What kind of brand is “Studio-jsm”?

My name is Yang Young-mo, and I run Studio-jsm. After majoring in architecture and starting my own practice in 2022, I became increasingly fascinated by traditional architecture rather than modern forms, pursuing both research and creative experimentation in the field. What began as a personal study evolved into a full-fledged commercial project when “Lighting of Seokguram Grotto” received more attention than expected. The name “Jeomseonmyeon” (meaning “dot, line, and plane”) comes from the language of architectural drawings. It also conveys the idea of connecting the “dots of thought,” the “lines of emotion,” and the “planes of reality.” Our goal is to reinterpret the aesthetics of traditional architecture and weave them anew into everyday modern life.

What inspired you to create the Lighting of Seokguram Grotto?

Korea is home to many world-renowned architectural heritage sites, yet opportunities to experience them up close remain limited. Although many famous historical sites abroad are actively commercialized and made accessible through various products, I’ve felt that our own cultural assets have seen far fewer such efforts. In particular, the Seokguram Grotto is a site that is difficult to visit and has restricted access, so I wanted to capture its beauty in the form of a tangible object. I thought that if I could express the structural elegance and spatial sense of the Seokguram Grotto through a palm-sized light, it could go beyond being a simple model to become “a work that illuminates the architectural spirit of the Joseon Dynasty through light.”

What aspect did you focus on most during the production process?

Above all, it was about maintaining proportion, detail, and academic accuracy. Since I was dealing with architectural heritage, I believed it shouldn’t simply be about creating something beautiful. I ran countless simulations to reference the actual proportions while ensuring balance between lighting function and design. The choice of material was also a major consideration. To preserve the integrity of the Seokguram Grotto’s meaning while incorporating modern technology, I chose plant-based bioplastic (polylactic acid, or PLA). This eco-friendly material, derived from corn or potatoes, is biodegradable when buried and produces minimal pollution when incinerated. Because using molds would have dramatically increased costs and compromised detail, I opted for a handcrafted, 3D-printed method instead. Although it required far more time and labor, I believed it was the most honest and reasonable approach to production.

What was the most challenging part of making the product?

The greatest challenge was faithfully recreating the structure of the Seokguram Grotto itself. It wasn’t just about replicating the exterior form but about capturing the sense of depth and circular proportion within the interior space, which took over six months during the 3D modeling stage. Since the true mystery of the Seokguram Grotto lies in its proportions, reproducing its sculptural beauty required both mathematical precision and artistic interpretation. At first, the results looked too rigid and mechanical, so I revised the design countless times. In the end, by finely adjusting the direction and intensity of the light, I was able to complete a lamp that evokes what I call “the breath of the Seokguram Grotto.”

What did you gain from participating in the contest?

The most meaningful outcome was gaining the confidence to keep going. Designing with architectural heritage as a theme is not an easy field commercially, but the positive response my piece received in the contest became a strong source of motivation. After winning the award, I was inspired to pursue deeper research and more refined product development, and my belief that traditional architecture can serve as a foundation for modern design has become even stronger.

Please tell us about your future plans and vision.

I see “The Lighting of the Seokguram Grotto” not just as a souvenir but as a “memory of architecture connected through light.” Looking ahead, I plan to unveil a lighting series inspired by other Korean architectural heritage sites such as Bulguksa Temple, Sudeoksa Temple, and Haeinsa Temple Janggyeong Panjeon. I aim to connect the architecture and stories of each region through the medium of light, turning them into pieces that allow visitors to feel and remember the passage of time within those spaces. I will also continue to manage the entire production process domestically to minimize transportation and energy use while maintaining a sustainable manufacturing system. By blending the spirit of tradition with modern technology, I want to continue creating moments where Korea’s cultural heritage comes to life as light in everyday spaces.