Taking Tradition Forward: Korean furniture artist So Joong-Han

So Joong-han, Damwol (2025), figured zelkova, Toona sinensis, paulownia, black ink woods, ancient red pine, Diospyros ebenum. Meaning ‘tranquil moon’, Damwol has a central ‘stage’ for art objects and a secret compartment in the base. 

While other children played with toys, So Joong-Han played with the wood shavings that clung to his father’s clothes when he came home from work. From birth, wood and woodworking were part of his natural environment. Joong-Han’s father, So Byung-Jin is a master carpenter and designated as Korea’s National Intangible Cultural Asset No. 55.

Joong-Han used to go to his father’s workshop after school and watch him work. Before he even understood what woodworking was, he remembers how he loved to watch his father’s skill.

Outside views of Master So Byung-Jin’s Wanju Somok School, where traditional Korean cabinetmaking is taught, and where So Joong-Han shares space with the Geungjaeyeon collective of trainees.

‘When it came time to choose a major for university, I didn’t hesitate – I chose furniture design’, said Joong-Han. ‘I believed that designing everyday objects to be both beautiful and functional was deeply meaningful and inspiring.’ His formal training was a step-by-step process, starting with learning how to draw design plans. Afterwards, Joong-Han worked in his father’s workshop, where he was able to absorb both traditional and contemporary techniques of woodworking.

Learning from a parent has its pros and cons. ‘I’ve always been someone who prefers to grow through firsthand experience. I deliberately chose to try more and fail more, believing that each failure would help me improve. Because of this, I often clashed with my father in the beginning.

Inside the workshop of Master So Byung-Jin’s Wanju Somok School, where So Joong-Han shares space with the Geungjaeyeon collective of trainees.

‘While he was a master in the field of woodworking, he was also my father – so it was difficult for him to watch his son struggle or fail. Whenever I started working on a new piece, he wanted to help me a lot. But I believed that going through the entire process myself, including the failures, was the only way to truly develop my own skills. So I declined his help. By going through every step on my own, I actually learned woodworking much faster, and built a foundation of techniques that were uniquely mine.’

However, the constant tension between father and son eventually wore Joong-Han down. After a while, he left the workshop and spent five years pursuing a completely different business. But in the end, he found his way back...

Detail of Damwol – the legs shape is a new design development

‘When I returned to the workshop, my father had come to respect my path. He let me work independently and simply watched quietly from a distance. To make up for the years I had been away, I spent over a year immersed in woodworking, devoting every waking hour outside of eating and sleeping to practising in the workshop. I trained relentlessly, determined to truly master the craft of somokjang (traditional Korean cabinetry).’

The culmination of that year was So Joong-Han’s official debut work, a traditional meorijang (a type of cabinet that sits alongside a bed). Recognition followed in 2024 for his Sokdookkeop Daji Sacheung Chaekjang – a four-tiered bookshelf with doors that received the Chairman’s Award from the Arts Council Korea at the Korean Traditional Craft Competition.

So Joong-Han’s Sokdookkeop Daji Sacheung Chaekjang bookcase received a Korean Arts Council award in 2023. Made from zelkova and paulownia with cast iron hingeware, 700 x 350 x 1700mm. A traditional bookcase is reimagined with a contemporary bitjang (wooden latch).

Joong-Han works in a small rural village called Wanju, located in North Jeolla Province. This is where his father established the Wanju Somok School, a place dedicated to teaching traditional Korean cabinetry.

He shares his workspace with students who learn for three years before taking the official certification exam to become a yisuja – a recognised trainee. Once certified, they can progress to join Geungjaeyeon, a guild of somokjang trainees led by Master So Byung-Jin.

Meorijang (2022), figured zelkova, Toona sinensis, red pine, brass fittings, 730 x 390 x 680mm. So Joong-Han’s official debut work retained a traditional form but with a modern sensibility gained through minimal use of jangseok (metal ornaments).

The Geungjaeyeon is a collective of his father’s disciples who are passionate about preserving and promoting the tradition of somokjang. Many of the members are active in various fields of society, but they come together through a shared love for traditional Korean furniture.

‘Even among artisans like me who have formally completed training in somokjang, approaches to the work can vary widely’, explains Joong-Han. ‘Some dedicate themselves to faithfully restoring and preserving traditional forms. In my case, I’m more interested in reinterpreting tradition through a contemporary lens.

Display cabinet, 1300mm high, figured zelkova, Toona sinensis, paulownia, Diospyros ebenum.

‘I don’t believe one path is better than the other – it really comes down to personal taste. Personally, I find beauty in simplicity. I enjoy refining proportions, simplifying lines, and adding functionality that suits modern lifestyles.’

‘My latest work Damwol is based on the mungapjang, a traditional document chest. But because I like to explore playful design elements, I reimagined it with raised legs and an open space in the centre for displaying decorative objects. The legs and handles in particular have a unique design I’m very pleased with. I sketched many variations for the legs.

‘I tried a gear-like cut, experimented with asymmetry, and eventually landed on an idea that came to me rather suddenly. By carving and planing square or rectangular blocks, I created legs that appear differently depending on the angle – from one side they look slender, from another, wide.

Four-Shelf Bookcase, zelkova, Toona sinensis, Dispyros ebenum,  ancient red pine latticework, cast iron fittings.

‘The handle is not only visually distinctive, but also ergonomically satisfying and I plan to incorporate this design into future works. This latest piece feels especially meaningful to me, as it represents my first conscious attempt to incorporate more overtly modern design into my work.

‘I’m always experimenting with ways to blend tradition with my own style – and with this piece, I feel like I’ve taken a real step forward. When I create a work, I try to ensure it contains its own story, thoughtful details, and even a touch of humour. This is how I strive to honour the spirit of tradition while crafting pieces that belong in our lives today.

‘Beyond aesthetics or function, I want my work to be something that becomes part of someone’s life story, passed down and remembered. Quiet beauty, sincerity, and precision are values I hold dear.’

Damwol (2025), figured zelkova, Toona sinensis, paulownia, black ink woods, ancient red pine, Diospyros ebenum. 

The material

So Joong-Han uses woods long favoured in traditional Korean furniture, such as zelkova (neutinamu), Chinese toon (chamjuk), and persimmon (meokgam). ‘Each type of wood has its own distinct grain and character, giving every piece a unique emotional tone’, he says.

‘Black persimmon is one of my favourites. Its deep contrast of black and brown patterns is striking and unpredictable – no two boards are ever the same. It’s also quite rare and valued in Korean tradition. I also love zelkova for its warmth and stability, and chestnut for its soft lustre and historical significance.’

Sabang Takjajang (2023) ancient red pine, Toona sinensis, 380 x 380 x 1350mm. A reinterpretation of the traditional four-sided sabang takja but with an upper  storage cabinet above open shelving.

Metal and wood

Korean traditional furniture often features ornate brass fittings called jangseok once used extensively by wealthy people to showcase their status. In contrast, furniture made for ‘commoners’ had little or no metal fittings, reflecting a more minimalist aesthetic.

‘Personally, I prefer this understated style. I deliberately avoid overly ornate designs and use jangseok sparingly. I aim to reinterpret them with a contemporary sensibility. I believe that simplicity and functionality are what make a piece sophisticated.

‘This minimal use of fittings has become a defining aspect of my style. To me, refined design lies not in embellishment, but in restraint and purpose.

‘Joinery is where the structural intelligence of traditional furniture really shines – it requires both mental focus and physical precision. Finishing is where the character of the wood comes alive. Applying oil and watching the grain reveal itself is always a moment of quiet satisfaction.’

Traditional Korean hand tools in the workshop of Master So Byung-Jin’s Wanju Somok School, where traditional Korean cabinetmaking is taught.

The tools

Many of the tools So Joong-Han uses are traditional Korean hand tools. ‘Among them, chisels and hand planes passed down from my father are especially meaningful – some of these tools were even handed down from his teacher. At the woodworking school he founded, we’ve also collected tools dating back to the Joseon Dynasty, some of which I still use occasionally.’

‘One such tool is the tanggae saw, a traditional Korean pull saw that dates back centuries. I also use uniquely Korean tools like the stone awl (doldaesongot) and the bow awl (hwalbibi songot).

So Joong-Han uses a Korean tanggae (frame) saw to rip a board.

‘It’s a dream of mine to one day open a small museum to exhibit these tools – not just to preserve their history, but to share the story and spirit behind each one.

‘I also use modern tools when needed. But even today, I find myself relying most on these older tools – for their precision, craftsmanship, and the quiet emotional depth they bring to each piece I create.

‘Of course, I use powered machinery as well when it’s efficient and doesn’t compromise the integrity of the work. Machines help with rough cutting or dimensioning wood, which saves time and energy. But for joinery, shaping, and finishing, I mostly rely on hand tools to maintain control and sensitivity.’

On the left, showing doldae songgot, a traditional Korean hand drill. The string drives the drill when the tool is twisted.

Finishes

‘I prefer natural oil finishes, and among them, I often use camellia oil. This finishing method has been used in Korea since the Joseon Dynasty, and the key lies in the precise blending ratio. I follow a traditional formula – camellia oil mixed with pine resin and alum – to create a finish that is both protective and deeply expressive.

‘The oil penetrates deeply into the wood, enhancing the natural grain without creating a plastic-like coating, as varnish sometimes does. Instead, it gives the surface a warm, living texture – one that feels alive to the touch.’

Interest in handmade crafts and independent designers is gradually growing in Korea, especially among younger generations. The market remains relatively small however, and as elsewhere, it can be difficult to achieve a sustainable career.

‘It’s true that the work I do is time-consuming, but I believe the value lies in the process itself’, says Joong-Han. ‘I try to find a balance by offering both large-scale statement pieces and smaller, more accessible items like trays or boxes. These smaller works still reflect my philosophy and craftsmanship, allowing more people to connect with my work at different levels.’

So Joong-han on the cover of Australian Wood Review, issue 128, September 2025

‘My advice is to take time – both in learning and making. Good work requires patience, reflection, and honesty with materials. Don’t rush to impress; instead, let the work grow with you. As for my goals, I hope to share the beauty of Korean furniture more widely around the world. In five to ten years, I envision running my own studio-gallery space where tradition and innovation meet, and continuing to connect with others through teaching and exhibiting.

‘I want to widely share the beauty of traditional Korean furniture. Although Korea is a small country in the East, culturally it is vast and rich. Nowadays, with the rise of K-culture, contemporary Korean culture and arts are gaining worldwide attention. Along with this, I hope more people come to appreciate the traditional Korean culture that laid the foundation for today’s popular culture.’

Photos: Ho-Young Ahn

Learn more about So Joong-Han at Instagram @sojoonghan_ and www.gobjet.com

In the next issue of Australian Wood Review, So Joong-han will demonstrate the process of making traditional dual sliding doors. Issue 130 will be available from the end of February.