Instead of merely copying sunset hues, we used warm twilight tones that convey comfort, ease and inner calm, embedding the emotions of ending and beginning directly into the product.
The greatest hurdle in creating an automatic electronic lighter was the lack of prior examples. We searched for technologies with similar ignition profiles and focused on Heat-Not-Burn tobacco devices. Their high-temperature heating columns mirrored the needs of an incense stick. We bought several units, dismantled them, mapped every part and circuit, and ran repeated tests on prototypes that applied the same principles. Through a cycle of cross-industry benchmarking, structural and material analysis, and hands-on prototyping, we arrived at a stable, reliable electronic ignition solution.
Internal components face intense heat and friction, so we chose anodised metal with high hardness and wear resistance. That prevents wear during repeated ignition and extends product life. The exterior—constantly touched and seen by the user—is injection-moulded plastic. Moulding lets us create seamless curves that feel smooth in the hand and reflect light evenly, giving a calm visual impression. In short, anodised metal supplies functional durability, while the moulded shell delivers a soft, soothing aesthetic; each material fulfils its own role to provide a long-lasting yet comforting experience.
Modern professionals lack both time and mental space to stage a separate ‘rest ritual.’ Unlike a conventional holder, Solic is fully electronic with an automatic timer. Once switched on, subtle scent and soft light run for a set period without any further attention. The gentle glow and calm aroma seep into the background, guiding mind and body toward mindfulness without interrupting workflow—even while users focus on other tasks. The auto-off sequence removes fire risk and cleanup worries, so rest becomes safe, effortless and truly restorative.
As you noted, our core challenge was uniting the technical demands of burning incense with the emotional ambience of rest in a single object. Inside, air circulates naturally from bottom to top, while the exhaust port is centred on the upper section so fragrance spreads evenly yet never clutters the view. Ventilation is functionally essential, but we hid it within the form so the calming silhouette remains intact.
Early development centred on building a mechanism that could burn incense safely and automatically—minimising fire risk and simplifying use. Prototype testing, however, revealed that users felt just as strongly about sensory nuances: the slow drift of smoke, the moment the light comes on, and subtle changes in brightness. That feedback reminded us how crucial emotional resonance is, so we shifted from pure mechanics to the choreography of the senses. That pivot enriched Solic’s identity and deepened the user experience.
Solic’s ash-collection system was shaped directly by early user research. Many people said traditional holders scatter ash and are messy to clean. We therefore adopted an electronic format in which residue automatically gathers in a single sealed chamber. Users can now enjoy incense hygienically with no extra cleanup—proof that practical solutions often emerge straight from user insight.
Solic acts as a sensory switch that clarifies the boundary between work and home. After hours under harsh LEDs and screens, encountering its gentle scent and warm light signals the brain: ‘now it’s time to rest.’ By shifting body and mind from work mode to recovery mode, the device nurtures healthier routines. In that way, it does more than scent a room—it supports authentic work-life balance and could even help foster a wider culture of restorative downtime.
Recov is not merely a fragrance gadget; it is a catalyst for restoring sensory routines. Across Solic’s design we used visual, tactile and temporal cues to embody the value of rest. The form echoes sunrise and sunset so users recognise the day’s beginnings and endings. Warm-toned light reawakens the senses, while gestures—sliding in a stick, turning the dial—become deliberate acts that make the body pause. Each element helps users rediscover moments of peace that naturally fit into daily life.
