Juyong Shim recontextualises the obsolete speaker horn for the modular 'Horn Series'

Although the speaker horn, as an invention, remains of little relevance today, several modern-day devices embody interpretations of its recognisable design and distinct forms, including the Horn Series conceived by architect and designer Juyong Shim. Translating the skeletal structure and details of the industrial relic into everyday functional objects, Shim gives a new purpose to the horn by presenting a series of furniture designs. The cohesive collection comprises a stool, a table design, a lighting design, a module shelf, a trolley and a hybrid light that maintains a strong visual identity of the speaker horn while ensuring functional contemporary designs. Crafted from materials such as stainless steel, acrylic and fabric that are inspired by speakers, the modular designs allow customisation and ease of assembly, showcasing precise engineering and craftsmanship.

Attempting to challenge the norms of function and perceived identity associated with product designs, the Korean designer encourages people to discover a familiar object in surprising ways. With a background in architecture, Shim intimately explores tactility and materiality through small-scale interventions. Deconstructing everyday objects, the furniture designer based in Seoul, South Korea, examines their structural and sensorial remnants to craft unique assemblages that often steer towards industrial design, promoting alternative ways of approaching products.

Delving into the Horn Series collection, which was showcased at Salone Satellite during this year's Salone del Mobile.Milano, as well as his overarching design practice (which he describes as 'part design, part archaeology'), Shim tells STIR about his creative journey, design inspirations and upcoming projects.

Bansari Paghdar: Could you expand on your design journey to date? What informs your creative ethos, and what are some learnings?

Juyong Shim: I studied architecture, which laid the foundation for how I think about structure, space and the relationships between objects and the body. My transition into design came from a desire to explore smaller-scale, more tactile ways of working—ways in which I could engage more directly with materials and narratives. Over time, I became increasingly interested in the afterlives of objects, especially those that have lost their original function but still hold a distinct material language. This curiosity led me to develop a practice that is part design, part archaeology—uncovering, deconstructing and reimagining industrial remnants into new spatial and functional possibilities.

A key learning has been that design doesn't always have to begin from scratch. Sometimes, the most compelling ideas emerge from what already exists—objects that carry time, memory and structural logic within them. My ethos is to reveal the overlooked and to build meaning through reassembly, not just invention.

Bansari: What informs your vision of deconstructing familiar/ obsolete objects for newer design possibilities?

Juyong: My vision of deconstructing familiar or obsolete objects was deeply shaped by my encounters with certain areas in central Seoul, particularly Euljiro and Sewoon Sangga. These neighbourhoods, once the heart of Korea's electronics and manufacturing industries during the mid-20th century, are now filled with ageing shops, discarded speaker parts, metal moulds and electronic components. While much of the area has faded from its original function, it still retains a dense, layered visual and material language.

To me, these objects are not just industrial remnants, but structures that hold forgotten logic, accumulated history and aesthetic potential. I see them as unfinished forms rather than waste forms waiting to be reassembled into something new. In this sense, my work is less about invention and more about discovery and recontextualisation.

By deconstructing these familiar shapes, I aim to expose their latent possibilities—where the original function fades, a new spatial or sculptural purpose can emerge. This approach allows me to question the limits of perception and propose new relationships between form, memory and function.

Bansari: Could you elaborate on how your works drift between "structure and image, the domestic and the exhibited" as mentioned in the project's press release?

Juyong: This idea comes from my interest in objects that sit between different states—between being used and being observed, between function and sculpture. In my practice, I often explore how an object can simultaneously act as a structural element and a visual image. It might be a stool, a shelf or a light, but it also carries a certain tension in its form that invites reflection rather than just use.

Many of my works—especially those in the Horn Series —are intended to live both in domestic spaces and exhibition contexts. They are physically functional but formally ambiguous. For instance, a horn-shaped stool design might recall a musical device, an industrial relic or a minimalist sculpture, depending on how and where it's placed. This ambiguity opens up a subtle shift in how we perceive objects—not just as tools or furniture, but as something that holds meaning, memory and spatial narrative. Through this process, each object becomes a small 'scene'—hovering between categories, refusing to settle into a single role. And that drifting quality is central to my work: I'm interested in how design can unsettle fixed definitions and invite new modes of engagement with everyday things.

Bansari: For the Horn Series, what elements/ properties of the speaker horn were essential to be carried forward into the designs? How did you come up with suggested variants across the collection?

Juyong: What initially drew me in was the sculptural geometry of the speaker horn—its flaring silhouette that once amplified sound with precision. While these components are now largely obsolete, they retain a strong formal language and industrial memory that I wanted to carry forward. Beyond the form itself, I was particularly interested in how the horn connected to other components within speaker systems—its mechanical joints, mounting edges and transition points. These structural interfaces became a key reference. I reinterpreted them as modular connection systems, allowing the objects in the series to be assembled, extended and reconfigured as furniture. In this way, I preserved not just the object's image, but its logic of attachment and modularity, giving it a new role within domestic and spatial contexts.

The various pieces in the series emerged through repetition, rotation and compositional shifts, maintaining a consistent sculptural DNA while allowing for functional variation. Rather than reproducing the original, I aimed to reconstruct and recontextualise—a method that lies at the heart of my broader design philosophy.

Bansari: Could you tell us about your experience of showcasing at SaloneSatellite this year? What is NEXT for you?

Juyong: Participating in SaloneSatellite 2025 marked my first opportunity to present my work on an international stage. It was more than just a design exhibition—it became a space of dialogue. Being in Milan allowed me to observe how my objects, which are deeply rooted in industrial history and local narratives, could be interpreted across cultures and contexts. What stood out most was how people engaged with the work, not only as functional furniture but also as carriers of memory, structure and speculation. It confirmed, for me, that obsolete materials and overlooked forms can still offer new meanings within contemporary design discourse.

As for what's next, I plan to continue developing the Horn Series through limited-edition production and collaborations with premium design platforms. I'm also expanding into cross-disciplinary projects, including collaborations with musicians and fashion creatives, as well as more installation-based and research-driven work that explores material systems and spatial perception at a deeper level.