NONSTANDARD STUDIO      
2024



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WE ARE KIND AND WORKING HARD.
NONSTANDARD is an international exhibition making studio. nonstandard was founded in 2015 by project director Dr. Catherine S. Lee who leads the studio providing a comprehensive museum exhibition services. We create immersive environments for diverse art institutions and regularly collaborate with creative specialists.

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Email contact only_
nonstandard.kr@gmail.com
Instagram @nonstandard_studio




Dr. CATHERINE SEYOUNG LEE
이세영_서울대학교 디자인학박사


is an exhibition maker and a post-doctoral researcher based in Seoul, Korea. She holds a BA(Bachelor of Architecture) from Hongik University, and a MIA(Master of Interior Architecture) from Rhode Island School of Design in US. After completing doctoral program in design at Seoul National University(Doctor of Design), she moved to New York and worked with Sarah Meister(Curator, Department of Photography) in MoMA(Museum of Modern Art in NY). She has come a long way since participating the 6th Gwangju Biennale International Curator Course along with Maria Lind, the artistic director of 11th Gwangju Biennale.  Lee was a curator at Daelim Museum and currently works with Seoul Museum of Art and Leeum, Samsumg Museum of Art as a director of nonstandard studio.





PROFESSIONAL CAREER / CLIENTS

Fondation Cartier pour l’Art Contemporain in Paris
MoMA Museum of Modern Art in NY
Leeum, Samsung Museum of Art
Daelim Museum
Seoul Museum of Art
Busan Museum of Art
Seoul Museum of Craft Art
Gyeonggi Children's Museum
Jeonnam Museum of Art
Korea Arts Creative Academy
Arko Art Museum, Art Council Korea
Korea Arts Management Services
Seoul Arts Center
KT&G Sang Sang Madang
meetingroom
Project Space Sarubia
The Cheong-ju Art Studio
COS Project Space
SPACE Magazine
Korea Land and Housing Corporation
Monthly Public Art Magazine
Haru.soon
Seoul Botanic Park





TEACHING CAREER

INHA University, Incheon
Seoul National Univeristy of Technology, Seoul
Chung-ang University, Seoul
Dongduk Women's University, Seoul
Mokwon University, Daegeon
Rhode Island School of Design, Providence, RI





LICENSED CURATOR
Ministry of Culture, Sports and Tourism
LICENSED PHOTOGRAPHER
Human Resources Development Service of Korea
LICENSED COLORIST
Human Resources Development Service of Korea

Member of  International Council of Museums ICOM
Member of  Architectural Institute of Korea
Member of  Korean Society of Design Science
Member of  Institute of Interior Design
Member of  Korea Society of Basic Design & Art



AUDEUM Audio Museum
오디움 오디오 박물관 개관전시  
EXD-2024/05-30




Newly Opened Audio Museum / Audeum
Client_Seojeon Cultural  Foundation
Venue_Audeum, 6 Heolleung-ro 8-gil, Seocho District, Seoul
Creating a space to exhibit sound
The biggest attraction of the Audeum Audio Museum is that it exhibits the collections of world-famous audio collectors. Depending on the nature of the collections on display, the exhibition design requires a unique and new approach. In the case of Audeum, it had to be an exhibition space and allow for listening through the displayed audio at the same time. To achieve this, the use of various building materials that reverberate sound, such as glass and metal, was limited. The interior space of the building designed by architect Kengo Kuma was finished with boards wrapped in sound-absorbing materials, and the floor was finished with long-haired carpet. The main focus of this project was to create a more integrated exhibition experience that included hearing beyond the visual experience of the visitors. For these special collections that do not quietly hide behind glass cases but directly reveal their individuality to the visitors through sound in real space, the space needed to be more organized and hidden.





Minimizing the presence of design in the exhibition space
The overall exhibition design focused on creating the minimum space to display the collections. In particular, we were most wary of excessive lighting or special pedestals revealing their presence more than the collection. We applied the materials and colors used during the construction process to the design as much as possible. In addition, we tried not to lose continuity by finishing the shelves and pedestals on which the audios are placed with carpets, unlike conventional pedestals, to take advantage of the characteristics of the audio. Instead of any cases or coercive restraints for the safety of the collection, we applied meticulous design so that the visitors can keep a natural distance from the collection as much as possible. In order to maintain a natural distance from the visitors, we separated the pedestal material between the collection and the visitors, and used wood film, which was used as a vertical finishing element, as a kind of barrier, so that the visitors could indirectly feel a virtual barrier that did not exist. 

Possibility of Expanding Space and Exhibition Changes
Audeum is a new institution with few precedents, one of the few audio museums in the world. In the process of continuously developing and organizing audio research and its contents, the installation and transformation of graphic elements were made possible in a relatively open manner so that many parts could be modified and changed. Also barrier structures were designed and installed, and various types of panels could be freely added or deleted.

Natural and rhythmic movement lines and views
The music box exhibition room, which decorates the end of the exhibition, had the task of exhibiting a vast amount of collections compared to its spatial scale. To this end, we planned a circular movement line that would divide the space vertically and allow the visitors to naturally walk around the exhibition room. The natural elements of the landscape seen through the fully open glass windows harmonize with the heights of the vertically displayed music boxes inside. As a result, a considerable number of collections were displayed in one space, and it was created as an interesting space where people can operate the music boxes by climbing up and down the display stand.





소리를 전시하는 공간

오디움 오디오 박물관은 세계적으로 유명한 오디오 컬렉터의 소장품을 전시한다는 데 가장 큰 매력이 있다. 전시되는 소장품의 성격에 따라 전시디자인은 다른 접근이 필요한데, 오디움의 경우에는 전시공간임과 전시된 오디오를 통해 동시에 청음이 가능해야 했다. 이를 위해서는 소리를 반향시키는 다양한 건축재료들, 유리나 금속 등의 재료의 사용이 제한되었다. 건축가 켄고 쿠마가 디자인한 건물의 내부 공간은 모두 흡음재를 감싼 보드로 마무리되었으며, 바닥은 장모의 카펫으로 마감되었다. 이 프로젝트에서 가장 주안점을 둔 것은 관람객의 시각적 경험을 넘어 청각을 포함한 보다 통합적인 전시경험 그 자체다. 유리장 안에 조용히 숨죽이고 있는 것이 아닌, 각자의 개성을 실제 공간에서 소리를 통해 관람객에게 직접적으로 드러내는 이 특별한 소장품들을 위해서 공간은 보다 더 정리되고 숨어야 할 필요가 있다. 

공간에서 디자인의 존재감을 최소화하기
전체적인 전시디자인은 소장품을 전시할 최소의 공간을 구성하는데 그 초점을 맞췄다. 특히, 과한 조명이나 특별한 좌대가 소장품보다 그 존재감을 드러내게 되는 점을 가장 경계했다. 건축과정에서 쓰여진 재료와 컬러들을 최대한 연장선상에 놓고 디자인에 적용했다. 더불어 오디오들이 놓여지는 선반과 좌대의 바닥들도 통상적인 좌대들과는 달리 오디오의 특성을 살려 카펫으로 마감하는 등 연속성을 잃지 않기 위해 노력했다. 소장품의 안전을 위한 어떤 케이스나 강압적인 제지요소 대신, 최대한 자연스럽게 관람객이 소장품들과의 거리를 둘 수 있도록 세심한 디자인을 적용하였다. 관람객과 자연스러운 거리를 유지하기 위해서 소장품과 관람객 사이에 좌대의 재료를 분리하고, 수직마감요소로 사용된 우드 필름을 일종의 배리어로 사용함으로써 관람객이 존재하지 않는 가상의 장벽을 간접적으로 느낄 수 있게 했다. 

공간과 전시의 변화 가능성을 열어두기

오디움은 전세계에서 몇 안되는 오디오 박물관으로 선례를 찾아보기 힘든 새로운 기관이다. 오디오에 대한 연구와 그 내용이 계속해서 발전, 정리되어가는 과정에서 많은 부분을 수정, 변화시킬 수 있도록 그래픽 요소들의 설치와 변형을 비교적 열린 형태로 지속적으로 가능하게 하였다. 이를 위해 배리어구조물을 디자인해서 설치하고 여기에 자유롭게 다양한 형태의 패널을 추가, 삭제할 수 있도록 하였다.  


자연스럽고 리드미컬한 동선과 전경
전시의 마지막을 장식하는 오르골 전시실은 그 공간적 규모에 비해 방대한 양의 소장품을 전시해야하는 과제를 안고 있었다. 이를 위해 수직적으로 공간을 분리하고 관람객이 자연스럽게 전시실을 돌아볼 수있는 원형동선을 계획했다. 전면으로 오픈된 유리창을 통해 보이는 풍경의 자연적 요소들이 내부에 수직적으로 전시된 오르골의 높낮이와 함께 조화롭게 어울린다. 결과적으로 적지 않은 수량의 소장품을 한 공간에 전시하였으며, 실제 구동이 가능한 오르골들을 전시대를 오르내리며 작동시킬 수 있는 흥미로운 공간으로 조성되었다.