Traditions should not only remain in the past, but should be a flow from the past to the present and from the present to the future. Modernizing the legacy of tradition, Yu Ki, should not be the work of restoration or revival to honor and meditate on the past, but the most widely used in our real life to suit our present environment based on the wisdom and experience of the past. Yu-gi now has a long history but its use has declined much compared to the past due to limitations that are out of step with the times. The project focused on the re-emergence of the perception of "yu-gi as a healthy diet" as something that should be shared with people who value philosophical consumption rather than rational consumption through healthy production processes of brass, an eco-friendly material with excellent antibacterial and sterilization, or family health, and even the healthy value of the environment, in their lives. In addition, the experimental approach of actively discovering modern wear and tear rather than penetrating the consumer from the outside is expected to enhance accessibility to those who have not been interested in yu-gi or who have had a bias against yu-gi.
Making dishes for modern people should be about finding out the value that modern people do not even know exactly but clearly demand. I searched my diet for access to its obvious needs, and thought that the best way to find out about it was to look at the size of the dishes consumed in the market, especially the rice bowl. A bowl that can hold 680 ml of rice in the 1940s will be halved to 370 ml in the 1990s, and is used in a 190 ml standard, another half of its size, in 2013. In fact, a growing number of customers are looking for smaller dishes in the market, indicating that the habit of eating less healthily is becoming a social background. The varnish half-phase set used four different materials: yu-gi, onggi, magnetic, and wood. In the case of yu-gi, the various studies and repeated experiments of the material finish made all inside the bowl a smooth glaze to make the food look more precious, and the outside was proposed in four ways: smoothness, radiance, roughness, and lacquer so that it could be more sensitive. Onggi also expressed four colors, with different proportions of the soil. Trees are made up of two colors, soft yellow and dark red.
They were simple with their minimal and honest lines Another major task in form was the existence of a lid. Although the lid was much less meaningful than usual, its role was important to claim that it contained a rare treasure. Even though it was empty, the weighty silence seemed convincing. A bowl came from 11 different lines and covered its morphological properties with the same language-speaking lid. Some are very flat and some are symmetrical as below. By adding the last sentence to the incomplete element, the value that exists as ‘ham'. The functional aspects of human-centered thinking were also considered to minimize the area of contact with the lid that had been heated due to the preservation power of the yu-gi. The elasticity of our fingers and the natural lifting of the ball of the knuckles were designed and made lighter by improving the existing heavyness to be easily handled by tables and kitchens in order to be faithful to modern functions despite the demands of more production time, effort and labor.
There were three main types of distinctions in consideration of the process in which one line would determine the overall shape. Among them, we looked for the simple lines of units that can be obtained from the cultural, natural and living environments, including our residential environment. Bareum’s design contains the straight and tidy spirit of our ancestors. Bareum has simple but sophisticated, neat but refined features. The shape of a straight, square shape features a simple joint between the lid and the body. Although smaller than the size of a common dish, the actual amount of food served is large.
Yu-gi : matt
Yu-gi : polish
Yu-gi : refined ottchil
Yu-gi : polished ottchil
Sponsored by YÉOL
Onggi : brown
Onggi : white
Ja-gi : gold line
Mokgi : ottchil
Mokgi : textured black ottchil
Bronzeware(Copper 78%+ Tin 22% ), Onggi, Jagi, Mokgi(Lacquerware)
Ø 70 x 34.5, Ø 80 x 39, Ø 90 x 43, Ø 95x 54.5, Ø 105 x 60.5, Ø 130 x 53.5
Producer / Design
No. 77 Intangible Cultural Property of Brassware Making (Yugijang)
No. 113 Intangible Cultural Property of Lacquerware Making (Chiljang)