
Han develops collections through close collaborations with the company’s team of designers, artisans and engineers. “The studio operates as a collective, where each piece is shaped through a shared pursuit of material exploration and technical precision,” she says. Her inspiration for the Aleh Wave lighting is especially meaningful to her personally, since it was the first collection she developed after joining Shakúff. “It represents an early moment in my design language within the studio,” she notes. “The collection also carries a subtle cultural dialogue based on my exploration grounded in Korean material traditions, then paired with the name ‘Aleh,’ meaning leaf in Hebrew. That intersection became a quiet but important foundation for the work, influencing both its concept and narrative.”
Aleh Wave’s inspiration was sparked by Han’s fascination with Hanji, a traditional Korean paper she discovered, most notably a page imbued with delicate leaf patterns. “Aleh Wave features hand-applied bronze skeleton leaves almost melting into the surface of the clear Nimbus glass to introduce a layered texture, while the curvilinear wood panel of rich walnut brings a sense of flow, echoing the movement of leaves drifting through the air.”
Experiencing Aleh Wave from her desk in the showroom, Han associates it with the textures and warmth of autumn, although she is considering the possibilities of modifying the collection for different seasons. “I’m interested in exploring how shifts in material, tone and light diffusion could express the distinct qualities of spring, summer and winter, allowing the collection to expand while remaining grounded in its original concept.”
Han also contributed to the development of Shakúff’s elegant Tamar Grande collection of sculptural glass lighting. Her asymmetrical wall sconce and tubular chandelier designs are inspired by oceanic currents, producing artful compositions of undulating lines accented in metallic finishes.
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