Where would we consider the most representative public space to be located in a city? People gather at cafés, which that can be found everywhere, whether at the centre of the metropolis or in the back alleys of small towns. In which spaces are the most dynamic design experiments taking place. It would probably be in a café. From the large company franchises of large companies to neighbourhood cafés, one sees a new battleground emerging of between designs that experiments with new kinds of space, materials, details, and furniture.
Suddenly, it is not misleading to think of these cafés, which have long permeated deep into our lives as significant works of urban infrastructure. There are always cafés in the corners of libraries, schools, hospitals, sports gyms, and government office buildings, and they are busy with people chatting over coffee or spending time alone deeply in their thoughts. As the lights of 24-hour convenience stores act as streetlights of in the back alleyways, cafés attract people from all ages and backgrounds as functioning as urban plazas. Now, cafés have become the contemporary agora.
It seems that entrepreneurs have already figured out the prominent role of cafés in a city. Howard Schultz, the founder of Starbucks, said that the essence of the café business is not to sell coffee but to create a ¡®third place¡¯ that distinguishes itself from the spheres of home and work. Going further, he claims that there is ¡®a power to connect and build communities¡¯ in coffee shops. Whether this is true or not, it is a fact that cafés provide a high-quality public space for the urban residents. Due to this, coffee entrepreneurs are spending significant amounts of time and money on new designs and presentations of the contemporary plaza.
The fact that these entrepreneurs view location as a commodity that is worth investing in is a huge opportunity for architects and space designers. With the accumulation of capital and talent, cafés have become a colourful experimental board in urban and spatial design.
The elevation facing the main street is a juxtaposition of folding glass doors, patterned fixed glazing, and perforated metal panels that fold as needed to provide shade, and is transforming throughout the day.
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The architect Gene Park designed the urban plaza of the food company Maxim in a calm and reserved colour. Maxim Plant, which is the first café and flagship store for the instant coffee production company, Dongsuh Foods Corporation, is a box-shaped building with a dark brown panel finish. The rectangular front façade wall was designed by assorting the glass windows and panels horizontally and vertically. The side walls have a minimal windows and have a wide and flat surface with minimal windows. A small store sign was installed, and the width of the main entrance was narrowed. The calm exterior image resembles a reserved gentleman speaking in a low voice. Without the screen windows of a waterdrop pattern on the fifth and sixth floors, it would have been difficult to see this building as a commercial building.
This sense of composure continues into the interior. The third-floor café flooring was finished with light brown tiles, and a stainless-steel coffee bar that combined circles and straight lines was installed. The space was filled using furniture and lighting fixtures that are affiliated with the combination of warm brown and achromatic tones. The memorable element left by that space was the central space, opened upwards with a copper-based metal curtain running around it.
When questioned about how the brand Maxim was reflected in the space, the architect answered, ¡®I drew two meanings from the word ¡°plant¡±, both as a factory and as vegetation.¡¯ By creating a two-floor space underground(first and second floors) and by placing a huge coffee roasting machine there, Gene Park expressed the image of a ¡®factory¡¯. Visitors can enjoy their drinks as they watch the coffee beans being roasted. Of course, in the case of Maxim, the chimney-type factory to make their instant coffee products would be their real ¡®plant¡¯, but Park explained that he wanted to express it more symbolically through the image of a roasting machine that was more accessible to the public. The large metal wall picture that depicts the coffee making process emphasises once more the symbol of a factory.
The other meaning of the word ¡®plant¡¯, as vegetation, was expressed more literally. At the interior of the sun-filled south-facing window, Devil¡¯s ivy, which is a kind of a vine plant, was placed to cling downwards like a curtain, and birch trees were planted outside to spatially represent the homonymic idea. By highlighting this word, carrying both meanings of artificiality and nature, the café also embodies our desires for simultaneously contrasting spaces.
The main coffee bar serves as the focal point of the open space that allows visual connections both horizontally and vertically. Indoor planting provides diffused natural light throughout the interior.
Fresh coffee beans are roasted and packaged here in the glass-enclosed room which can be viewed from multiple levels. A teaching lab, café, and archive space surround it.
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In the years after its establishment in 1960s, Dongsuh Foods Corporation experienced the golden age of its brand by producing the instant coffee Maxim. The previous coffee culture, which used to be about a quick, cheap, and momentary leisure activity, is in a crisis due to a change in the consumer¡¯s preferences. As noted earlier, the consumer¡¯s interest towards coffee has now moved on from product consumption to space consumption, and a production company that has established itself through instant coffee had to transform itself in order to catch up with the times. This is the reason why Maxim decided to build a café and its flagship store in Itaewon, an area populated by young consumers. However, on the frontlines of this commercial district, filled with desires and extravagances, Maxim Plant decided to wear a surprisingly calm and collected appearance to sell ordinary coffee.
When asked about the tone and manner of the space, Kim Jihyeon (manager, Dongsuh Foods Corporation), who participated in the architectural process answered, ¡®if we simply went along with the latest trends, the past fifty years of our brand image might suffer damage. We needed to respond to the trust that the consumers have towards us.¡¯ While the new-generation cafés are going about with their fancy tricks in terms of space and detail, Maxim Plant retains its conservative stance and thus distinguishes itself.
The coffee bean shaped perforated metal panels can be open or closed to provide shade from the late afternoon sun and privacy at night. It transforms into a lantern at night as viewed from the street.
The indoor ¡®Porch¡¯ connected to narrow outdoor terrace becomes an indoor/outdoor space when the folding door is open. Planting provides natural screening from the sun.
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The beauty of the Maxim Plant is that the building¡¯s owner and the architect agreed that the building should play the role of an urban plaza and park. When the folding doors installed on the ground floor (third floor) of the western entrance are all open, the interior space of the café transforms into a pocket plaza that opens towards Itaewon. By installing garage doors on the inside of the pocket plaza, the inside temperatures can be managed throughout summer and winter.
The scenery of public space are continued into the interior. By opening some parts of the floor in each level, it allows people to have eye contact across floors while reducing the number of seats to retain a sense of openness. A folding door that opens completely was also installed on the fourth and fifth floors to connect the interior with the outdoor terrace as a single space. This makes the café interior space transform into an observation deck that looks down the hill landscapes of Bogwang-dong and Hannam-dong.
By opening and closing the windows in alignment with the front road and the surrounding view, the interior atmosphere changes. By opening all the windows of the solemn box-shaped building, the café wears a welcoming countenance to everyone passing by. The architect explained this as a ¡®transformer building¡¯, and this ability to ¡®transform¡¯ a private space to a public space is this building¡¯s greatest strength.
From that perspective, it is unfortunate that there are no such public gestures towards the streets at the back roadside where the entrance to the automatic parking is located. Unlike the four-lane main street at the front, the back alley Itaewon-ro 42 gil is a street that embodies the unique atmosphere of the old Itaewon, and it is connected to the small-scaled neighbourhood cafés and shops. If this ability to ¡®transform¡¯ into a public space was extended also to cater to the pedestrians walking leisurely by the back alleys, the beauty of this building would have been even more striking.
View of the third floor coffee bar and seating area from the upper level. Spaces can be divided via operable shutters and opened to the terrace with folding doors.
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Cafés acting as public spaces is not a recent phenomenon. As early as the Arabic cities of the 16th century, people met and exchanged ideas with each other in outdoor cafés. While the genuine kind of public landscape created by the wooden benches under the zelkova trees, the hill pavilions, and amazing parks and plazas are missed, the coffee shop acts as an intermediary to connecting people together despite the frequent dreariness of city life.
Now that cafés have been promoted as the agora of this age, it is appropriate that gestures towards the public domain are actively developed at this point. A streetside that faces the pedestrians and a terrace that allows people to enjoy the urban landscape–developing such architectural vocabularies that reach out to various groups of people is as significant as experimenting with ingredients and details for café architecture.
The entry level has a double layer of folding and automatic glass overhead doors which offer flexibility to change the front sitting area into an open pop-up shop as needed.
Sen Engineering Group (Lee Bongkeun + Cha Woogeun)
Mechanical engineer
Keysung E&C Co., Ltd (Hwang Kumseok)
Electrical engineer
Jung-Myung Engineering Co., Ltd. (Hwang Yunjin)
Construction
Janghak Engineering & Construction Co., Ltd.
Design period
Nov. 2015 – June 2017
Construction period
Dec. 2016 – April 2018
Client
Dongsuh Foods Corporation
Landscape design
Landscape Design studio KnL (Kim Yongtaek)
Interior design
IZM Design
Lighting design
bitzro & partners co., Ltd. (Ko Kiyoung + Van Kyun
Sign and Graphic design
aandd (Kim Joongkeun + Noh Dahyee)
Architectural sound and AV design
Hwankyung Acoustic INC (Kim Sungyong)
Branding and BI design
Ranee& Company Co.,Ltd. (Ranee J Park)
Gene Park
Gene Park was born in Korea, spent his childhood in Africa, was educated in the United States with further study in France and China, and now practices architecture and interior design in Seoul, Korea. Gene Park graduated from MIT with a Masters of Architecture degree in 1987 and worked for a number of firms in Boston and New York, including Kyu Sung Woo Architects (KSWA), The Architects Collaborative (TAC) and Davis Brody Bond. In 1996 Gene Park founded AI Architects in Seoul. Some notable projects are leadership training centers for Hanwha, Samsung, Doosan, GS, and CJ . Golf clubhouse and resort projects include Pine Beach Golf & Resort, The Club at Nine Bridges, Sandpine, Bear Creek Chuncheon, Ophel CC, Maple Beach and hotel, Hanwha Geoje Resort and Lotte L7. Entertainment projects include the N-Seoul Tower and the Doosan Art Center DAC.