Hanju Lee 이한주
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Hanju Lee is a designer and visual artist based in Seoul and Madrid. Working across interactive media and visual communication, she also works in advertising while exploring how technology shapes human perception, cultural narratives, and everyday experiences. Her practice combines physical and digital elements.

She studied Visual Communication Design at Hongik University and was an exchange student at Design Academy Eindhoven. She is currently an Art Director Intern at Cheil Spain and a member of the design research duo MNZZ.이한주는 서울과 마드리드를 기반으로 활동하는 디자이너이자 시각예술가이다. 인터랙티브 미디어와 비주얼 커뮤니케이션을 넘나들며 기술이 인간의 인식, 문화적 서사, 일상적 경험을 형성하는 방식을 탐구한다. 물리적 요소와 디지털 요소를 결합하는 작업을 전개하고 있다.

홍익대학교에서 시각디자인을 전공하고, 네덜란드 디자인 아카데미 아인트호벤(Design Academy Eindhoven)의 디지털 네이티브 스튜디오에서 교환학생으로 공부했다. 현재 제일기획 스페인 법인(Cheil Spain)에서 아트디렉터 인턴으로 근무하며, 디자인 리서치 듀오 만능찜(MNZZ)의 멤버로 활동하고 있다.

  1. Bibim Special: AI Mash-Up
  2. Poster Design for Post-table 01
  3. BIBIM-JELLY-TABLE
  4. Poster for GALLERY 41
  5. Dirty Precision
  6. beyond Completion
  7. Hughmanity
  8. Poster for On and On Table
  9. Poster for Cyanotype Photography Workshop
  10. MS.BIBIMCHILLIKAAS 150 ASIAN SAUCE RECIPE BOOK
  11. MS.BIBIMCHILLIKAAS 02
  12. SOLVAS ES
  13. Ongoing Source: Social Media Content Series
  14. LOVEPPCLUB
  15. COTHS s/s campaign
  16. PulseHaus
  17. Archive of Taste: What Did We Leave Behind on the Gleaming Plate?
  18. Fragmented Existence
  19. CALLINGOTHERSIDE
  20. TOBECOOKED X MS.BIBIMCHILLIKAAS  ‘Tofuballen POP-UP’
  21. MS.BIBIMCHILLIKAAS 01
  22. MOVE YOUR BODY: 1920
  23. COMA
  24. Home, Earth, Hello?
  25. sketch book
  26. Youth in this Situation
  27. Woonie
  28. Thump Thump

Activities 활동

Exhibition, Centro Cultural Coreano en España, Madrid, Spain, 2027 (In Discussion)
Exhibition, Gwacheon National Science Museum, Gwacheon, South Korea, 2026 (Upcoming)
Workshop & Talk, Gwacheon National Science Museum, Gwacheon, South Korea, 2026 (Upcoming)
Independent Publication, Mozilla Festival (Upcoming), Barcelona, Spain, 2026 (Upcoming)
Independent Publication, Broncode (Upcoming), National Library of the Netherlands, The Hague, Netherlands, 2026 (Upcoming)
Threading Texts Art Book Festival, MSCHF Dosan, Seoul, South Korea, 2026
Gunsan Book Fair 2026, Gunsan Center, Gunsan, South Korea, 2026
Workshop & Talk, BIBIM-JELLY-TABLE, Post Territory Ujeongguk, Seoul, South Korea, 2026
Poster Design, So We Step Outside the Margins, GALLERY 41, Seoul, South Korea, 2026
Exhibition, Forking Room 2026: Slooooop, Forking Room, Seoul, South Korea, 2026
Exhibition & Planning, zera.novac, ONSU GONG-GAN, Seoul, South Korea, 2026
Pop-up, TOBECOOKED × MS.BIBIMCHILLIKAAS, Eindhoven, Netherlands, 2024
Exhibition, Dutch Design Week 2024: Real Unreal, Eindhoven, Netherlands, 2024
Exhibition, My little cabin that burns and sinks, PaTi, Hidden Order, 2022
Bibim Special: AI Mash-UpZine
90 x 150mm 
36 p. 
Soft Cover + Holographic Sticker
2026
Bibim Special: AI Mash-Up, documents the prompts and error types behind roughly 400 fake "authentic" Asian dishes generated for MS. BIBIMCHILLIKAAS, an AI fake ‘authentic’ asian food-making game first presented at Dutch Design Week 2024.  The zine is organized into two chapters: one diagramming six recurring error types, and one profiling seven representative dishes in a Wikipedia-inspired format. Exploring behind the curtain of these fake dishes and how they came to exist in the world through the generation structure of AI, while the previous work documented the recipes themselves, the zine turns its focus to the generation process behind them. The zine was presented at Gunsan Book Fair 2026 (@gsbf.kr).





PulseHausBranding
Market Analysis
Brand Identity
2025
The global wellness economy is set to reach $8.47 trillion by 2027, and saunas are having a cultural moment, from Othership in New York to Salt in Oslo. Yet most recovery spaces still treat rest as something quiet and solitary. We saw a gap there and defined recovery as something repeatable, healthy, and shared, designed for self-caring leaders aged 30 to 40 who value community.

PulseHaus became a sauna-based active recovery community with one goal: to make active recovery a routine. Its slogan, “Pulse in Routine, Recover Together,” shapes the whole identity. That includes a symbol of two curved strokes that suggest a heartbeat and a stream, a palette of Pulse Black, Active Grey, Recovery Sky, and Pulse Red, and a wave motif called Resonance of Recovery.





PulseHausBranding
Spatial Design
2025
The space is planned as a two-floor journey. 1F is the Entry Ritual, with reception, locker rooms, and single-occupancy showers where members can leave daily life behind in private. 2F is Active Recovery: a Steam Room to melt away fatigue, a Tub Room that moves between hot and cold, and an Air Room to cool down.

Every class space opens onto the Community Lounge, a soft, sunken space under a skylight where members share their recovery. Dark concrete, warm lines of light, and a custom pictogram system based on the logo’s strokes tie the building, signage, and wayfinding together.





PulseHausBranding
Service, Product & Marketing Strategy
2025
The PulseHaus app is where the routine lives. Members get personalized class recommendations, simple booking and QR check-in, and a dashboard that tracks their streaks, plus a recovery magazine and referral invitations. Physical touchpoints carry the brand offline, including a Membership Kit with a Recovery Suit and Become Pulse Member trial cards.

The launch campaign meets the target where they already move. It includes a PulseHaus × Seoul Marathon pop-up with ice baths and a Recovery Shot Drink for runners, a Coming Soon teaser and community events on Instagram, and city billboards that carry the line “Pulse in Routine, Recover Together.”





Poster for BIBIM-JELLY-TABLEPoster2026



BIBIM-JELLY-TABLEWorkshop
2026
‘BIBIM-JELLY-TABLE’ is a workshop where participants reconstruct food tied to personal memory into "food jelly," following the visual rules AI uses to interpret images then eat it together.

Jelly has long straddled the line between food and object, its translucent, sculptural form central to banquets and catering displays. Once jellified, food is recognized not by taste or texture but by smooth form, becoming a display object defined by color and shape. BIBIM-JELLY-TABLE applies this same translation logic, how generative AI reads and reproduces reality, to food, the most everyday of media.

Participants break their chosen food memory into elements and sketch a "jelly blueprint," deciding what to transform and what to preserve. Just as AI reads an image, temperature and texture are erased, leaving only color, shape, and form  a process we call "jellification." While the jelly sets, memories are recorded on a shared tablecloth. What was once private becomes small jelly pieces, displayed and eaten by all.

BIBIM-JELLY-TABLE is the first project under POSTTABLE, an ongoing program at Post Territory Ujeongguk exploring the relationship between art and people through the act of eating together.



MS.BIBIMCHILLIKAAS 01Exhibition
Monitor, Interactive Game
Installation
2024
MS. BIBIMCHILLIKAAS, the project from which this workshop grew, began in the Netherlands as the work of outsiders abroad, merging the misunderstandings of Asian food encountered across Europe with the mistranslations produced by AI.

The project questions the authenticity of "Asian" ingredients and "sufficiently authentic" recipes outside Asia, treating the Asian grocery store as a liminal space between homeland and its reproduction. In a real-time, AI-generated game, visitors become MS. BIBIMCHILLIKAAS, a fictional influencer cooking fusion food, feeling out the chaotic gap between the real and the generated. They pick products from an Asian grocery store, follow an absurd 5 step "fake authentic" recipe generated in response, then film and post their own Instagram reel,  performing the misunderstanding and reinterpretation of "Asian" food. Roughly 500 recipes were generated over the course of the exhibition, each one blurring the line between real and generated authenticity a little further. The exhibition points to the dissonance diasporic communities often feel toward Asian grocery stores, and suggests this same dissonance could become a new kind of cultural incubator.




Dirty PrecisionExhibition
Planning
2026
Generation is fast, but completion is slow. Automated outputs only begin to resemble what we truly want after passing through human hands. Beyond the labor of learning the language of machines—of testing countless prompts—design ultimately lies in what comes after: human intervention. Designers break, revise, and reshape the averaged images produced by generative AI. This process is at once obsession and frustration, hesitation and courage. It is within this slow, persistent engagement that the value of an image begins to emerge.

The outputs of generative AI are statistical averages—polished, stable, yet inherently ordinary. At this point, designers instinctively resist what is merely “well-made” and move toward another kind of precision: Dirty Precision.
Dirty Precision is the act of disrupting and completing the machine’s average through sustained human intervention, introducing a uniquely human calibration that cannot be produced by the machine itself. It values the time spent breaking, adjusting, and reworking what was too quickly generated. Through repeated gestures of correction and destruction, designers reclaim authorship within the creative process.

After automation, design once again becomes a question of the body. As non-human speed disrupts the relationship between hand and mind, labor and thought, we are compelled to reconsider the role of human effort. We begin to notice the time and labor hidden behind seamless generation. This exhibition foregrounds these traces—marks of intervention on AI-generated images—and presents a form of design completed through human hands.



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