"The original play was written by Anton Chekhov in 1903 as a story that represents the rise and fall of generational wealth. Simon wanted to work with Korean actors to create a modern interpretation of the same story, in the context of Korea. As a Korean designer, I was invited to do the set design for the theatre."

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'The Cherry Orchard' set design project embodies the core principles of 'Architecture Anomaly,' challenging traditional concepts of form and function. It raises the question, “Is a wall just a wall, or can it become something else?” This same idea was applied to the set design, where familiar architectural elements were reimagined. The ground becomes the roof, the roof becomes a stair, and the stair is punctured by a glass dormer. These components, though familiar, take on unexpected roles, removing the limits of their conventional functions and allowing them to become something entirely new.

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To create an abstract scene, the set was designed within a white void, devoid of any specific materiality. This lack of material indicators—no reference to time, place, or culture—allows the audience to focus solely on the house and its symbolic role. The void, occasionally lit in specific tones by the lighting designer, shifts the mood and invites the audience to imagine their own context.

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Structurally, the set featured a simple pitched roof, divided into a grid aligned with the primary structure to support the second floor. The roof, windows, and glass dormer all aligned with the grid for both aesthetic coherence and construction efficiency. On one side, the roof extended down to the ground, curving with a 12-meter radius, ensuring that all dimensions worked together seamlessly for both design and practicality.

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One of the key challenges in the design was balancing the placement of large glass panels. These were difficult to ship and install, but additional window frames would obstruct the actors' faces. The alignment of these frames with the steel structure was crucial, and each piece was carefully proportioned. Simon, known for his attention to detail, insisted on precise acoustics, ensuring the voices sounded different inside and outside the set for a more authentic experience.

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Unlike traditional architecture, theater set design introduces the concept of sightlines—lines drawn from the first and last rows of seats to ensure visibility from all angles. This required cutting the front façade of the set in a concave shape to maintain sightlines, adding another layer of complexity to the design.

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In developing the set, it was essential to understand the original "The Cherry Orchard" play. Simon and I discussed circulation, entrances, and how the actors would interact with the space. Interestingly, the set was completed before Simon finished the script, allowing the design to inspire new anecdotes for the play. Adjustments were made during rehearsals, incorporating creative tricks to enhance the performance.

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Theater construction itself introduced new perspectives, especially in the use of material finishes. While architectural walls are typically finished on both sides, in theater, a thin 9mm plywood can suffice, and walls may be as thin as 39mm. Hand-painting remains widely used, with hand-drawn elements like brick walls appearing highly realistic under the right lighting. In architecture, lighting comes from the Sun, but in theater, it is boundless, transforming fixed elements with different moods. The experience highlighted how various components of theater add layers to the overall production.