1. How does a media installation project typically begin??

Project begins with a study of understanding of the cultural and historical context of a site. The first ‘Layout’ work usually starts along with ‘Concept Design’. During this process, I create a 1/100 scale architectural model to analyze the environment and determine the optimal positioning for the project. Additionally, I focus on building a compelling narrative through site research and storytelling.

2. How is the conception and storytelling developed and refined?

First, Based on inspiration gathered from the Site Analysis and research, I develop the narrative through free writing. Unlike gallery, public installations are permanently displayed in a specific location and interact with visitors, so I carefully consider ways to encapsulate the richness of the site's story. Typically, I write 6 to 10 brief synopses and then refine the concept through detailed dialogue or visual storyboards. Throughout this process, I develop the theme by alternating between architectural models and concept sketches

3. What are the distinctions between crafting a narrative and designing architectural sculptures?

The narrative of a location can vary in many ways. In contrast, sculptures have a more enduring presence. Because of, unless they are dismantled and replaced, sculptures as permanent landmarks, exerting a lasting impact on their location.

In the conceptual phase, while developing the theme to be conveyed to the audience, the architectural sculpture design phase focuses on exploring symbolic sculptures that can embody that story.

In the case of the 'Luna Show,' the concept began with the idea of 'a moon on the lake.' I aimed to create two sides of the moon, and this required an ongoing process of imagining how it would appear as a place that embraces the story it was meant to convey.

4. What tasks and procedures are carried out during the Simulation & Presentation phase?

After the conceptual and architectural design phases are completed, a review is conducted to determine whether the project meets the shared goals of the client and the team. This stage includes a layout review to ensure the design effectively communicates the theme from all audience viewpoints and sight lines. Discussions then follow, using presentation materials and reports to assess the project's feasibility with client. Given that the clients of public installations were primarily government or public institutions, I remember that the reporting and presentation procedures tended to be more rigorous. But it was for city and public, these Cross-examination and persuasion process is important for us too.

5. What was the most challenging task?

The technical review was the hardest one and I learned a lot from this. After the presentation phase concludes, the focus shifts to reviewing systems and addressing technical issues. This stage often brings up numerous challenges, requiring full-scale collaboration with the engineering and architectural teams.

The "Media System Layout" is crucial because it directly influences the aesthetic expression of the media artwork. Ensuring that the machines and equipment are properly be deployed and meet all visual sightline requirements is essential. This involves crafting detailed elevations and floor plans, which are then translated into comprehensive construction drawings in collaboration with the architectural team. Given that the project spanned over three years—from design through construction to media art content—the documentation process was particularly tricky and a great deal of delicacy is required.

6. What work during your process inspires you the most?

As an art director, I really love intensive creative work. For public sculpture installations, the creative process is typically completed during the architectural sculpture design phase. However, for time-based works, more in-depth development begins. Here, the synopsis has to convey the story and themes with greater depth.

If I can elaborate more on the creative story and synopsis, the Luna dialogue may initially seem like just a curiosity about the world, but the hidden meaning of the lines is to ask the audience questions about the anxiety and uncertain hope of constantly moving towards new places. It is essential to carefully consider who the narrator is, the environment in which the audience will experience the story, and how the theme will be carried through the music and spectacle. In this process, I create drawings and write, which form the foundation of all creative production.

7. How does media design contribute to and influence the overall impact of your work?

Personally, I believe that the most important aspect of emotional resonance in a media work is the sound design. It captures the subtle undercurrents of things that cannot be visually conveyed.

After completing the story, I collaborated closely with the composer, especially before the sound design process began. I provided detailed notes on the scenes, the story they convey, the visual effects, and the musical references. Given that the media show creates each scene through the movement of machines and media within a brief 15-minute timeframe, it required thorough design and careful calculation of layout, choreography, movement, and lighting for each scene. I also meticulously planned how each emotion will be connected to a specific medium.

8. What was the most fun part of the art direction process?

In media design, the focus is on expressing the overall emotion of the story through flow and movement, while visual design is concerned with how the audience will remember the experience. In visual production, I find that being intuitive and experimental often leads to more interesting outcomes.

I often do experimental work in visual production. For example, I initially planned to use 3D visuals projected onto the corona screen, but during testing, I discovered that the acrylic and pastel original paintings I had created offered a much deeper sense of depth. The corona screen, which creates various layers of water, allowed the subtle color variations of the original paintings to shine through. After a month of testing with a 45m water screen, I was able to create an experimental animation video that reflects rich color and dynamic movement. I believe these experiments significantly contributed to the artistic essence of the 'Lunashow.'

9. Could you provide your role and approch about video production?

For media installation projects focused primarily on video design, I typically handle everything from the storyline and detailed storyboard creation to project management. Previous projects, such as the ‘Yi Sun-sin Show’ and ‘Lotte World Mall Seoul 3080’, followed a production process centered around video production.

In experimental work, I employ various approaches. As mentioned, after creating the teaser shows Two Face and Aurora, a significant portion of the initially planned 3D video work was replaced with 2D painting animations based on my drawings. However, 3D animation was still necessary for the final scene. To achieve a richer visual aesthetic, I provided mapping sources with pastel and painting textures and completed the 3D animation work in collaboration with a motion designer. This kind of collaboration can offer a fresh perspective, and I believe these experiments make a significant difference.

10. How do special programming tasks, such as lasers or lighting, impact the media art project?

Lasers and lighting are key elements for creating impactful visual effects in a production. In 'Two Face' and 'Caprice,' we made extensive use of lasers, projecting them onto the corona screen and the Luna sculpture to achieve linear effects that are challenging to create with projection video alone.

The process started with line work in Illustrator, where I designed line drawing patterns. These patterns were then animated by the assistant designer. We worked closely with the laser programmer, continuously testing for color, reflection, and refraction to achieve the desired effects.

For the lighting design, we began by sketching key scenes in pastel drawings. These designs were further developed during on-site rehearsals through close collaboration with the lighting director. I have been working with a specific external team for a long time, which has allowed us to develop an effective communication style that significantly impacts the quality of the final outcome.

11. Can you provide more details about the show production?

Here, team management, confidence in the aesthetic vision as a director, and the ability to make decisions that can bring that vision to production are crucial. While there is some flexibility with sound and video, as they are completed before the show rehearsals, the run-through requires all teams to collaborate simultaneously. This means that all directorial decisions must be finalized within a tight timeframe to ensure rehearsals run smoothly. To facilitate this, I prepare detailed technical documents in advance for each team. The show storyline and timetable are shared with all technical teams so everyone understands the narrative of each scene before the run-through. It is essential to clearly define the goals, solve problems, and thoroughly prepare to ensure that each issue is addressed properly within the time and capabilities of each team.