Burdifilek, a firm renowned for creating beautiful and considered spaces for global brands, is proud to unveil its visionary, multi-level design of The Hyundai Seoul, the largest department store in South Korea’s capital city. The retail landmark is part of a multi-use complex combining business, shopping, and leisure in a single destination.

The Hyundai Seoul introduces a new concept in shopping environments while forging a history by redefining the future of retail. Design elements, includes abundant greenery, expansive floorplates, and a Waterfall Garden, all contributing to a memorable relaxed customer experiences set against a backdrop of avant-garde fashion and visually stimulating contemporary design elements.

Tranquility by design

Burdifilek was commissioned to design three floors of the department store, including the Zen-like ambiance of the atrium. The soothing elements of the atrium are visible from all levels of the department store, nourished by abundant natural light drawn in through a skylight extending through the core of the building. Leveraging the building’s unique architecture with multiple voids throughout, Burdifilek conceptualized a green belt that would wrap around the spaces and provide continuity to an overall theme of tranquility and well-being. Taking cues from the grand piazza, the green belt becomes a runway for everyday life activities from social interactions to art displays, pop-up stages and inspiring encounters.

One begins their journey with an auditory sensation of a cascading waterfall. A gravity defying 12-meter-tall sculptural waterfall stands prominently in the main atrium, surrounded by organically shaped floating islands. The calming Waterfall Garden cascades through dancing water features with seating extending from its fluid forms.

The concept of nature is carried forward with reflective borders that mimic tranquil water patterns along the inner edges of the ceiling planes, creating the visual effect of glancing up at a reflecting pond.

Interpreting a new language 

In conceptualizing the totality of each floor, Burdifilek drew upon its experience and expertise to perfect the details of each individual element to create a branded environment that is strengthened by the sum of its parts. From floors, to walls, ceilings, furnishings, fixtures, and materiality, each floor presents its own dialect of experiences and visual display elements, all tailored to the style of merchandise and the lifestyle trends of those most apt to shop there.

An experiential palette 

Second floor: Sculpture Garden

On the second floor, Burdifilek’s interpretation of the future home for women’s high-end fashion is at the heart of elegance and timeless luxury. Anchored by iconic forms, with an emphasis on textures and sculptural tonality, the floor offers a gallery-like space for one to meander and explore. Use of gentle, indirect lighting accentuates fluid forms on the ceiling to radiate an ethereal quality. Custom hanging fixtures with refined detail elevates the feeling of lightness while providing a cohesive language for curated brands to shine. A combination of a subdued color palette with layers of reflectivity and translucency further boosts the sophisticated atmosphere.

Third Floor: Provocative Wilderness

In Contrast, on the third floor, the designers swiftly change up the mood and invites one to another world. Expanding on the concept of nature and the sculptural garden, this level takes on the abstract form of a blooming. While maintaining a degree of commonality with the second floor in terms of sculptural elements, this floor expresses them in bolder form, amidst a creative backdrop of shocking deep blue hanging systems, aggressive materiality with an emphasis on the contrast of natural and man-made materials, unfinished ceiling, custom built, vacuum-formed sculptural walls and a simple color palette that speaks more directly to the featured brands. In this modern retail emporium, the worlds of art, design and fashion collide to create a cultural experience that transcends beyond a mere shopping experience.

Perspectives 

In approaching this ambitious project, Burdifilek’s vision was to create a strong point of view that would be memorable for the end user. In veering away from global retail trends, the firm designed the floors of The Hyundai Seoul to be easily approachable, while providing visionary design elements and color palettes that are both inspirational and aspirational. The project transcends traditional retail philosophy to offer a unique perspective on how common experiences like shopping can be greatly enhanced, and its successful completion reinforces Burdifilek’s reputation as an internationally renowned custom design studio.

The post Hyundai Seoul was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

2020 and 2021 have proven to be seminal years for CLOU: One year after launching a Shanghai branch near the Bund, CLOU’s Beijing office has now expanded into sparkling new premises. Within the familiar surroundings of Sanlitun SOHO, the space has doubled in size to occupy half a tower floorplate on the 17th floor, with a fully glazed facade offering sweeping views across Sanlitun and into the mountains of Northeastern Beijing.

Flexible workspaces for complementary forms of collaboration

Cool and clean lines define different zones of work, communication, research, and display, all connected by CLOU’s signature silver galvanized walls – a feature tying all spaces together since the office’s inception.

Black and white materials and furnishings contrast with warm wood and color accents, softly mirrored in the reflection of the steel. 

Hot-dip galvanized steel sheet (SGCC) is widely used in industrial engineering, but mainly revolves around household appliances.

To date, galvanized steel panels have provided all CLOU offices with flexibility and multi-use surfaces. The material’s sharp and cool appearance, its non-directional surface pattern, and its magnetic properties render the surfaces of the functional wall and furniture cladding a versatile canvas for all displayed representations of our design processes. From the main entrance through to the design floor and the communal areas, the softly distorting reflections emphasize industrious brightness in a connective gesture.

Brand identity

Entering the galvanized steel-covered entrance, the right side appears as an open office area, and the left side contains a model workshop. The two zones are connected by a stepped display area, the reception area, and a public corridor. 

The CLOU logo, as part of the brand identity, is presented on the walls of the three areas in a variety of materials and sizes. The black and silver graphic logo showcases the firm’s bold and creative image.

On-site trying and testing

Brightly lit, open office zones are complemented by a variety of meeting rooms for in-person and virtual encounters. Each space infuses its own characteristics – the boardroom with its glass enclosure around bright blue flooring and warm orange-red fabric, a more intimate conference space with warm wood furniture on speckled green terrazzo, and a cave-like, all-wood retreat for quiet work and conversation.  

Terrazzo is the characteristic element providing rhythm and dynamics to the multidimensional expanse of our most common projects: convivial neighborhood malls that bring communities together.

CLOU’s new Beijing office references this material, transferring it from the bright floors of our retail spaces to introduce it as a means of territorial definition: open office areas are laid out to zone common and shared spaces in gleaming brightness, while meeting spaces encapsulate in subtle accent colors. Boldly striped contrast patterns create spatial dynamics in the lively community and circulation axis.

A proper workshop occupies a large area of the office: in a zone for model-making, design tests, and material research, the wood-clad environment integrates workbenches and 3D machinery with library storage and archive rooms.

Flexible furnishings allow for quick conversion into a photo studio or a mini auditorium for inter-office presentations.

Stepped display areas connect workplace and workshop along a communal meeting zone: where steel and wood intersect, models of projects past, present, and future showcase progress, and variety, while benchmarking possibility and quality.

CLOU

Banye Lin

The post Architecture Office Redesign in Beijing was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The new Limassol Terminal is the first purpose-built building for cruise ships on the island of Cyprus. Stretching 350m down the east pier as a series of elliptical shells, it replaces the old industrial shed which had provided basic services for many years. Irwin kritioti architecture was awarded the first prize in the competition set for the new building. The terminal was completed shortly before the global pandemic brought the cruise industry to a faltering halt. It re-opens this summer to welcome new passengers aboard for the 2021 season and take its position in the cruise itinerary of the Mediterranean.

The harbor site for the terminal is located within the principal port of Cyprus- a busy multi-purpose facility. The main point of entry for the shipping containers that serve the island’s trade also provides a stopover for warships en route to the Levant, as well as serving as the docking point for the many cruise ships that tour the eastern Mediterranean. In this oversized industrial context, the new terminal required a strong visual identity, while also providing a place of calm for transient passengers.

Approaching Cyprus by ship, the first view of the new building is the undulating roof of titanium zinc, whose aspect changes according to the time of day and the season. The linear scale and rounded forms of the terminal ensure that it stands distinct amongst the heavy ships and cranes that surround it. Disembarking, the passengers pass through ovoid halls, where walls and ceilings are replaced by a continuous wooden plank surface. These are animated by reflections of the sun and water from the huge portal windows and the polished floors. The white wooden board interiors refer to shipbuilding of the past, and provide a striking contrast with the darker ribbed metal of the exterior forms. Direct views from the dock to the harbour promote the linking of the land with the sea. For those who are not embarking on a voyage, this allows previously unseen views into the workings of the busy port.

The terminal has a projected annual turnover of half a million passengers. Despite being a controlled border with all the necessary custom and security requirements, the building has managed to remain visually open & permeable. In doing so, it avoids the potential labyrinthine layouts and deep spaces that can occur in transit buildings. An early decision by the architects to simplify the brief into distinct operational shells, each connected to the outside view, allowed for a building which is simple to service and easy to navigate.

A further decision by the design team was to allow for alternative uses of the terminal spaces outside of the cruising season. Weddings, conferences, and exhibitions can be hosted for local audiences in the arrival halls, which would otherwise remain dormant in the off-season. A ‘Skybar” located on the roof welcomes non-travelers, as well as those on a cruise. As Limassol continues to expand west towards the port, the multi-use building provides a platform to integrate local city life with the dynamic activities of the harbour. 

irwinkritioti architecture

Charis Solomou

Richard Irwin

Alkis Touvanas

The post Cyprus Cruise Terminal was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The apartment in the southern suburbs of Athens, with a total area of ​​165m², was a spacious typical apartment, built during the ‘90s. A basic design requirement was the remodeling of its functional structure, based on the needs and lifestyle of the new owners. At the same time, the main issue was the creation of a new Mediterranean character. The design has references to the landscape of the Greek Cycladic islands discreetly adapted to the urban environment to which it belongs.

The main idea was based on architectural simplicity, with clear, geometric lines, shaped by simple, imaginative, and functional customized structures. The reorganization of the floor plan of the living spaces of the apartment, through the demolition of selected walls, aimed at softening the boundaries between different uses. The new solution achieved the unification of spaces, visually and functionally, creating a common experience through the sequence of movements. At the same time, the uniform diffusion of natural light, contributes to the unification of spaces, allowing to increase the brightness in the apartment.

The choice of materials follows and consolidates the design idea. The choice of a wooden oak floor throughout the apartment, except for the bathrooms, in combination with the monochromatic walls, provides an excellent background for the handmade wooden structures in the kitchen and bedroom closets. The thematic curtain in the kitchen, the handmade knitted lamps from natural materials and the panoramic wallpaper in the dining room, enhance the composition.

The architectural gestures contribute to the creation of a new habitation experience, in a bright, natural, handmade, familiar environment with references from the habitat and landscape of the Cycladic islands.

INSiDE Architects

Ioanna Roufopoulou

The post Apartment renovation in South Athens was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

A neglected exhibition hall in Luxembourg, originally built as a warehouse, has been transformed to create a light-filled, collaborative office space.

The architects renovated the former warehouse in Steinsel to create the new headquarters of DSL, a company specialised in IT solutions. The main emphasis of the project was to bring in more natural daylight, creating an efficient, clean and bright office space where people and communication take center stage.

The concept aimed to adapt the warehouse whilst preserving a flavour of certain key characteristics of the original building.

As you enter the space you are welcomed by a bright, double-height reception area. Light filters through from the large bay windows and from the skylights set into the steel roof. The overhaul included entirely gutting and renovating the feature skylights.

Inside, a central statement staircase made from oak doubles as a common area. This creates a mix of semi-private, informal work and social areas maintaining an open-plan layout.

Metaform architects chose a simple material palette including pure white walls, grey steel beams but also oak floor paneling and detailing in contrast with the original characteristics of the warehouse.

To finish the space, offices and meeting rooms are decorated with some large plants to help create a calming work environment. Through the introduction of light, the architects sought to foster a positive and welcoming working environment. The choice of furniture also inspires a “homely” atmosphere.

The building contains 1.950 square meters of office space, which includes a reception area, a staff kitchen, meeting rooms, open-plan offices, exhibition n space, an outdoor terrace area and ample storage space.

Metaform architects

The post Office Building in Luxembourg was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The Royal Vancouver Yacht Club’s new Dock Building is an example of industrial architectural elegance crafted from a modest budget.

The Dock Building, located on Jericho Beach in Vancouver, BC, serves a large marina of sailboats. The facility provides washrooms and showers, offices for the Harbour Master, instruction space for children, and a variety of workshops to maintain boats, sails, and gear. The project’s practical working needs, very modest budget, and prominent siting required a simple solution that honoured the cannery and industrial heritage of waterfront buildings that were once found on the site a half-century before.

The massing is simple. Two intersecting wedge volumes mirror each other to create a lantern to the sea and a lantern to the land. Facing land is a glulam and translucent polycarbonate wall that brings light into the workshop spaces and glows along the beach at night. Facing the sea and the marina itself are a series of garage doors opening to the shop bays as well as glazed offices for the management of the docks. A wood screen above the offices hides the mechanical systems in the high volume of the wedge that faces the water. A knife-edge gutter provides an overhang for the shop doors mimicking the razor edge forms of the racing sailboats that line the dock.

The building resides on the waters’ edge just where high tide meets the beach. Almost half of the project budget went to the foundation and piles, leaving the design team with the challenge of meeting the project’s functional needs while delivering something more meaningful to the community.

White standing seam panels are used for the exterior in the spirit of the forms and colour of the sails and boats. The structure is a mix of glulam posts and beams with light timber infill decking and walls. The interior is predominantly construction-grade plywood, providing a tough, easily replaceable interior finish. Throughout, the details are modest and practical to work with the limited project budget.

MGA | Michael Green Architecture

The post The Dock Building was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Vienna and Linz-based practice destilat completely reorganized and redesigned Weinmanufaktur Clemens Strobl in 2019, as the centerpiece of a historical 4,000-m² ensemble that includes business premises and a manor house in Kirchberg am Wagram (Lower Austria).

The interior design distinguishes itself with building-block-like cubes, light as a central design element, grey in all its nuances, and aesthetics that highlight the work processes involved in wine-making. A vaulted cellar, tasting room, kitchen, and office form massive spatial components that are interwoven into the structural shell, define spatial borders and take over several functions.

The vast open spaces between these components make them usable in many different ways and provide a big stage for light and all its effects. Exposed concrete walls, polished concrete floors, grey varnished spruce wood, anthracite-coloured Eternit, scaled steel, glass, and grey-washed brickwork – that is the combination of historic and modern materials characterizes the interior design, as its reduced colour palette brings out the fine nuances of the materials’ aesthetics.

Elements of industrial architecture underline that these premises are used for work; the characteristics of the wine as a natural product are translated in a puristic and simplified way, with a sober charm. These aesthetics also have a significant impact on the outdoor areas.

The project is the winner of the Large Workspace category at the 2020 Dezeen Design Awards.

destilat design studio

Monika Nguyen

The post Weinmanufaktur Clemens Strobl was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The cocktail bar Bardem is situated in a first-class location in Helsinki. Many office buildings, but also shops have settled there and offered the varied potential for appealing gastronomy concepts. For the studio Fyra, the challenge was to transform a two-storey former sales area into a bar concept which literally captivates the guests, but at the same time also offers an opportunity to retreat from the hectic pace of everyday life.

They decided to centre the room around a large bar and make it the heart of the entire interior concept. Especially the curves of the bar, which were covered with wooden panels with a light, honey-coloured finish, catch the eye. Perfectly arranged spirits, together with stylish, painting-like wall decorations, complement the generous bar counter.

The mysterious appeal of a Speakeasy Bar is enhanced by the subdued, atmospheric lighting and the dark colours of the interior. A curtain-like navy-blue background in a velvet look exudes a touch of classic theatre charm, while deeply upholstered furniture invites guests to sink in and relax. The interior combines old and new in a natural way, curtains and recycled furniture (newly upholstered) lend the room softness and intimacy. The subdued lighting also offers protection from prying eyes and gives the guests the peace to relax.

A special highlight on the wall was created by Fyra with the help of ceramic tiles, which were produced by long-time firing in a classic tunnel kiln. The studio used the tiles in different colours and played especially with the exquisite high-gloss glazes. “The tiles play an important part in our interior concept, as they bring life to the dark, dimly lit room”, explains Laura Järvinen, the interior designer in charge of the project. “The high-gloss surface perfectly harmonizes with the soft shapes and materials we used in this bar. We also arranged the tiles in several horizontal rows and used a colour gradient to create a perfect visual link between floor and ceiling.”

Fyra chose the colours mid-grey, olive-green flamed and benit-blue. The centrally inserted strip tiles with wave profile (also olive-green) give the wall a rhythmic three-dimensional structure and create different visual effects, depending on the incidence of light. Well-balanced, the upholstery of the bench, the wall lamps and the folds of the multi-layered curtain hanging above it adapt the texture of the strip tile format. The result is a new, stylish yet casual cocktail bar and a unique, harmonious “total work of art”.

Fyra

The post Bardem Helsinki was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

For a private investor, Firm converted a 215 square meter part of this 120-year-old Warehouse on one of the busiest harbors in the Port of Rotterdam. The poorly lit space combined with a north-facing facade with just a few windows meant the owner needed to be visionary, to perceive a bright and well usable office space. It is this capacity, combined with the architectural aspirations and the open mind of the investor, a strong collaboration with the architects was established and a thoughtful design was produced.

The architects started their architectural task by researching the maximum number and size of possible new openings in the façade, all in close contact with the Monuments’ Committee of the Municipality. After securing the right to open-up the old window openings in the facade and add new windows and doors, the possibility to create a well-lit space was conceived. To further enhance this, Firm architects decided to disconnect the new interior from the old walls. This appearance of the design is somewhat subtracted from the original shell, the old brick walls has a dual purpose; it creates architectural contrast and it ensures the minimal north-facing daylight to flow in across both levels as the architects bridged the half meter between the interior and the outer wall with a glass floor over the full width of the facade. Furthermore, they added mirrors on the walls on both levels to enhance this effect.

In the interior, the design principle of subtracting the new from the old creates an enriched dialogue between the original building and its novice function. This is strengthened by technical material usage in the new interior such as aluminum wall paneling and a stainless steel kitchen. The wood paneling forms a volume embracing the large central void and ensuring a perfect acoustic for an office.

Firm Architects

Studio de Nooyer

The post Converted Warehouse was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Junshan Cultural Center is located just outside of Beijing, in the midst of the undulating mountain ranges and meandering rivers near the Miyun Reservoir. Originally this was just a typical two-story sales building on the outskirts of Beijing; Neri&Hu was asked to transform this donut-shaped building into an iconic clubhouse and sales center. Neri&Hu took advantage of the existing courtyard typology by crafting two sequences of interlocking journeys, one for clubhouse members, and one for sales center guests. All programmed spaces are designed so that they are in proximity to nature. The layering of the primary courtyard and smaller gardens allow the architecture to merge harmoniously with nature.

Drawing inspiration from its context, the architecture combines traditional northern features with contemporary architectural language and is transformed into a new interpretation of architectural expression. The building quietly rises out of the water as a brick mass with carved out spaces for programs interlocked with gardens that blur the boundary between inside and outside. On the façade, warm-toned wood- patterned aluminum panels form a veil that softens the heaviness of the brick facade. Moments of the screen connects with each interior space, creating a façade that is spontaneous and different on every face. In terms of materiality, traditional gold brick tiles form the foundation of the building mass, extending from exterior landscape into the interior “in-between” spaces. With brick and wood panels as the primary backdrop for the interior, a common theme throughout the interior is the sculpted ceiling.

Programmatically, the cultural center provides a number of luxurious and spacious amenities for its members. It includes a 100-person multi-purpose hall for events, a spacious business lounge and bar, a feature library, children’s reading room, private function room, family media room, a red-wine and cigar lounge bar and a rooftop deck. Part of the cultural center is functioning as a sales center. A double-height reception welcomes potential buyers to embark on a journey through the media room, winter garden, then upstairs across a bridge over the courtyard to a generous sales presentation lounge complete with VIP rooms, bar and children’s playroom. One of the most prominent spaces in the clubhouse is an art gallery, equipped with a series of hanging moveable walls for a flexible display system. The sculpted ceiling above gives some visual connection to the upper level, while a large glass picture window allows the space to extend into the courtyard. On the second floor, a generous yet inviting private dining room, complete with a bar and show-kitchen allows members to rent out the space for special functions. The red-wine and cigar lounge bar and rooftop deck on the third floor has an uninterrupted view of the surrounding mountainous landscape to west. Space comes alive with the many different geometric cuts carved out to interact with the sky and daylight such that each space is ever-changing when light is reflected off of the rich texture of Venetian plaster. The layering of customized furniture, refined brass metal detail, natural veins of stone accents, softness of fabric, and delicate lighting elements work together to compose a sense of understated luxury.

Neri&Hu Design and Research Office

Pedro Pegenaute, Xia Zhi

The post Junshan Cultural Center was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Inspired by the client’s love of all things Italian, Glorietta is a bar and 220-seat restaurant in Sydney designed to shape a corporate precinct into an agricultural ancestry and tone, all within the building’s pre-established constraints. As the podium tenant, void of history and restricted by poor street visibility, Glorietta involved the challenging transformation of a stark, voluminous, glass box within a new landmark tower.

Due to Glorietta’s elevated position, civic scale, and commercial character, the buildings tenancy had no sympathetically inherent texture or softness, no history, and no context on which to draw the design concept from. Faced with a blank canvas and multiple challenges in building an inviting, friendly intimacy and warmth, the team set about crafting a design beneficial to patrons, floor staff, and the wider local community.

The client was keen to deconstruct the vast, open, and commercial space into separate, more intimate zones to encourage various functionalities and dining options. A key challenge presented itself in the form of the space being void of any existing character; to counterbalance this, zoning was achieved by applying a range of floor treatments to contain each space. From polished concrete around the bar and northern dining areas to timber boards in the central dining space and concrete slabs surrounding the kitchen, each variation in materials helped to distinguish the separate zones – as well as build personality and interest. The large scale, volume, view, and elevated floor area also became advantages to creating theatre and spatial uniqueness throughout the venue.

In support of this, the clever use of five different seating options further established each zone. From the high timber tables and stools at the bar, long communal tables and the built-in olive-green leather banquettes, rust-red-toned tables, and individual bentwood chairs. Varied seating options offer intimacy and choice depending on patrons dining and drinking needs.

A visible, traditional pizza oven and open kitchen capture the energy of a classic Italian restaurant and the theatrics that accompany this. A dining counter and bar ribbon the entry – which not only frames the entry but adds to the atmosphere and visual intrigue. A central bar was strategically positioned for maximum street visibility ​and to contain the venue’s footprint, scale, and proportion.

An earthy, organic, and warm palette was achieved via the careful selection of contemporary, yet durable, furnishings and fittings. Tonally gentle design elements soften the space. Recycled timber, olive​ and apricot leathers and tiling, rust-red tables, brass, creams, and wheat-colored​ linen curtains encircle the venue, while a vaulted rattan ‘cloudscape’ obscures the impact of the silver ceiling panels and offers yet another layer of warmth and natural texture to the space.

Sustainability played an important role too, materials were kept to a minimum, all-natural, designed for longevity, and sustainably harvested where possible. An ingenious, vaulted ‘cloud sky’ of woven rattan covers the majority of the ceiling, providing additional warmth and organic shape while enclosing the whole restaurant by lowering the room-scale and warming the lighting. Rattan is one of the fastest renewable tropical woods available and is manufactured in low-tech non-polluting facilities.

Within Glorietta, beauty and sustainability collide with the salvaging and application of materials. Reclaimed hardwoods feature as bar cladding, with old stone slabs salvaged by the builder used as kitchen surround flooring. In a final, decorative flourish, a round Art Deco-inspired family table with sentimental value was inserted as a corner feature. In an innovative sense, Glorietta’s story is a social one that highlights the effectiveness of combining clever interior design practices within a venue’s surrounding context.

Alexander & CO

Anson Smart

The post Glorietta was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.