Jeong: The Spirit of Korean Craft and Design by Hyo Jung Lee

Jeong - The Spirit of Korean Craft and Design

Jeong: The Spirit of Korean Craft and Design by Hyo Jung Lee is a visually rich introduction to Korean craft and design, bringing together traditional objects and contemporary creations through the cultural idea of jeong — a sense of attachment, care and emotional connection that grows over time.

The book presents Korean design not as a single aesthetic, but as a living dialogue between heritage and innovation. Ceramics, textiles, furniture, embroidery, lacquerware and everyday objects appear alongside contemporary works, showing how material knowledge can travel across generations and adapt to new contexts.

For young artists and designers, Jeong is valuable because it links form, material and feeling. It asks readers to notice how objects carry relationships: between maker and material, user and object, memory and function, tradition and experiment. This is especially relevant for students interested in craft, interiors, product design, sculpture, visual culture and sustainable approaches to making.

This BE OPEN Pick adds a broader cultural perspective to the Bookshelf. It reminds emerging creatives that innovation does not always mean breaking with the past; sometimes it begins with looking again at inherited techniques, tactile intelligence and the emotional life of objects.

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Update: BOA added The Primacy of Drawing

BE OPEN Academy has added The Primacy of Drawing by Deanna Petherbridge to its Bookshelf. The book explores drawing as a way of thinking, observing and making, showing how lines, sketches and visual traces help artists, architects and designers test ideas and understand space, movement and material.

The Primacy of Drawing by Deanna Petherbridge

The Primacy of Drawing

The Primacy of Drawing by Deanna Petherbridge is a comprehensive and deeply researched study of drawing as a way of thinking, observing and making. The 2026 revised edition reconsiders drawing’s role in contemporary art at a moment when digital tools, performance, installation and new technologies have expanded what artistic practice can be.

The book argues that drawing is not only a preparatory stage before “finished” work. It can be a record of touch, movement, memory, construction and decision-making. Through historical and contemporary examples, Petherbridge shows how lines, diagrams, sketches and material traces help artists understand bodies, spaces, emotions, power and the world around them.

For emerging artists, sculptors, architects and designers, this is an important book because drawing remains one of the most direct ways to test ideas. It can clarify a structure, reveal a rhythm, explore scale or capture something too fragile to explain in words. The book encourages young creatives to treat drawing not as a narrow technical skill, but as a flexible language for research and imagination.

At BE OPEN Academy, The Primacy of Drawing would work well as a deeper review rather than a quick recommendation. It invites students to slow down, look carefully and recognise drawing as a practice that connects hand, eye, thought and material.

Find out more about The Primacy of Drawing by Deanna Petherbridge →

Circular Materials: Innovation and Reuse in Design and Architecture by Joe Gibbs

Circular Materials - Innovation and Reuse in Design and Architecture

Circular Materials: Innovation and Reuse in Design and Architecture by Joe Gibbs is a timely visual guide to one of the most important shifts in contemporary creative practice: the move from linear production to circular thinking.

The book brings together projects in fashion, design, interiors and architecture that work with production waste, recycled and upcycled materials, and other forms of resource reuse. Rather than treating sustainability as a limitation, the examples show how material constraints can become a source of invention, texture, form and new aesthetic language.

For young designers, architects, artists and makers, Circular Materials is useful because it connects environmental responsibility with practical visual inspiration. It encourages readers to ask where materials come from, what histories they carry and how discarded or overlooked resources can be transformed into objects, spaces and systems with new value.

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Material Intelligence: What Design Students Need to Learn About the Future of Materials (Pt.2)

Material Intelligence: What Design Students Need to Learn About the Future of Materials (Pt.2)

PART 2. From Material Literacy to Responsible Making

Circularity Begins Before Waste

Many conversations about sustainability begin at the end: recycling, disposal, waste management. But for designers, circularity begins much earlier. It begins before the object exists, when choices are still open.

The Ellen MacArthur Foundation’s Circular Design Guide emphasises that the transition to a circular economy is driven by design, with principles such as eliminating waste and pollution, circulating products and materials at their highest value, and regenerating nature. This matters for students because most environmental consequences are shaped upstream, in the brief, the concept, the material choices, the business model and the assembly method.

A product that cannot be opened, repaired, upgraded or separated is already on a path towards waste. A garment made from blended fibres may be difficult to recycle. A building product with hidden toxic additives may limit reuse. A packaging concept that depends on infrastructure that does not exist may fail in practice.

Circular design asks students to imagine not only how something begins, but how it continues.

Sources:
https://www.ellenmacarthurfoundation.org/circular-design-guide/overview
https://www.ellenmacarthurfoundation.org/material-selection

Case Study: Safe and Circular Material Choices

The Ellen MacArthur Foundation’s circular design resources include methods focused on safe and circular material choices. This is important because circularity is not only a question of keeping materials in use. If a material contains chemicals of concern, circulating it may also circulate harm.

For design students, this connects sustainability with health. A material that is recyclable but toxic is not a responsible choice. A material that is natural but treated with harmful finishes may not be safe. A product designed for reuse must also be safe for the people who make it, install it, use it and recover it.

This expands the idea of good design. A successful material decision should consider performance, beauty, cost and availability, but also chemical safety, human health and end-of-life value.

Source:
https://www.ellenmacarthurfoundation.org/circular-design-guide/resources

Material Health and Safer Chemistry

Material health is becoming an important field for designers and architects. It asks what products are made of and how those ingredients may affect people and ecosystems. This is especially relevant in interiors, architecture, furniture, textiles and consumer products, where people live in close contact with materials every day.

Cradle to Cradle Certified’s Material Health Certificate provides a way to assess and verify progress towards safer product chemistries. For students, such frameworks can be educational even when they are not using certified products. They show that material responsibility requires evidence, assessment and improvement, not only good intentions.

Designers do not need to become chemists, but they do need enough chemical awareness to ask informed questions. What are the adhesives, coatings, dyes, flame retardants or plasticisers? Are ingredients disclosed? Are there safer alternatives? Does a supplier provide transparency?

Source:
https://c2ccertified.org/the-standard/material-health-certificate

Case Study: Healthy Materials Lab at Parsons School of Design

Healthy Materials Lab at Parsons School of Design is dedicated to placing people’s health at the centre of design decisions. The lab raises awareness about toxic chemicals in building products and creates resources for the next generation of designers and architects to make healthier places for people to live.

This is a powerful model for design education because it treats material choice as a social and public health question. The impact of a material is not limited to the designer’s studio or the final image. It affects workers, residents, communities and future environments.

For students, this means that responsible making includes care for invisible users: the person manufacturing the product, the installer handling the material, the child touching the surface, the community living near extraction or disposal sites, and the future worker who may need to take the object apart.

Source:
https://www.newschool.edu/centers-institutes-labs/healthy-materials-lab/

Material Passports and Future Transparency

As circular design develops, transparency tools such as material and building passports are gaining attention. A passport can record information about materials, products and components, supporting reuse and more informed decisions.

For design students, this points to a future in which material information becomes part of the design deliverable. A project may need to show not only renderings and specifications, but also what materials are present, where they came from, how they can be maintained, how they can be separated and what value they may hold after first use.

This changes the portfolio as well. A material-aware project can include samples, tests, sourcing notes, repair strategies, disassembly diagrams, lifecycle reflections and material data. These elements show that the student understands making as a long-term responsibility.

Source:
https://build-up.ec.europa.eu/en/resources-and-tools/publications/material-and-building-passports-supportive-tools-enhancing

The New Material Portfolio

If portfolios are becoming more process-led, material intelligence offers a rich way to show process. Students can document why a material was chosen, what alternatives were tested, what failed, what trade-offs were accepted and how the final decision aligns with the values of the project.

This kind of documentation does not make a portfolio less visual. It gives visual work more depth. It shows judgment, responsibility and the ability to connect aesthetics with consequences.

Key Takeaways for Design Students

  • Treat materials as systems, not only surfaces.
  • Ask where materials come from, what they contain and where they go next.
  • Learn through physical testing, not only digital rendering.
  • Consider material health, toxicity and safer chemistry.
  • Design for repair, disassembly, reuse and long-term value.
  • Be careful with vague sustainability claims.
  • Use material libraries, databases and certifications critically.
  • Document material decisions in your portfolio.
  • Understand that circularity begins at the design stage.
  • Remember that every material choice affects people and ecosystems.

Looking Ahead

The future of materials will be shaped by science, policy, climate pressure, new technologies and changing cultural values. But designers will play a decisive role because design determines how materials are selected, combined, used, maintained and recovered.

For students, material intelligence offers a way to connect imagination with responsibility. It asks them to make beautifully, but also carefully; to experiment freely, but also to investigate consequences; to value innovation, but not confuse novelty with progress.

The next generation of designers will not only ask what an object looks like. They will ask what it is made of, who it affects, how long it can serve, and what future it leaves behind.

Making Space: Interior Design by Women by Jane Hall

Making Space Interior Design by Women

Making Space: Interior Design by Women by Jane Hall is a global survey of 250 women who have shaped interior design from the beginning of the twentieth century to the present day.

The book looks at interior design not as a secondary or decorative discipline, but as a powerful field where ideas about identity, comfort, work, domestic life, public space, taste and cultural change are constantly being negotiated. Through a wide range of historical and contemporary examples, it highlights the creative contribution of women whose work has often been overlooked or placed outside the traditional architectural canon.

For students of design, architecture and visual culture, Making Space offers an important reminder: interiors are never neutral. They influence how people live, move, gather, remember and express themselves. The book is both an inspiring visual reference and a valuable contribution to a broader conversation about authorship, representation and the spaces we choose to call our own.

Find out more about Making Space: Interior Design by Women by Jane Hall →