Inside Korean Air’s new lounge network at Incheon International Airport Terminal 2, David Pacey, the airline’s executive vice president and chief of in-flight service and lounges, is talking beans, baristas and the exacting standards of Seoul’s café culture. He tells a story about buying Panama Geisha green beans during the World Barista Championships, then struggling to find anyone willing to roast them. The risk was too high; the beans too expensive. Eventually, he met the woman who would train him as a certified barista.

The coffee is a metaphor. Pacey’s story is really about standards: the patience to source the right ingredients, the insistence on finding the right expertise, the refusal to cut corners simply because nobody else would notice. That is the logic behind Korean Air’s new lounges, a kind of operational fussiness elevated into brand language.

For Korean Air, the lounge has become the fastest way to show what the airline wants to become. In 2025, following its acquisition of a two-thirds stake in Asiana Airlines, the airline unveiled a major brand makeover – its first since 1984. The refresh embraced a cleaner, more contemporary aesthetic, centred on Korean Air’s signature spectrum of blue as its most distinctive visual cue. The new lounges follow suit.

‘We wanted to be world-class,’ says Pacey. ‘Whether that was from the design concept, the fit-out, the food and beverage experience, the customer service, delivery – we want to be world-class in whatever we do.’

The figures reiterate his point. Following a 42-month, KRW 110 billion overhaul of its lounge network at Terminal 2, Korean Air has expanded its footprint from 5,105 to 12,270 sq m, while seating capacity has grown from 898 to 1,566. There are now seven lounges across the terminal, from First Class and Miler Club to Prestige East, Prestige West and the two Garden lounges.

Pacey is refreshingly blunt about what came before. The old lounges, he says, were ‘very vanilla’. One-dimensional. Too open. Too white. Chairs lined up in a space that, in passenger feedback, could feel like ‘a really large doctor’s waiting room’. With the overhaul, Korean Air wanted to attempt something more pointed: to make the hours before departure feel like part of the airline, not an airport-administered prelude to it. Pacey describes the ambition as creating ‘a lounge at the airport as opposed to an airport lounge.’

A Korean sense of place

The First Class Lounge is the most concentrated expression of that idea. At 921 sq m, it is 2.3 times larger than before, arranged around an open hall and 11 private suites. Guests enter as they would an upscale restaurant. Rather than helping themselves from a buffet, they can settle in, read or work while meals are prepared to order from an à la carte menu and served at a properly laid table using Bernardaud porcelain, Christofle cutlery and Baccarat glassware. Menu highlights include Wando abalone seaweed porridge and wild mushroom galbitang. Guests can also retreat to Ceragem massage chairs, shower suites stocked with Aesop amenities, or dedicated relaxation spaces.

The other top category is the Miler Club. Designed for Korean Air’s most frequent travellers – elite SkyPass members and regular long-haul flyers – the lounge balances efficiency with comfort. Guests have access to live cooking stations preparing made-to-order dishes, a dedicated bakery, barista-made coffee, a full-service bar, shower suites and a variety of seating zones.

Meanwhile, the Prestige Class West Lounge operates under heavier pressure. At 2,615 sq m and with more than 420 seats, it is the largest single lounge facility at Incheon International Airport. It is a workhorse, as Pacey puts it, designed to handle the intense morning departure banks when hundreds of travellers may pass through in a short window. Yet the room does not read as one vast field of seating. Here too are distinct zones for dining, working and resting, with changes in furniture, lighting and circulation that create a sequence of smaller environments.

Throughout the lounges, Grand Hyatt Incheon chefs, under the direction of Kim Sea-kyeong, Korean Air’s culinary consultant and owner-chef of Seoul’s lauded Cesta restaurant, prepare dishes on-site, with menus spanning Korean comfort staples such as tteokguk, a warming rice-cake soup, and janchi guksu, delicate wheat noodles served in a light broth, while fresh gimbap is rolled throughout the day – around 1,000 rolls daily. Western favourites are also well represented, alongside soft-serve ice cream stations, speciality coffee and a full bar service.

The noodle programme has become a particular point of pride. As Pacey recalls, the airline was once asked by a ratings agency why a major Asian carrier lacked a noodle bar. The response is now unmistakable. Noodles have become a signature feature of the lounge experience, culminating in the Prestige East Left Lounge’s Ramyeon Library, where passengers can select instant noodle varieties, customise them with toppings and prepare them using automated cooking machines.

For the design, Korean Air worked with LTW Designworks, the Singapore-based hospitality studio behind luxury hotel and resort projects for brands including Four Seasons and Park Hyatt, with design director Teo Su Seam shaping an interior language that resists the usual airport-lounge shorthand.

‘We weren’t interested in creating a themed interpretation of Korea,’ says Teo. ‘Instead, we looked at the underlying principles of Korean architecture – the relationship between openness and enclosure, the idea of the courtyard, and the way spaces gradually reveal themselves as you move through them.’

Teo points to the hanok – the traditional Korean house – as a key reference for the way it organises space, light and movement. The logic of the courtyard became an organising principle, creating a central gathering point from which more intimate corners, dining areas and places to work or rest naturally branch out. Spaces expand into bright, open volumes before narrowing into more enclosed settings, creating a rhythm of openness and retreat. The result is a lounge that accommodates the shifting states of travel.

Those ideas are translated through a series of subtle cultural references rather than overt symbols. Hangul, the Korean writing system, is abstracted into texture and pattern. Ancient Korean coins inform geometric motifs, while the moon jar – a celebrated form of Korean white porcelain – appears through proportion and curve. In the Miler Club, ramie bojagi, traditional patchwork wrapping cloths, inspire a richer palette of purple, rust, blue and lavender, while engineered wood columns add warmth and texture.

Each lounge has its own mood. First Class moves through natural wood, earth tones, oxblood accents and gold leaf details, with references to pottery and lacquerware. Prestige introduces a sharper conversation between technology and tactility: polished stainless steel columns, walnut, blue tones drawn from the airline’s identity, softer furniture for dining, working and resting. The F&B areas set engineered wood against metal, warmth against precision, table against aircraft.

Hanji, the traditional Korean paper prized for its texture and durability, was explored as a potential wall material, but airport fire regulations made the literal application impossible. The idea survived as a Hangul-inspired wallcovering in the First Class Lounge, where characters are turned into architectural texture.

‘The goal was not to tell guests they were in Korea,’ says Teo. ‘It was to create a feeling that is distinctly Korean without relying on obvious symbols. We wanted the cultural references to be discovered rather than announced.’

For Korean Air, Incheon is not the endpoint. Pacey calls it the ‘mother concept’ for the airline’s wider lounge strategy. The rollout is already underway in the United States, where the new lounge at Los Angeles International Airport opened earlier this year, translating the same DNA into something more horizontal, open and garden-like, with warm tones and a Southern Californian ease. New York will follow, taking the concept in a taller, darker and more urban direction with black marble, dark wood and brass.

As my tour with Pacey concludes in Cooking Studio L’atelier – a space where lounge guests can make Valrhona chocolate bark with Grand Hyatt Incheon chefs, adding sweets from a wall of glass jars – I can’t help but think that Pacey is to Korean Air what Willy Wonka is to his chocolate factory: not in the top hat sense, but as the executive who seems to know every machine, ingredient and secret door in his own factory.

koreanair.com

Scan the duty-free section at Incheon Airport, and you'll see multipacks of K-beauty products nearing scarcity. The boom in Korean skincare shows no signs of waning, nor does the face-mask routine after take-off. Now, Etihad Airways is giving business-class travellers (and the skincare-obsessed) another reason to look forward to boarding by partnering with Seoul-based powerhouse Laneige (becoming the first to do so) for a new range of premium amenity kits.

The hottest business-class upgrade? Better skin

From 15 June 2026, the UAE flag carrier will start rolling out a series of 14 collectable designs inspired by cities across its rapidly expanding global network. Seven designs will debut initially, representing Abu Dhabi, Krabi, Mumbai, Lisbon, Addis Ababa, Calgary and Atlanta, with additional cities set to join the collection over time.

Available in two styles – Pouch and Slim – each bag features its corresponding city name and geographic coordinates embossed, alongside bespoke artwork in the lining inspired by the location. Inside, guests will find a selection of hydration-focused essentials from the Laneige Wonder range, including the bestselling Water Sleeping Mask, Lip Sleeping Mask and a nourishing hand cream – all chosen to combat the drying effects of long-haul travel and soothe skin while sleeping.

‘It’s an effortless, sensorial journey where skin barrier science supports recovery, comfort, and energy throughout the flight,’ says PilKyung Choi, brand president of Laneige.

Bags are loaded on board at random, meaning passengers may receive a different destination with every flight. The launch builds on the popularity of Etihad’s limited-edition Finjans (traditional Arabic coffee cups gifted to First Class guests) and forms part of its wider wellbeing strategy, which has already introduced initiatives such as its Quiet Cabin concept.

‘By uniting Laneige’s skin-barrier science with recovery-focused care for travel-stressed, jet-lagged skin, we are creating an effortless, sensorial experience designed to support comfort and energy at altitude. It is skincare you feel, lightweight and intuitive, powered by science,’ adds Choi.

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Centre Pompidou Hanwha, the French cultural institution's first outpost in Korea, is scheduled to open on 4 June 2026 in Seoul’s 63 Building, a landmark on the Han River owned by the Hanwha Group. Developed through a partnership between the Centre Pompidou (whose Paris home is currently closed for restoration) and the Hanwha Foundation of Culture, the Centre Pompidou Hanwha is set to become a new cultural attraction in western Seoul's Yeouido.

Explore the new Centre Pompidou Hanwha

The museum is located in the former annex of what was once the tallest building in the South Korean capital. The renovated structure takes the form of a low, horizontally extended volume clad in opaque panels. It was designed by French architect Jean-Michel Wilmotte, who oversaw a full renovation of the existing annex building to adapt it for its new cultural use.

'Located along the Han River within the iconic 63 Building, the design takes the form of a luminous box that complements the character of the tower itself,' said Sungsoo Lee, chairman of the Hanwha Foundation of Culture. 'Conceived as a semi-transparent white box, the design was selected for its ability to harmonise with the surrounding landscape and the existing structure through a natural renovation of the former convention centre space.'

The opening of the Centre Pompidou Hanwha coincides with the 140th anniversary of diplomatic relations between Korea and France and the 20th birthday of the Hanwha Foundation of Culture. The new institution is expected to serve as a major cultural hub in Seoul, presenting works from the Centre Pompidou’s collection, including many that have not previously been shown in Korea and several that will be exhibited in Asia for the first time.

The four-storey museum includes two large-scale exhibition halls of approximately 1,650 sq m each. Alongside exhibitions drawn from the Centre Pompidou collection, the venue will also host shows and programmes developed with Korean and international artists, supporting major currents in contemporary art in the region.

For its inaugural exhibition, the museum will present ‘The Cubists: Inventing Modern Vision’ from 4 June to 4 October 2026. The displays offer an overview of Cubism in Paris between 1907 and 1927, drawing primarily from the Centre Pompidou collection.

While the original Centre Pompidou in France is undergoing renovation works, its programmes will continue through partner venues and international collaborations under the 'Constellation' initiative, according to Laurent Le Bon, president at Centre Pompidou in Paris.

'Cubism was chosen for the inaugural exhibition in Seoul because the Centre Pompidou holds a significant collection of Cubist masterpieces, and because of its historical importance as one of the defining artistic movements of the 20th century,' added Christian Briend, head curator of the modern collections department at Centre Pompidou. 'It profoundly influenced many artists throughout the century and connects directly to future exhibitions planned in Seoul.'

The Seoul Pompidou outpost is expected to reinterpret its Paris counterpart's collections within the Korean cultural context and serve as a cultural bridge between Korea, France, and the wider international art world.

The Hanwha Foundation of Culture organises exhibitions, residency programmes and cultural exchange initiatives for emerging artists. Its Youngmin International Artist Residency Grant supports artists through international opportunities, and its Space ZeroOne in New York serves as an exhibition platform introducing contemporary Korean artists to global audiences.

wilmotte.com

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Admirers of Korean architecture should get their hands on Earth Works: Houses by Byoung Cho - a new tome by Thames & Hudson which deep dives into the Korean architect's rich portfolio of contemporary homes, all designed with his philosophy around interconnectedness at their heart. Cho, who has led his namesake studio in Seoul, BCHO Architects, since 1994, centres his designs on anchoring them in their context, emphasising the interdependence of human-made work with the natural world. These principles, combined with harmonious, minimalist looks, have earned the firm plenty of awards.

In the pages of 'Earth Works: Houses by Byoung Cho'

The hefty publication is a luxurious presentation of just 15 of Cho's residential projects; homes all around South Korea, which have been presented generously through numerous images, including mood sketches, drawings, models, paintings and photography, taking the reader on a journey into the architect's mind and creative process.

The works included range from early projects, such as Concrete Box House (2004) and Earth House (2009), and through to his landmark Southcape Hotel in Gyeongsangnam-do, which was completed in 2014, and beyond.

Meanwhile, texts by Cho are interspersed across the project presentations, injecting the reading experience with unique insights into his thinking. The words complement the architecture in a holistic, poetic way, bringing the reader closer to the architect's world.

Cho is a key voice in his country's architectural scene - having curated the Seoul Biennale of Architecture and Urbanism 2023 alongside other activities and key projects. He is also a keen artist, and has been since his student years, painting, not only to create but also to practice mindfulness, he explained to us in a profile in 2023: 'I feel guided by the spontaneous reaction and energy that I call "Mahk" - it refers to the humble action of making that ultimately leaves traces on the finished product. '

In an essay in Earth Works, the architect explains the notions of imperfection and emptiness in Korean culture that also influence his own work, highlighting how such an approach 'makes us consider the depth of life,' provoking 'close thought and emotional consideration that is so deeply embeded in our history.'

Brutalism continues to command fascination, and visual artist Paul Tulett has made its global iterations his subject – first in 'Brutalist Japan', and now, following that book's success, in a new volume: 'Brutalist Korea: A Photographic Tour of Post-War Korean Architecture', published by Prestel and launching today (7 April 2026).

Turning his lens to South Korea, Tulett documents the country's most compelling concrete landmarks across more than 220 images and over 90 architectural sites – from government complexes and university campuses to cultural institutions and public housing.

From the dense streets of Seoul to the literary enclave of Paju Book City, from the coastal urbanity of Busan to the cities of Daegu and Daejeon, Tulett maps a country's architectural identity. Among the sites featured are the Busan Port International Passenger Terminal, a functional maritime gateway for travellers; Steven Holl's Daeyang Gallery and House, a minimalist art space and residence in Seoul; Tadao Ando's Jeju Glass House, a concrete-and-glass retreat on Jeju Island; and Zaha Hadid's Dongdaemun Design Plaza, a futuristic cultural complex in the nation's capital.

Through this visual chronicle, Tulett tells the story of how Korean brutalism emerged. Arising in the 1960s and '70s in the wake of the Korean War, it was less a stylistic choice than a manifestation of national rebuilding – permanence forged in the face of destruction. The buildings Tulett photographs were shaped by a period of rapid industrialisation, and they carry that weight visibly in their modular repetition and monumental scale.

Crucially, these buildings were not simply transplanted from a Western canon, but adapted to their Korean context. Pioneers such as Kim Swoo-geun, Kim Chung-up, Lee Jong-sup, Choi Maeng-gi and Seung H-Sang produced work that fused global modernist ideals with a distinctly regional sensitivity.

The images are accompanied by Tulett's commentary, which makes a case for a body of architecture that deserves to be taken seriously – celebrated not despite its austerity, but because of it.

In 'Brutalist Korea', the buildings are not presented as monuments frozen in time but as living entities, inhabited and integrated into the evolving visual culture of the country. At a time when brutalist structures worldwide face neglect or demolition, chronicles like this matter – acting as both a visual record and a love letter to the movement.

It is fitting that South Korea’s first household name in high fashion, Woo Youngmi, chose Itaewon for her new flagship store. The Seoul district is a vibrant blend of buzzy bars, clubs and international restaurants, as well as cultural highlights including Pace Gallery and art museum Leeum. ‘I mix East with West, feminine with masculine, classic with modern. I stand on the border. As the most multicultural place in Seoul, Itaewon felt like a perfect choice for our flagship,’ says Woo.

The designer has been at the centre of an extraordinary trajectory within Korean fashion. She started Solid Homme, one of the country’s first design-led menswear labels, in 1988 when South Korea, rising from dictatorship, debuted on the world stage by hosting its first Olympics. In 2002, she launched high-fashion label Wooyoungmi in Paris, and, in 2011, was the first South Korean designer to become a full member of the influential French trade association La Chambre Syndicale de la Haute Couture. In 2023, Wooyoungmi’s Paris store opened on the prestigious Rue Saint-Honoré.

Step inside Wooyoungmi’s new Seoul flagship store

Opening a flagship in Seoul feels long overdue. ‘I was determined to put down deep roots in Paris, the centre of the fashion world. But Seoul – where I grew up – is my base with my design team here, and the Seoul flagship is my place to express my universe.’ Having her brand’s home in Seoul seems strategic, considering the South Korean capital is now a destination for the global cultural elite, whose members fly in regularly to catch up on the country’s fast-moving trends.

The new store reflects how much Wooyoungmi has evolved since its launch more than two decades ago. ‘[Back then] I used to be on edge with insecurity,’ says Woo. ‘Doing Paris Fashion Week was like taking important exams at school, but I evolved each season through self-reflection. I began to accept who I was.’ This included realising that she was something of a hybrid, growing up in Seoul with Confucianist values but absorbing Western influences in Paris. She also learned from Korean consumers. Fashion changes extremely fast in South Korea. In the past, she viewed this negatively, but she has come to see this is driven by open-mindedness: ‘Young Koreans readily embrace new trends without any hesitation or reservation. I learned to become more open-minded, too.’

Inclusivity and openness became important. She didn’t intentionally set out to have these values as the theme of her new space, ‘but when the design was completed, it felt like it was reflecting my identity,’ she says. ‘To draw an analogy to a form, I used to have sharp edges but began to be more curvy, just as this building feels.’

Designed by Swiss architecture studio Stocker Lee Architetti, headed up by Melanie Stocker and Dong Joon Lee, the building translates Woo’s creative philosophy into physical form – a synthesis of meticulous structure and human emotion, made to be experienced in person. Originally, it was planned to be just a clothing store. However, as Woo and Stocker Lee developed the idea further, the use evolved, too.

Now, the building is multifunctional, comprising not only a menswear and womenswear store – including a space to view pieces from the Paris runway show – but also a café and restaurant. The rooftop garden, developed with landscape studio Design Allee (founded by Woo’s sisters Woo Hyunmi and Woo Kyungmi), offers a quiet urban retreat defined by sculptural mounds and textured plantings. It visually echoes Namsan, one of Seoul’s mountains, which can be seen from the city.

Legally, the plot could only accommodate a two-storey building. ‘We thought about how to design a structure that’s far more engaging than a standard two-storey one, whether viewed from the inside or outside,’ says Lee. Ultimately, he devised an interior with seven distinct levels, each with its own unique ceiling height. Keeping the horizontal plane simple and functional, the architects aimed to evoke emotion through the vertical, an approach that Woo readily embraced as this combination of function and emotion reflected her attitude to design.

The resulting four floors (two above and two below ground) are divided into a series of staggered levels that vary in height, with internal volumes evoking different moods as visitors move through the space. Light and sound help shape the atmosphere.

The architects tackled the interiors alongside the overall architecture in a holistic way. Woo led new furniture creation in collaboration with designer Dongwook Choi, while she and Stocker Lee agreed on deep red curtains, introducing a dramatic interplay of light and colour on the second floor.

The building is located on a large corner plot on Itaewon Hill. The façade, composed of concrete and glass blocks, rises in organic curves that echo the surrounding topography. When projections are made from within, the glass blocks create a natural pixelation, casting abstract images onto passers-by. Wooyoungmi’s Paris runway footage is currently on show, appearing so subtly that it is sometimes unclear whether the visual is a video projection or coloured light. ‘It is precisely the direction I had imagined,’ says Lee. ‘Architecture is a vital medium shaping the city, and since the city belongs to everyone, how a building is perceived by people who pass by every day is an important consideration for architects.’

The palette was deliberate. ‘We selected materials that bear the marks of the labourer’s touch, craftsmanship and the passage of time,’ the architect adds. The small glass bricks were individually laid by hand and convey a physicality that you don’t find in machine-made elements. The exposed concrete features an unconventional paint finish, with colouring achieved through mineral coating to ensure the base material’s character comes through with refined clarity rather than presenting as a flawless surface. Applied manually, it lends the surface a subtle, shifting quality as it catches the light throughout the day. The wooden flooring was equally tailored to the space. The custom-made boards feature narrow 5cm grain patterns layered together, highlighting the craftsmen’s handiwork.

In the three decades since Solid Homme’s founding, South Korean elements began to emerge in Woo’s own designs, and she realised her heritage could become a point of distinction. As Korean culture continues to gain influence, she feels that the West is now ready to appreciate it more. For the opening of the flagship, she arranged a traditional Korean ritual to ask for the spirits not to interfere with their new tenant and to co-exist. She even designed a screen for the ritual, reflecting the five traditional Korean colours (blue, red, yellow, white and black), and also collaborated with artist Huh Myoungwook on dark olive plates to contrast with the colour of persimmons laid out on the table for the ceremony.

Importantly, Woo does not rest on her laurels. ‘Korean consumers are wielding the whip, setting a very high standard for brands. As a designer, I need to constantly evolve to survive.’ Having solid foundations in Europe, she plans to grow her business more in Asia. The brand recently opened two China stores, in Beijing and Chengdu, and is expanding in Japan, a historically challenging market for South Korean brands. She feels that the time has come for Korean fashion, and she hopes it will last. ‘Korean fashion is known for good value, but for Korean fashion to have a lasting impact, I hope to see more successful Korean high-fashion brands.’

wooyoungmi.com
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The 109th edition of Pitti Uomo, the historic menswear fair that takes over the 14th-century Fortezza da Basso in the centre of Florence twice a year, drew to a conclusion yesterday (15 January). With two rising Japanese guest designers on the bill this season, and a spotlight on a disruptive next gen of Korean fashion, it was a bumper year for East Asian talent at the fair – a theme organisers leaned into with a series of tangential talks and events, including bringing Tokyo’s Sebiro Sanpo (suit walk) to Italy for the first time, where hundreds of men walk the streets in their sharpest tailoring.

As for the shows, Shinya Kozuka staged a poetic snowstorm in a hall behind the medieval fortress, while on Thursday afternoon, 2025’s LVMH Prize winner Soshi Otsuki received a standing ovation for his masterfully crafted exploration of 1980s power suiting, making for one of the most talked-about displays of the week. But it was Israel-born Hed Mayner who took centre stage, presenting his headline runway in a 1930s palace next to Santa Maria Novella train station – a collection that twisted familiar wardrobe icons through beautifully ‘wrong’ construction.

As fashion crowds take the two-hour train north for Milan Fashion Week Men’s A/W 2026, catch up on the best of Pitti Uomo here.

Tokyo’s Sebiro Sanpo (suit walk) comes to Florence

Walking around Florence throughout the week of Pitti Uomo, you’ll see hundreds of well-heeled men on every corner, with cafés a flurry of flamboyant suits and bars filled with Scandi gorpcore groups enjoying aperitivo. On the first afternoon of the trade show, however, a sight emerged outside the usual visiting hubbub – 200 menswear lovers and industry figures walking through the streets of the city in their finest tailoring.

Drawing intrigue from onlookers as they moved from Fortezza da Basso down to Santa Maria Novella square, the spectacle marked the first official Sebiro Sanpo (suit walk) in Italy – an event originating in Tokyo that invites menswear fans across Japan to gather and stroll in their favourite suit. Organised with fabric mill Vitale Barberis Canonico, which supplies materials to Zegna and Drake’s, it marked a joyful kick off this edition of Pitti, and a week where Japanese menswear culture was firmly in the spotlight.

Brunello Cucinelli’s candlelit palace dinner party

The Brunello Cucinelli dinner is a perennial highlight at Pitti Uomo. While in the summer edition the brand throws an outdoor banquet, in January, it is famed for hosting hundreds of guests in the grand ballroom of the Palazzo Corsini, a baroque palace that overlooks the Arno River. Continuing the tradition in style, over candlelit table settings on Tuesday evening, several courses of Italian fare were served with a side of theatricality – huge copper pans of tomato pasta served up table-side and cannoli filled by hand for each attendee at dessert.

The brand’s warm hospitality continued over at the fair, where it received visitors at an impressively built stand (which resembled a fully realised store, complete with carpeting and furniture) to see its A/W 2026 collection up close. This season, the brand’s sophisticated wardrobe leaned into influences that merged nostalgic military flight uniforms, academic fabrics like corduroy and Western-style embellished hardware. Another highlight of the week came on Wednesday afternoon, when the Italian designer sat down for a talk with Toby Bateman, CEO of Mr Porter, in which the influential men spoke on the shifting tides of men’s style.

Herno’s futuristic alpine ski lodge

In a gleaming silver box near the entrance of the fair, heritage Italian brand Herno hosted one of the most impressive displays at Pitti this year. Inside the dark, cavernous room, rails of the brand’s A/W 2026 men’s collection explored the idea of an ‘urban traveller moving through cities, landscapes and shifting temperatures’. A wall of candy-coloured puffer jackets formed the centrepiece – the Herno 7 Denari, crafted in technical quilted down – while the label’s codes of sophistication appeared in chic knits of pure cashmere and compact jersey, structured denim, and leather accessories. Leaning into an alpine theme this season, the back of the room took on the feel of a ski lodge – where more playful fleece and shearling pieces evoked a nostalgic holiday mood – complete with hot drinks and biscuits for fairgoers to enjoy between appointments

Shinya Kozuka’s poetic snowstorm in the Fortezza da Basso

Tokyo-based designer Shinya Kozuka (who styles his namesake brand as Shinyakozuka) has built a devoted following for his dreamy, expressive clothes – though largely within Japan. His presentation at Pitti Uomo this week marked both his debut at the fair and his first time showing outside Tokyo. Covering a hall behind Fortezza da Basso in several inches of fake snow, Kozuka staged a mid-winter scene inspired by the lost gloves he often spots abandoned on Tokyo’s sidewalks, imagining their wearers as a series of men walking through a snowy wilderness.

Leaning into the designer’s taste for storybook fantasy, the collection merged experimental tailoring and drapery in cut in a particular school of Japanese design, mixed with pragmatic shapes that recalled Americana workwear (the collection debuted a collaboration with Dickies.) Among these utilitarian pocketed looks, the designer's skill in inventing original, tactile fabrication was seen in wool punched with white thread to mimic dustings of snow and a dramatic white button appliqué coat that closed the show, jangling pleasingly as the model walked. It made a poetic Pitti debut that, for a few moments at least, transported Florence to the romance of a frosty Japanese winter.

Hed Mayner’s headline runway show

Hed Mayner was honoured with the headline guest designer slot at Pitti Uomo this season, an opportunity he used to do what he does best – carve bold, unexpected structures from the foundations of tailoring. The Israel-born, Paris-based designer first appeared on the scene in the mid-2010s with cleverly structured designs loosely inspired by the oversized tailoring of the orthodox Jewish community. He has since been awarded the LVMH prize and steadily grown his brand to global acclaim.

Unveiled on Wednesday evening, the designer chose La Palazzina Reale as the location of his A/W 2026 collection, a modern palace built in the 1930s located unusually close to the Santa Maria Novella train station. Balancing fantasy and everyday life, Mayner’s collection itself skewed tailoring archetypes with dramatic ‘gestures’ of oddness – a jacket with vastly exaggerated shoulders that suctioned in at the waist, a cinematic faux fur coat detailed with a leather strap across the back, and scarves so long they skimmed the ground. Set to a stirring soundtrack overlaid with the words of Canadian-American artist Agnes Martin, the collection was about seeking one’s own idea of beauty.

‘It’s about creating a body language, a certain gesture,’ Mayner said on the morning of the show. ‘When you wear these clothes, they put you into a certain mood, an environment. There’s something wrong about these shapes, and that wrongness is perfect for me.’

READ: Hed Mayner’s Pitti Uomo show was all about finding beauty in ‘wrongness’

Soshi Otsuki’s swooning ode to 1980s power suiting

On Thursday afternoon, guests were ushered down a pathway behind the imposing Santa Maria Novella cathedral, through a manicured courtyard and into a small, stony chapel lit only by the dying afternoon light for Soshi Otsuki’s Pitti Uomo display. As swooning 1980s jazz music began to play and the lights came up, what followed was for many editors the standout event of the week. Opening with three immaculately cut grey suits, Otsuki – who won the coveted LVMH Prize last year – used his Pitti debut to showcase his mastery in tailoring. Offsetting tradition with subtle, unexpected flourishes – from dandy-esque wide silk ties tucked into shirts, to jumpsuits that neatly fused shirting and trousers – the collection riffed on the broad lines and soft romance of the 1980s, while its razor-sharp attention to detail made each look unmistakably Otsuki’s own. Emerging in the room for a brief few seconds, the designer was met with a well-deserved standing ovation at the show’s close.

Korea’s disruptive new gen gets its own display

In its own small circular brick building in the grounds of the Fortezza where the trade fair takes place, a dedicated display of rising Korean design talent provided a respite from the busy crowds of the main fair. Following its successful debut last year, the ‘Code Korea’ exhibition introduces six designers who reflect a ‘bold dialogue between tradition and innovation, sustainability and experimentation’. Among the most interesting on view were Seokwon Yoon, a brand that disrupts the neatness of school uniforms and tailoring with punk influences, and Egnarts, a brand defined by its beautifully wonky silhouettes and use of surreal motifs.

A new Korean garden has just been unveiled to the public. The impressive 23,000 sq m site is located in Yangpyeong within Gyeonggi Province, which surrounds Seoul, nestled in a quiet valley once filled with wild mekkot (a species of the ipomoea morning glory flower). Médongaule Korean Gardens is an ambitious undertaking to reinterpret the country's rich garden tradition that had largely faded from the peninsula's cultural landscape following Japan’s colonisation of Korea (1910-1945) and the subsequent rapid industrialisation. Rooted in the spirit of the Joseon Dynasty (14th-19th century) and its Neo-Confucian academies, scholar gardens, and traditional Korean villas (complexes known as seowon), the project reimagines tradition for contemporary times.

Tour the Seongok Academy Building at Médongaule Korean Gardens

When Korea’s prominent architect Seung H-Sang, who is widely respected for his vision, emphasising modest, nature-harmonising designs with deep Korean cultural roots, met the client in 2018, they agreed to build a modern seowon within the garden, inspired by the country's landmark Byeonsang Seowon. The latter, a heritage site, was built in the 16th century as a private, rural Neo-Confucian academy that served as both a school and a Confucian shrine. It is considered an outstanding example of Korean architecture to this day.

The more modern Seongok Seowon Academy at Médongaule Korean Gardens has just been completed and is designed for a wide range of cultural activities, including learning, meetings and exhibitions. Its madang, a central, open, flat ground area, also acts as a flexible, communal space for events, such as concerts and festivals. Its undulating topography mirrors the site's terrain, naturally evoking the image of the similarly sloped Byeongsan Seowon. 'How to reinterpret Byeongsan Seowon in a contemporary manner became the challenge I set myself,' Seung says.

According to the architect, Byeongsan Seowon possesses exceptional spatial qualities. 'It is not the architecture itself that is significant, but rather the exquisite manner in which the buildings relate to nature. The rules, order, and scale of the void spaces created by the architecture are outstanding, and the way in which the architecture enables those within the space to view nature is truly remarkable,' he explains.

While fully embracing that approach, Seung naturally adapted the materials, techniques and forms of his design to suit the modern time. It was important for him to apply his philosophy of ‘Beauty of Poverty’, showcasing how a humble life – one of emptying and sharing, a life that knows how to be poor despite having money – can be beautiful.

Seung also brought the power of Mandaeru, the tower-shaped pavilion that serves as a conduit linking nature with the architecture at Byeongsan Seowon, to his own, new seowon. People can pass beneath the tower structure, but also climb up, allowing different perspectives in relation to the surrounding ground level. This approach was not unique to Byeongsan Seowon; it is a common method employed by Buddhist hermitages (amja), which are often nestled within mountains and sloped sites.

According to Seung: 'The concept of emptiness from Byeongsan Seowon was applied, but the rest reflects my own architectural philosophy.' He explains that, unlike Byeongsan Seowon, the structure here possesses a markedly different internal layout where all buildings are interconnected and permeate one another.

For Seung, connecting buildings means creating spaces that organise and enrich one’s life by bringing together people and nature, moving beyond mere function or aesthetics to foster contemplation and meaningful dwelling, often using voids and deliberate ‘discomfort’ to make life more vital and connected to place and memories. 'I designed it so that upon entering, while one traverses through the space, the differing levels of each building allow visitors to experience distinct spatial qualities. Within this framework, various activities are designed to be closely interlinked.'

Asked how he wants people to use Seongok Seowon, the architect mentions ‘Heterotopia’ by French philosopher Michel Foucault – a thesis that argues that some physical places also act as 'other' worlds – cemeteries or gardens, for example. Similarly, Seung believes the purpose of a garden is to enable people to leave the mundane world behind, finding energy in its enchanting beauty, and then returning refreshed to their daily lives. 'Like traditional seowons, the building was going to be placed in a quiet corner within the Medongaule, and I wanted it to be a space for contemplation and reflection where one could forget the world and discover a new self.'

Seung designed the seowon complex arrangement to reflect such an intention. The Tower of Dokrak (a word meaning 'enjoying solitude') symbolises a space for those wishing to find escape from the everyday world. Meanwhile, the Gyeongoeam Buddhist Temple is a place for retreat at the very top of the land. It contains nothing but a single room and a single madang (courtyard), with no other facilities. It was designed solely for sitting and contemplation, conceived to allow users to enjoy solitude most profoundly.

medongaule.com

iroje.com

At Wallpaper*, movement is second nature, and savouring it is an art. Whether on assignment or off-duty, our editorial team is perpetually combing the globe, visiting places that are mind-expanding and spirit-lifting. This year, we paused to gather the places that truly stayed with us. Consider this selection of travel highlights, handpicked by our staff, as a starting point for the year ahead, compiled to spark curiosity and fuel your future travel plans.

As such, follow the sun to Mexico, Greece, Spain and Italy, or embrace the stark beauty of Finland and Iceland. Looking for adventure? Uzbekistan, Egypt and Kenya deliver. For a spiritual reset, Japan and South Korea offer ritual and depth. From European mainstays such as Vienna and Lisbon to American icons including Miami and Joshua Tree, let’s get globetrotting.

Amanohashidate, Japan

‘Last April, adding a few days to a long-haul work trip felt like the responsible thing to do, particularly when long-haul now extends to a 16-hour dog-leg to Osaka via Doha, which is how I came to visit one of Japan’s most revered destinations, Amanohashidate, site of a 3.6km sidebar known as ‘the staircase to heaven’ that cuts across Miayazu Bay in Kyoto prefecture. Amanohashidate itself is a quiet village with a national landmark at its heart and a well-run ryokan (Monjusou) to relax in, but the surrounding area is blessed with no less significant points of interest. Ine is a ‘floating village’ of 230 fishing cottages, protected as a heritage site, that offers good walking with splendid sea views and great coffee in one of its repurposed properties. Sometimes all you need is sea air, the odd stroll and the chance to indulge in something as silly as matanozoki, or peering between your legs atop Kasamatsu Park, at which point the now-inverted sandbar appears as a bridge across the sky.’

– Bill Prince, editor-in-chief

Athens, Greece

‘This past autumn, I celebrated a milestone birthday in Athens. The city feels as though it was shaped by accumulation rather than careful urban planning, its layers of typeface, texture and attitude stacked across eras, politics and glitzy inconsistencies. Visually, Athens is unrelenting: everything speaks loudly and constantly, and nothing is treated as too precious. Even the Acropolis feels unresolved, its original fragments scattered between the exquisitely built Acropolis Museum and far beyond Greece’s borders. I enjoyed long lunches with generous pours of Assyrtiko from aluminium jugs, and late nights drifting into hot spots like SMUT, where Athens’ spontaneity really kicks in. I chose Athens as my favourite of the year because it thrives in chaos, offering moments of beauty and excitement, and rewarding those who stay longer, pay attention and arrive hungry.’

– Gabriel Annouka, senior designer

Brittany, France

‘On something of a nostalgia trip to the south coast of Brittany, France – the destination of my first-ever trip abroad – now with my own teenagers in tow, I was relieved to find it a still-lovely, laidback and low-key escape with none of the hussle or hassle a beach break during the summer holidays can entail. The sea was utterly clear – too freezing for me, even in July, for more than one cold plunge, but perfect for kayaking or admiring endlessly from coastal walking paths. Bike hire in this cycling-obsessed nation was ubiquitous and the paths plentiful and well sign-posted; they even continued across estuaries, courtesy of short ferry hops on which bikes were not just bienvenue but (bafflingly for a Brit used to transport-network shortfalls) positively encouraged. And a day’s hire extended through to the evening, allowing ample time for a thoroughly civilised French lunch break en route with (savoury) galettes and (sweet) crêpes galore. Pancakes for all courses is a concept close to my heart.’

– Bridget Downing, executive editor

Cairo, Egypt

‘In November, I visited Cairo and spent a few warm, autumnal days watching the light shift over the Art D’Égypte installations, set in the sand beneath the pyramids of Giza. I was particularly drawn to SolidNature and Studio PROBA’s organically shaped, naturally coloured stone sculptures. Seeing them positioned against the pyramids was both wondrous and surreal: two forms of stone, prehistoric in material yet composed millennia apart, held in quiet dialogue with one another. The experience was utterly mesmerising, leaving me feeling incredibly small in the face of such magnificence and scale. Other highlights across the city included losing track of time in the newly opened Grand Egyptian Museum (GEM) and wandering through the calming gardens of Adam Henein’s gallery house.’

– Olly Mason, head of interiors

Évora, Portugal

‘When my sister moved to Lisbon in 2024, I dreamily imagined endless weekends of wandering, but life got in the way and it never quite happened; until this summer, when we managed to bring both our families together for ten scorching days in Alentejo, a more off-the-beaten-path part of Portugal, around 90 minutes east of Lisbon. We stayed in gloriously serene countryside, awash with olive groves and vineyards, occasionally popping into the medieval, walled UNESCO city of Évora for ice cream (Pezagno, delicious!). On one visit, we explored the Capela dos Ossos (Chapel of Bones), a 16th-century chapel within the Church of St Francis, built by Franciscan monks as a memento mori to inspire reflection on the transience of life. Its walls and columns are clad with thousands of strikingly arranged human skulls and bones, previously buried in Évora’s medieval cemeteries. Above the door, an inscription reads: “We bones are here, waiting for yours.” At the entrance to this macabre chapel is a simple modern mural by Portuguese architect Álvaro Siza Vieira – a counterpoint to its meditation on mortality.’

– Anne Soward, production editor

Helsinki, Finland

‘While others escaped to hotter climes, last February, I decided to embrace the cold and wintry feel of Europe and headed further north, to Helsinki. It was one of the best travel decisions I ever made. The day was short, but the city was fun, and the cultural offerings were plentiful and welcoming. Helsinki was frozen – not that you would be bothered with the right clothes and shoes, especially in the city centre, where pavements are heated so that the snow doesn’t build up. A short ferry ride, breaking through the icy waters, took me to the magical Suomenlinna sea fortress - thank you, Laura Iloniemi, for the tip! I also explored the numerous art offerings the city has to offer, from the Amos Rex museum to the Temppeliaukio church of the rock. I stayed at a timber-framed hotel by the water, Solo Sokos Pier 4, paid a visit to the renovated Finlandia Hall, and enjoyed sticky Korvapuusti (Finnish cinnamon rolls) and warm and creamy salmon soup. As travel reviews often conclude, “would definitely recommend.”’

– Ellie Stathaki, architecture and environment director

Hydra, Greece

‘This year I’ve been lucky to visit great European capitals including Vienna, Paris and Athens, but somehow it’s my day on the small Greek island of Hydra that was most memorable. Big cities are filled with great things to do and see, but Hydra offers an escape from it all, with no cars, no museums, and practically no phone reception. And yet it still has everything you might possibly need on a nice autumn day: a lunch at a taverna followed by a dip in the sea, and a walk along the coastal path, suspended between the blue sky and the Mediterranean.’

– Léa Teuscher, sub-editor

Joshua Tree, USA

‘In May, I made the three-hour journey from Los Angeles into the Mojave Desert to Joshua Tree. It had long been on my list to visit, likely prompted by endless interviews with musicians who enthused about the desert’s mystical energy. There are no shortage of incredible architectural stays to book in the area, but after much deliberation, I settled on this geodesic dome, far enough away from civilisation to get the full experience (the drive back from dinner in the pitch black was a little hairy) but just twenty minutes from Joshua Tree National Park and the must-sees of the Yucca Valley and Twentynine Palms. I loved every single thing about this trip. From the weird roadside stops along the route – a desert crochet museum? A shrine to fifties hairdressing? A park filled with many, many statues of Christ? – to dinner at The Copper Room, drinks at Mas o Menos and obligatory live music at Pioneertown institution, Pappy & Harriet’s (the nearby Red Dog Saloon was a little quieter when Pappy’s is packed). I can’t wait to return.’

– Charlotte Gunn, director of digital content

Kyoto, Japan

‘I loved visiting Kyoto this year, and discovering its rich history, gorgeous food and beautiful surroundings. The highlight, though, was being able to get to know some of the locals, who were as generous with their time as they are cultured, intelligent, and extremely kind.’

– Hannah Silver, art, culture, watches and jewellery editor

Lake Como, Italy

‘Until last year, I had never been to Italy; now, I can say I’ve been three times. A run of good fortune took me to Milan for Salone de Mobile, and Venice for an immersive exhibition hosted by Golden Goose. In addition, to mark the beginning of the summer season, I was invited to Lake Como to stay at Il Sereno’s new listening suite, designed by Patricia Urquiola. The lake in the foothills of the Alps took my breath away. It was scenery I had not seen before, and I was captivated by its beauty. There was an effortless air of Old Hollywood glamour and relaxed sophistication coupled with the calming nature of the lake, which makes the location entirely unique. I cannot wait to go back.’

– Tianna Williams, staff writer

Menorca, Spain

‘The Menorca Experimental hotel had been on my bucket list for years, and I finally made it there for a short break in September. Designed by Dorothée Meilichzon, the interiors strike a balance between playful colour and subtle Art Deco references, incorporating local designers and materials. It felt considered yet relaxed. The weather was still warm enough for sea swims in some of the clearest water I’ve seen in Europe, and it was easy to find quieter spots that felt untouched. There’s a quiet, understated rhythm to the island that encourages you to slow down, making it a perfect mid-season reset.’

– Cindy Parthonnaud, acting photography editor

Mérida, Mexico

‘I spent 10 days in Mexico’s Yucatán Peninsula this summer and enjoyed soaking up Mérida’s rich history, intense summer heat and xtabentún, the local firewater. The city is about 30 miles inland, meaning those craving a swim-up bar or large beach resort won’t find it here. Instead, they’ll discover a mix of unhurried streets, bustling markets, pretty boutiques and innovative cuisine that spotlights traditional Yucatec cooking. My husband and I checked in at Hotel Cigno, an elegant boutique property located in Mérida’s historic heart, before hiring a local guide to take us to Uxmal, one of the Mayan world’s most important sites, and an azure blue cenote, a naturally occurring limestone sinkhole that peppers the area. There was still an opportunity to hit the beach, though: an hour-ride taxi will take you straight to the coast, where you can take in tranquil waters, white sand beaches, bright-pink salt lakes and – my favourite – droves of flamingos.’

– Anna Fixsen, U.S. editor

Miami, USA

‘I came to Miami for the Grand Prix – where Lego had built ten fully drivable cars – but stayed for the art deco architecture, palm-lined boulevards and viscerally cinematic sunsets. Miami’s expansion in the 1920s and 30s left it with a remarkable concentration of art deco buildings, which I completely fell in love with. A stroll down Ocean Drive – one of the finest showcases of the style – took me hours, slowed by pastel façades and kitsch vintage cars that demanded to be photographed. Little Havana, shaped by Cuban émigrés after the 1959 revolution, is home to cigar shops, graffiti tributes to Celia Cruz and Old’s Havana Cuban Bar & Cocina, which, with its yellow walls and mojito production line, is an institution. So, too, is Delilah – swathed in pink velvet and favoured by A-listers – though in an entirely different vein. Miami is a place I’d return to in a heartbeat.’

– Anna Solomon, digital writer

Nesjavellir, Iceland

‘My yearly travel mainly comprises the movement between Milan, Paris and New York for fashion week (and the freneticism and overstimulation these trips bring), so when I’m not working I seem to be attracted towards the vast and the desolate – Lanzarote has become my go-to escape, and this spring I loved losing myself in its strange, moonlike landscapes once again. Though it was another otherworldly (and volcanic) island that was my favourite trip of 2025: Iceland, which I visited with 66 North last month (the outerwear brand was founded on the island a century ago). I have been a couple of times before, though each time it is surprising in its vastness and scale: speeding across the snow-covered mountain ridge Thórsmörk – named after the Norse god Thor – on off-roading buggies was a truly cinematic experience (and the perfect release). We spent the second night at the Ion Adventure Hotel, a Brutalist box on stilts that looks out over the geothermal fields of Nesjavellir – in the silence, it was my best night’s sleep of the year.’

– Jack Moss, fashion and beauty features director

Seoul, South Korea

‘About two hours from Seoul, in the mountains of Wonju, Museum SAN (Space Art Nature) heralds an architectural feat by Tadao Ando: a 25-metre-wide subterranean dome beneath the museum’s flower garden, topped with an oculus rising more than seven metres high. Titled Ground, it was commissioned to accompany Antony Gormley’s exhibition Drawing on Space.’

– Jason Hughes, creative director

Tashkent, Uzbekistan

‘I spend much of my year bouncing around beautiful design-led hotels. But at least once a year, I make it my mission to step out of this bubble as a reminder of why I love to travel in the first place. And this year, my trip to Uzbekistan was a welcome reset. It’s not a destination known for luxury, but with tourism on the rise, you can feel the energy in Tashkent’s creative pockets and across Samarkand and Bukhara, which just hosted its inaugural biennale. From the staggering detail of the Islamic architecture to the small, genuinely local boutique hotels, there’s an incredible history and a rawness that was not just compelling, but a reminder that stepping away from the familiar is not just refreshing, but important to keep your curiosity alive.’

– Lauren Ho, travel director

Tokyo, Japan

‘Tokyo had been calling for some time, and this October I was finally able to answer. Japan’s capital is an urban sprawl of ritual, contrast, beauty and tradition, where even the smallest details feel deliberate and meaningful. It was my first visit, and I tried to stay fully present, absorbing as much of the city’s energy as possible; yet I still feel I barely scratched the surface. There are countless moments I hold onto, but one stands out: waking to a bright, clear morning and, from my hotel room on the 34th floor of Fairmont Tokyo, spotting Mount Fuji in the distance. It appeared as a majestic presence on the horizon, wishing the city a good day.’

– Sofia de la Cruz, travel editor

Vienna, Austria

‘Vienna is a really great city for a short getaway, especially for those interested in design. The city is filled with hidden gems, such as the interiors and ambience of Café Prückel, located just across the street from the Museum of Applied Arts (MAK). Be sure to check out the numerous storefronts designed by Hans Hollein throughout the city, including the iconic façade of the Retti candle shop. One of the highlights for me was the Roman Catholic church depicted above, built in the late 1970s by architect Viktor Hufnagl.’

– Sebastian Jordahn, head of video

Watamu, Kenya

‘Earlier this year, I travelled to Kenya and spent time in Watamu, a coastal town known for stunning white-sand beaches, coral reefs, mangroves and a large marine life. I was there for a private yoga retreat with a yoga company called Pana and stayed in a one-of-a-kind treehouse, Watamu Tree House, near Watamu Beach. Our treehouse retreat, built by the family who runs it, rises through the landscape, from the ground to the top floor, with shimmering coloured glass mosaics. Each day in Watamu began with yoga in the studio at the top of the building, which offered quiet and perspective. Practising yoga above the ground, with the sea nearby and trees in the distance, felt grounding. Fresh vegetarian meals formed the core of each day, as each meal came with coconut water and juices made fresh each morning.’

– Jamilah Rose-Roberts, social media editor

The annual Wallpaper* Design Awards issue features an honour roll of outstanding places, products and people; celebrating the power of design to lift spirits and improve lives. The City of the Year award spotlights the urban locations, making an impact in design, architecture and contemporary culture.

Discover the nominated locations below, and stay tuned for the winner, which will be announced in the next issue of Wallpaper* magazine on 8 January 2026.

Wallpaper* Design Awards 2026: City of the Year shortlist

Accra, Ghana

Ghana’s capital is entering a defining chapter, its creative momentum gathering pace after years of long-stated ambition. This year (2025), the team behind Limbo Accra established a new intellectual anchor for the city with Limbo Museum in Labone: a 600 sq m, two-storey transformation of an unfinished structure into a cultural hub, research lab and exhibition space where architecture and art converge. Across town, the opening of Dot.ateliers | Ogbojo by DeRoche Projects and TAELON7, serves as HQ for a writers’ and curators’ residency dedicated to rest, reflection and cross-continental exchange on Accra’s outskirts. Meanwhile, Lesley Lokko’s African Futures Institute (AFI) continues to evolve and push the trajectory further. And yet, as Ghanaian architect Alice Asafu-Adjaye reminds us in her Wallpaper* local’s guide to Accra, the engine of this rising power city remains its people: ‘You hear us before you see us,’ she says, whether in music, debate or conversation – a vibrancy that continues to propel Accra’s evolution.

New architecture: Backyard Community Club, by DeRoche Projects; Dot.ateliers | Ogbojo, by DeRoche Projects and TAELON7; Limbo Museum, by Limbo Accra.

Hotels and restaurants: Ghana Club; Kempinski Hotel Gold Coast City, by Page and Looney and Associates; La Villa Boutique Hotel; Santoku, by Hubert de Givenchy.

Cultural draws: Dikan Center, founded by photographer Paul Ninson; National Theatre, by CCTN Design; Nubuke Foundation, by Nav_s Baerbel Mueller and TAELON7.

Busan, South Korea

Newly named World Design Capital 2028, Busan is gaining momentum, using design to build on its traditions of civic resilience and cooperation. Under the banner Inclusive City, Engaged Design, the bid reflects a place intent on shaping more connected futures and deepening its cultural landscape, from the vast Eco Delta Smart City plan, a zero-energy, water-smart district built on digital urban systems, to a surge of architectural ambition now reshaping the skyline. Under construction, Kengo Kuma’s Busan Lotte Town Tower rises over the waterfront, Snøhetta’s long-awaited Busan Opera House edges toward reality, and OMA is reimagining hillside living through its Slope Housing model. Seoul may have taken our Best City award in 2024, but Busan, with its blend of ambition and intention, may well be next in line.

New architecture: Cheongsapo Daritdol Observatory; Heungkuk Tower Busan, by Mecanoo; Millac The Market / LJL Architects and 2K1 Architecture.

Under construction: Busan Lotte Town Tower, by Kengo Kuma and Associates; Busan Opera House, by Snøhetta with Ilshin Architects; Busan Slope Housing, by OMA.

Hotels and restaurants: EL 16.52, by JOHO Architecture; Mogua Hotel; Sakae, by Studio Gaia.

Cultural draws: Busan Cinema Centre, by Coop Himmelb(l)au; SCRAB, by JeongChoi Works; Space Lee Ufan, by KAGA Architects & Planners.

Delhi, India

Delhi’s creative momentum is set to accelerate in 2026 with the launch of the Delhi Design District this spring. Born from the collaboration between Wallpaper* and StoneX, the cultural hub, whose facade is inspired by the Rosetta Stone, will be home to multisensory art experiences, installations shaped by various Indian dance forms, and seven galleries that reflect human emotions. Its arrival will co-exist neatly with the annual India Art Fair, hosted every February. Meanwhile, the city’s gallery landscape continues to evolve, led by long-standing heavyweights like Nature Morte alongside a widening constellation of experimental spaces. As Delhi continues to see urbanisation and population growth, its current redevelopment of the New Delhi Railway Station will enhance civilian connections to buses, metro and airport alongside nearby areas.

New architecture: Pendentive House, by AKDA; Yashobhoomi Convention & Exhibition Centre, by IDOM + CP Kukreja Architects.

Under construction: Central Vista Redevelopment; Delhi Design District building; New Delhi Railway Station redevelopment.

Hotels and restaurants: Call Me Ten, by Renesa Architecture Design Interiors; The Lodhi, by Kerry Hill; Zura Restaurant and Bar, by Studiio Dangg.

Cultural draws: Nature Morte; Pradhanmantri Sangrahalaya, by Sikka Associates Architects; Shri Ram Centre for Performing Arts, by Shiv Nath Prasa.

Detroit, USA

Detroit is booming – again. Michigan Central, once a symbol of the city’s collapse, now anchors a high-energy mobility campus and sets the tone for a skyline shifting in real time. Downtown, Bedrock’s Hudson’s Detroit, designed by SHoP Architects, rises like a new marker of ambition, while the revived Book Tower blends contemporary living and culture into its restored historic shell. Neighbourhoods are keeping pace: Little Village is accelerating thanks to the Curis-led arts centre Shepherd and a flurry of creative openings, while Core City’s experimental housing and live-work compounds have turned it into a compelling urban laboratory. The numbers reinforce the sentiment: the city gained 12,500 new residents last year, and since 2011, Design Core Detroit has organised Detroit Month of Design, a yearly, city-wide festival that spotlights local creatives and projects.

New architecture: Bedrock’s Hudson’s Detroit, by SHoP Architects; Lantern complex and PASC building, by OMA.

Under construction: Stanton Yards, by SO-IL and OSD; NoMad Detroit.

Hotels and restaurants: Barda restaurant, by Undecorated; Shinola Hotel, by Gachot Studios; The Siren Hotel, by ASH NYC.

Cultural draws: Downtown Detroit and Library Street Collective, founded by Anthony and JJ Curis; Shepherd art Centre, by Peterson Rich Office.

Helsinki, Finland

As Helsinki Design Week 2025 marked its 20th anniversary, the city leaned into a question it knows well: why does the world’s happiest country stay so content? The Scandinavian nation has been designated the happiest in the world for the last eight years by the annual WEF report. The answer is arguably written across the city itself: modern yet rooted, social yet quietly reflective. Its design heritage and forward-looking attitude form a kind of civic formula, visible everywhere from a new wave of design-led hotels to its constellation of spas, singular restaurants and cultural institutions. Helsinki tends its past while engineering its future: the refreshed Finlandia Hall reasserts Aalto’s legacy, while the forthcoming Museum of Architecture and Design will unite more than 900,000 artefacts under one roof. It’s a city refining its identity with calm assurance.

New architecture: Finlandia Hall, refreshed by Arkkitehdit NRT; Lagmansgården, by Anttinen Oiva Architects.

Under construction: Museum of Architecture and Design, by JKMM.

Hotels and restaurants: Finlandia Hall Bistro, by Fyra; Finlandia Homes, featuring Alvar Aalto’s original designs; Jackie, by Joanna Laajisto; Solo Sokos Pier 4, by Anttinen Oiva Architects.

Cultural draws: House of Culture Vallikallio, by Alvar Aalto; Museum of Contemporary Art Kiasma, by Steven Holl; Oodi, by ALA Architects.

São Paulo, Brazil

Long considered one of Wallpaper*’s original design destinations, hard-working São Paulo is not a city that rests on its laurels. While residential projects remain a defining lure (from Studio Arthur Casas’ Pacaembu House, which won a Wallpaper* Design Award in 2024, to the confident work of established studios), large-scale regeneration is gathering pace; Planta Inc’s revival of the city’s modernist heritage signals a renewed respect for its icons, while Sol Camacho’s transformation of Pacaembu Stadium casts tropical modernism in a refreshed light. Hospitality is keeping pace, with Rosewood, Soho House and W drawing travellers hungry for the city’s creative energy. And this year’s 14th International Architecture Biennale pushed the conversation further, challenging architecture to confront climate change and the extreme events reshaping our urban future.

New architecture: Ibaté Building, by Studio Arthur Casas; Roca São Paulo Gallery, by Fernanda Marques; Pina Contemporânea Museum, by Arquitetos Associados.

Under construction: Museu de Arte de São Paulo Assis Chateaubriand (MASP), by Metro Arquitetos.

Hotels and restaurants: Pulso Hotel Faria Lima, by Arthur Casas; Rosewood São Paulo, by Philippe Starck; Santokki Restaurant, by Tadu Arquitetura,

Cultural draws: Edifício Itália, by Franz Heep; Ibirapuera Auditorium, by Oscar Niemeyer; Porto Seguro Cultural Space, by São Paulo Arquitetura.

Explore the shortlist for Life-Enhancer of the Year and Launch of the Year in the Wallpaper* Design Awards 2026.

Between 1970 and 1990, Donald Judd increasingly shifted his focus from autonomous art objects to the spaces of everyday life. It was a period of experimentation that gave rise to furniture in wood, metal and plywood, that demonstrated a functional yet deeply philosophical approach to domestic objects – 'furniture must possess usability and utility,' he once said. For Judd, furniture was never secondary to his sculptural work. Instead, it formed part of a continuous investigation into proportion, structure and the way bodies move through space.

Now on view at Itaewon gallery, Hyundai Card Storage, in Seoul, the Judd Foundation presents Donald Judd: Furniture, an exhibition that brings together thirty-eight of the American artist’s designs realised during this time. Curated by Flavin Judd, artistic director of Judd Foundation and the late artist's son, the presentation includes furniture, drawings, and prints from Judd Foundation collections as well as designs specially fabricated by Donald Judd Furniture for the occasion. It also marks the first time Judd’s furniture has been the subject of a dedicated exhibition in South Korea.

The exhibition, which follows on from the 2020 Judd retrospective at MoMA – also sponsored by Hyundai Card, is organised into four spaces informed by the artist’s own working and living environments and his thinking on space, colour and material, and the layout is. It's an approach that Flavin Judd hopes will help visitors to experience the works not as isolated artefacts, but as elements within a larger spatial system. This architectural framing offers insight into the practical and philosophical conditions under which the furniture was conceived, while opening up questions about how Judd imagined these objects being used, inhabited and encountered.

Like many designers, Judd began making furniture in response to what was available to him, famously dismissing most post-1920s design – with a few exceptions – as ‘junk for consumers’. His first pieces were made in the early 1970s for his residence at 101 Spring Street in New York, including a wooden bed and a metal washbasin. In 1977, he returned to furniture while building a new home in Marfa, Texas, and by the mid-1980s had developed a wide range of wooden works, including beds, desks, benches, chairs and shelving, alongside metal chairs, benches, beds and tables.

From 1984 to 1993, he continued to expand this body of work, notably introducing plywood furniture in 1991. During this period, he sought to systematically define his approach to design, production and distribution. Each piece, although simple in its appearance, was tightly specified, with close attention to dimensions, materials, construction and finishes. Judd placed particular value on skilled handwork, working closely with local carpenters and metalworkers, whom he personally selected, to achieve the level of precision he demanded.

Alongside the furniture, three groups of prints highlight the conceptual thinking that shaped the works on display. Silkscreens and woodcuts produced from the 1950s to the 1990s reveal Judd’s sustained interest in seriality, rhythm and chromatic structure. Installed drawings further demonstrate how materials, dimensions and construction logic were developed and refined, tracing a line from idea to object, as do the eight volumes displayed on the central staircase.

Last year, the Donald Judd Foundation and MACK published Donald Judd Furniture, a book cataloguing the artist’s efforts to create everyday objects that were both useful and satisfying to live with.

It features more than 100 designs, presented through sketches and photographs taken in the artist’s homes and studios in New York and Texas. The presentation in Seoul offers a rare opportunity to encounter these pieces together in person, and to witness Judd’s approach to furniture as a way of thinking through space itself.

Donald Judd Furniture runs until April 26 2026 at Hyundai Card Storage, 248 B2 Itaewon-ro, 한남동 Yongsan District, Seoul, South Korea

Set in a former coal mining village in central Korea, the Bangjja Yugi Museum explores both material and memory, celebrating the life and work of master craftsman Lee Bong-ju. Recognised as a National Intangible Cultural Heritage holder, Lee has dedicated his career to bangjja yugi – Korea’s centuries-old tradition of hand-forged bronze tableware, prized for its warm glow and resilience.The new cultural space, designed by Seoul-based Studio Heech, founded by Heechan Park, was conceived not only to host Bong-ju's precious archive and display it for discerning visitors; it also demonstrates through its very fabric the spirit of his ancient craft.

Explore the Bangjja Yugi Museum in South Korea

Creating parallels between the craft of making bronze pieces and the space that holds them, Park developed the museum as a 'building within a building.' Using the original warehouse, which already held the craftsman's archives - a simple steel-and-concrete warehouse which was reclad in timber in the past so as to appear like a traditional Korean hanok house - and not wanting to alter it further, the architect took a different path. The design solution centres on inserting an earth-built structure within the existing one.

The new element is divided into two, tactile rammed-earth sections, which create a layered experience for the visitor, who can stroll inside them or on the periphery - between the new and old structures. Revealing the raw state of the materials used and nodding to the handmade process of bronze forging, the Bangjja Yugi Museum envelopes its guests in texture.

A new, round staircase leads to a second level of exhibits and a solid-feeling granite flooring anchors everything to the ground. The entire concept plays with notions of opposites - old and new, authenticity and mimicry, memory and present experience.

Park writes in conclusion: 'Above all, the Bangjja Yugi Museum embodies the spirit of Lee Bong-ju’s craft: transforming raw material through persistence and repetition into something luminous. The museum’s rough earthen walls serve as a pure and uncompromising backdrop for the brilliance of the bronzeware, creating a setting where architecture and craft resonate as one.'

At the launch of the 2025 Seoul architecture biennale, a giant twisted wall made of 1,428 steel tiles captures the attention of passersby walking through Songhyeon Green Plaza. This 90 metre-long, 16 metre-high wall twists in the middle, forming an opening that draws people into the plaza. Dubbed the ‘Humanise Wall,’ the structure features images of 400 buildings from 38 countries and by 110 architects, as well as nine community projects that convey ideas of how buildings in this city can change.

Welcome to the 2025 Seoul architecture biennale

The ‘Humanise Wall’ is the gateway to the 5th edition of the Seoul Biennale of Architecture and Urbanism, which aims to spark a public conversation about how to ‘humanise’ buildings for the well-being of citizens. This year’s event, titled ‘Radically More Human,’ is helmed by British designer Thomas Heatherwick as general director and builds on his ‘Humanise’ campaign, a global initiative launched with his 2023 book ‘Humanise.’ The campaign argues against the creation of 'boring' structures, claiming how dull, soulless buildings are bad for our brains, our economy, and the planet, and calls for more joyful, engaging and human buildings and cities.

'We've had an epidemic of boringness. Blandemic (bland + epidemic), I called it. The argument is we've had things where everything's just too flat, too plain, too straight, too shiny, too monotonous, too anonymous, too serious. When you get all of them again and again, it's harmful boring,' said Heatherwick in Seoul ahead of the biennale's opening. 'Just like we need nutritional complexity for our gut biome, we need visual complexity. There’s a necessity for fascination.' It’s not his own argument, he flags, but one 'made by researchers who are looking at how our brains respond to buildings.'

According to studies by the Humanise Campaign, being surrounded by boring buildings which lack visual complexity can have a profound impact on public health as well as culture and society. Buildings without texture, warmth, or variety can leave people feeling low and disconnected, architecture that is too uniform or repetitive can lead to mental fatigue, disorientation, and stress, and curved façades and organic shapes may reduce cognitive stress and help make everyday surroundings more comfortable and intuitive.

'We’ve done polling across thousands of citizens of Seoul for the biennale by the Humanise campaign and 97% of them, which is an incredibly high number, say they don't like the residential buildings that are built here. And 90% of people in Korea say that buildings affect how they feel,' said Heatherwick, citing research data conducted by his studio for the biennale, which will be announced during the ‘Emotional City Conference’ on September 27 and 28.

But because there is 'no public conversation about the global epidemic of characterless places,' this biennale has a huge role to play, he says. 'The whole biennale is about health and the need for places to be more engaging. It's actually a nutritional public health conversation.'

In order to engage people in this public conversation, he had to attract people’s attention and draw their curiosity – hence the giant wall. The ‘Humanise Wall’ was inspired by jogakbo, a Korean patchwork textile made by sewing together small, leftover pieces of fabric (usually from silk or ramie) to create a wrapping cloth, called a bojagi.

'At the Victoria and Albert Museum in London, there is a collection of jogakbos. I've been to Korea many times, and I love the fabrics and the textiles. The ‘Humanise Wall’ is like a big, gigantic magazine. The patchwork of the jogakbos could be a mechanism to have many different stories being told and the work of the local communities all coexisting in a miscellaneous way,' Heatherwick said. 'It’s like a giant bibimbap [a Korean mixed rice dish with vegetables].'

When entering the gateway, visitors encounter 24 smaller partitions facing the ‘Humanise Wall.’ These ‘Walls of Public Life’ are giant fragments of buildings, 2.4m wide by 4.8m high, inspired by Stonehenge in England, and highlighting how the façade of a building plays a big role in shaping people’s emotional responses. The walls are created by 24 design teams from across the globe, coming from a variety of creative and cultural backgrounds, some with no experience of designing a building. Korean American chef Edward Lee, British fashion designer Stella McCartney, a jeweller, a car manufacturing team at Hyundai, and two traditional building makers from Burkina Faso, among others, have participated.

'It is emotion that makes you cherish something. So it's really a mindset shift for our industry to be more interested in looking closely at how people experience,' says Heatherwick. 'Just as Korea is a world leader at skincare, I thought we would focus on skin, skins of buildings, for the biennale. It's like a cutout of a future building. Every single one of them has visual complexity and fascination, and is an example where you could take any one of those and say, ‘turn it into a building, please.’ The campaign is about changing the buildings that get built.'

Until now, there has been huge importance given to the interior, but for the public, the exterior is more important, he continues to explain. 'There is a smaller group of people who are inside most buildings and a much bigger group who are going past the outside. I'm not saying the inside doesn't matter. It does matter. But we're actually quite good at the insides. The balance of love has been on insides.' When asked whether people might feel stressed if a city becomes too visually complex and stimulating, Heatherwick says he’s not arguing for buildings to look 'crazy.'

'You go to a forest, it's full of visual complexity. But there are no big show-offs in a forest. So we mustn’t mix up my work with the argument,' he said. 'In effect, I've overreacted with my own work to this drought of storytelling in buildings. I'm not proposing every building to be a crazy shape, and it's not going to happen because it's not affordable. But just be generous, be kind.'

The biennale’s main site is the Songhyeon Green Plaza, but the event extends to the Seoul Hall of Urbanism and Architecture which offers a further three exhibitions – the 'Cities Exhibition,' featuring 25 building exteriors from 21 cities, the 'Seoul Exhibition,' revealing 18 projects on the future of Seoul, and 'Global Studios,' an interactive media exhibition exploring the emotions and memories evoked by the outsides of buildings.

'The goal is the city-wide conversation. I think Seoul could potentially be one of the first humanised cities and show other cities around the world how to engage the citizens because it has receptiveness and open-mindedness,' he said.

'Korea is a global powerhouse in beauty and understanding of skin. Korea is a powerhouse in pop music, in drama and in food, but it isn't in architecture. The economic miracle of Korea, which has facilitated and superpowered the growth, is amazing, but now the pali-pali ['quick quick,' in Korean] mindset needs to be used and adjusted to bring in the human dimension properly. And underneath it all, emotion is the thing that drives us.'

The 5th Seoul Biennale of Architecture and Urbanism is on show until 18 November 2025

Almost 7,000 miles apart yet increasingly in dialogue, Seoul and New York have just tightened their cultural axis with the arrival of the MoMA Bookstore at Hyundai Card. The new outpost marks the Museum of Modern Art’s first bookstore of its kind (beyond book sections as part of its Design Stores) and extends its two-decade collaboration with the Hyundai Motor Company-owned credit card issuer, which began in 2006 when MoMA’s online store was made available in South Korea.

Introducing MoMA Bookstore at Hyundai Card, Seoul

The partnership has since evolved into a robust cultural exchange. In 2010, MoMA introduced membership benefits for Hyundai Card holders, which later supported headline exhibitions such as ‘Haegue Yang: Handles’ (2019) and ‘Sung Hwan Kim: Temper Clay’ (2021). Most recently, the Hyundai Card Curatorial Exchange Programme (2024) was inaugurated to foster cross-continental dialogue between Korean and American art communities, while the Hyundai Card MoMA Digital Wall (2025) commissions site-specific works by contemporary artists, displayed in real time both at MoMA New York and at Hyundai Card’s Yeouido HQ.

Set in the leafy enclave of Dosan Park, the bookstore aligns itself with Hyundai Card’s constellation of cultural spaces, such as the Cooking Library, Iron & Wood and Red11. The elongated interior unfurls in two acts: a pared-back library of over 1,100 titles – including MoMA’s own catalogues and more than 200 books spanning contemporary art, photography, architecture, and design – and a boldly hued retail chamber in shades of orange and yellow. Here, shelves brim with the museum’s cult merchandise: the ubiquitous tote, New Era caps, varsity-style sweaters, and limited-edition design objects.

Anchoring the book selection are heavyweight tomes. Wallpaper* recommends Judd, offering an incisive study of American artist Donald Judd’s practice, or a retrospective on photographer and photojournalist, Walker Evans.

The MoMA Bookstore at Hyundai Card is located at 18-10 Dosan-daero 45-gil, Gangnam District, Seoul, South Korea.

Up a hill and tucked behind the intersection of two major thoroughfares in Seoul’s Hannam-dong stands a residence that housed the Romanian ambassador to South Korea. Like so many special places, from the exterior, the ecru concrete and metal garage gate remains indistinct and blends into this residential quarter. However, this week during Seoul Art Week, long-time friends gyopo design darling Jillian Choi and Seoul-based interior designer Hye-Jin Ris Kim teamed up to do something quite novel for the South Korean capital: turn this Romanian residence into a home gallery showcase of the many faces of Korean creativity right now.

Choi had been having thoughtful conversations with Hye-Jin Kim and their friends, and PARKIM founders, Sandy Park and John Kim, about the perception and reception of current Korean art and design, and 'we thought, there’s a big desire to bring artists over there [to the US]. And how can we actually have something like Koreans showing Korean work, or [showing] how Koreans live in a Korean home. We were saying that we never see Korean designers in Korean homes,' explains Choi.

So the group decided to look for an exhibition space, or a pop-up on a commercial avenue. They secured one, and then a month ago, it fell through. Hye-Jin had an idea. Why not offer up her 1985 Hannam house, in a diplomatic gesture echoing the activities of space’s former occupants? Staging an interdisciplinary art and design showcase in a home isn’t a new concept, particularly in places like New York and Paris, where both Choi and Hye-Jin made their names. Choi was the Director of Global Exhibitions for Design Miami and Director of Collective Design, while Hye-Jin cut her chops with India Mahdavi.

However, in Seoul, it’s not customary to open one’s home to strangers, which in effect is what an apartment gallery is. As Choi offers, 'The Koreans who’ve come through have been saying that they've never seen anything like this. When we thought about this concept, we asked, what happens behind closed doors when people aren't looking and also outside of the expectations of society, and, a global society?'

And so, the exhibition 'Behind Closed Doors' was born from this group of friends pulling together a list of 24 Korean artists and designers – many of them close friends (sensing a theme here?) – who either live in Korea or are part of the diaspora and returned to Korea, or who’ve lived/worked both inside and out of the country (a very common experience for both the 1.5 and MZ Generations).

The grouping includes known names in the West like Kwangho Lee (a Salon 94 Design artist), Se Oh (rep’d by Tang Cont), Jesse Chun (on Commonwealth and Council’s roster) and Casper Kang (formerly of Studio Concrete), as well as homegrown stalwarts like conceptual artist Seung Neung Kyung (represented by Hyundai Gallery) and Internet-famous cat-obsessed Taewon Ahn.

Choi offers that the exhibition, 'is at the intersection of art and design, and the blurring of the lines is something that these artists are exploring as well.' Many of the works look like sculpture but are in fact functional, such as Hakmin Lee’s aluminum seating pieces or Seongil Choi’s 'Mirror Blocks Stool,' or look functional but are an art work, like Yerin Park’s carved porcelains that look like vases but are not, or Heakyoung Jang’s resin-marble 'Material Notes' series that could be seen as building blocks.

'We don't have to be confined by these labels,' says Choi, to which Hye-Jin adds, 'There’s something more to being Korean, more multi-cultural, than people expect. We often are obligated to be Korean in a certain way, but we wanted to explore outside of that.

Design Miami has unveiled its first event in Seoul, which opened on 1 September 2025. Titled 'Illuminated: A Spotlight on Korean Design', the event is held in collaboration with the Seoul Design Foundation and takes place at the Zaha Hadid-designed Dongdaemun Design Plaza (DDP). The design fair runs through 14 September 2025, in parallel with the international art fairs Frieze Seoul and Kiaf, with the intention to create synergy in the art and design scene in Seoul (Wallpaper’s 'Best City’ in our 2024 Design Awards).

Design Miami's Seoul debut

The two-week event is the first multi-day event under the Design Miami.In Situ initiative, following an inaugural one-day event in Aspen, Colorado, in July 2025. Design Miami.In Situ is a travelling, localised exhibition series that aims to offer regionalised experiences and cultivate local design communities, and was created in celebration of Design Miami’s 20th anniversary this year.

The Seoul fair, marking the first time the design exhibition lands in Asia, showcases around 170 pieces of Korean collectible design by 71 artists and spotlights Korean design luminaries who have shaped the country’s design landscape, spanning from traditional craft to pioneering design innovations.

'The title was inspired by the Korean word ‘jo‑myeong’ which means ‘to illuminate,’' said Hyeyoung Cho, chairperson of the Korea Association of Art & Design, who curated the exhibition. 'There are so many talented Korean artists, and I am delighted to be able to shed light on their works through this exhibition. The strengths of Korean artists lie in their use of materials such as wood, metal and horsehair. Many of the exhibited artists are Loewe Foundation Craft Prize finalists. I think the timing of this exhibition is perfect as Korean culture has gained incredible popularity recently.'

'We’ve been paying attention to Seoul for a long time,' said Jen Roberts, CEO of Design Miami. 'There is a history of great collectors in this city. In the past decade, we've seen an increase of participation in the design community from Korea. It started 14 years ago with one gallery, and now there are many Korean designers with many international galleries.'

Holding the Design Miami.In Situ at DDP is particularly meaningful, as 'Zaha Hadid received the inaugural Designer of the Year Award at Design Miami’s first edition in 2005', says Roberts. 'Now, 20 years on, we are honoured to present our first-ever exhibition in Seoul within one of her iconic landmarks,' she explains.

The exhibition spans two storeys at the Igansumun exhibition hall, named after one of the historic water gates of Seoul’s old fortress wall during the Joseon Dynasty. The partially restored historical site is now an exhibition space inside DDP, which is run by the Seoul Design Foundation.

Cha Kang Heui, CEO of Seoul Design Foundation, was excited to 'showcase Seoul’s creative energy and design potential', and anticipates Seoul will become 'a central hub leading the global discourse on design'.

Alongside the exhibition, the fair also offers an all-day programme of Design Talks, discussing Korean creativity and design in the global market.

Design Miami in Seoul: 11 Korean designers to know

Kyeok Kim

Exuding an overwhelming presence in front of the main entrance is Kyeok Kim’s ‘Second Surface Chandelier 02’, which is an atmospheric porous chandelier hovering in the ceiling. This structure that looks like a living organism is meticulously bound by layers of crochet copper wire and lacquered using centuries-old Korean traditional lacquer technique ‘ottchil’.

Byung Hoon Choi

Harmoniously placed next to Kim’s chandelier is Byung Hoon Choi’s ‘afterimage of beginning’ series presented by Friedman Benda. Choi uses natural materials such as wood, clay, granite, and stone, and his sculptural yet functional works are rooted in the craft traditions of Korea but expressed in a contemporary way. Choi is a pioneering figure in Korean design, who has fostered many young artists in the field and brought Korean artistry to the global stage.

Joonyong Kim

‘Yellowish Deep Gray Night (2024)’ by Joonyong Kim is the beautiful and elegant glass vase that adorns the exhibition poster. ‘Cast-blowing’ – blowing molten glass into a cast mould – is the method Kim uses to create his glass works. The mesmerising colours are inspired by natural light from sunrise to sunset and Kim tries to capture and materialise the spectrum and ephemerality of natural light in the glass.

Dongjun Kim

Opposite the entrance lies a series of elegant jars, one of which is Dongjun Kim’s ‘Moon Jar’ – a white porcelain ceramic vessel. Kim’s ‘Moon Jars’ are fired in a wood-fire kiln lit by timber he sources himself during winter, and his slow craft method is a continuation of the historical white porcelain production method used during the Joseon dynasty. The full-moon-shaped jar traditionally symbolises wholeness and harmony as well as good luck and fortune.

Jongjin Park

Two funky-looking blue vessels sit next to Kim’s ‘Moon Jar’ – spectacular millefeuille vessels layered up with 1,000 individual sheets of paper. Based on his experience with the centuries-old Moon Jar craft, Jongin Park developed an innovative technique of painting porcelain slips onto single sheets of everyday paper towels. The sculptural vessels created as a result embody amazingly colourful and surprising textures.

Kuho Jung

An interesting addition to the exhibition collection is ‘Bandaji’, a traditional Korean storage chest, by Korea’s well-known cross-disciplinary creative director Kuho Jung. Initially a fashion designer, he moved on to direct performances and designed costumes for the National Dance Company of Korea. His artistic vision has expanded into furniture with the ‘Bandaji’ series, as he reinterprets the traditional chest by combining transparent Plexiglas with white metal fittings.

Kyounghee Kim

On the stairway leading down to the second exhibition hall stand two large ‘jogakbo’ artworks by Kyounghee Kim, delicately patchworked using silk organza. Jogakbo refers to a specific type of ‘bojagi’ – or wrapping cloth, often handmade from silk or cotton – made by patchworking leftover fabric pieces.

Jungin Lee

At the bottom of the staircase is an immediately eye-catching white sofa by Jungin Lee, presented by Charles Burnand Gallery. Conscious of the environmental impact of furniture-making, Lee turned to ‘hanji’ – a traditional Korean paper made from the bark of the mulberry tree, historically used in the construction of Korean homes. She adopted the age-old technique of pasting hanji onto lattice windows to create her distinctive, sculptural chairs.

Dahyeon Yoo

Quietly sitting among the art furniture is a pair of leather woven cases by Dahyeon Yoo. Yoo’s ‘Harmony’ series (2023-2025) utilises historical techniques originating from Korean rice straw folk crafts of the Joseon Dynasty period and applies them to leather. The balanced, symmetrical forms represent inner harmony.

Dahye Jeong

Winner of the Loewe Foundation Craft Prize 2022, Dahye Jeong presents her new work, ‘Drift as you are’ (2025), which sees her unique craft, working with horsehair, represented in the form of a wall light. Her horsehair vessel, ‘A Time of Sincerity’ (2021), from the Loewe Craft Prize, also returns this year, in black.

Wonmin Park

Centrally staged in the downstairs exhibition hall is Wonmin Park’s ‘Stone & Steel’ series presented by Carpenters Workshop Gallery. Taking diverse cues from both the natural and industrial world, Park’s new series of works includes a console and a bench – pieces that juxtapose the contrasting natures of primordial volcanic rock and modern industrial steel.

There is something magical about spending time engulfed in nature, among woods and birdsong. In Seogwipo, in the southwest of Jeju Island in South Korea, eleven cabins nestled in the middle of a forest are designed to offer just that, their open, glass façades embracing the wildlife, effortlessly bringing the outside in.

Jeju Island's latest cabin retreats

The compact structures are part of Egattoc, a hospitality complex designed for those seeking a quiet retreat immersed in the island’s natural environment. The cabins’ expansive glazing allows natural light in and maximises vistas of the surrounding forest. On one end of the accommodation pods, next to the bed, is a floor-to-ceiling window that invites the outdoor scenery – from trees to stars – in, making guests feel like their quarters are out in the open. On the opposite end is the bathroom. Its slanted glass roof provides an unobstructed view of the forest and the sky above. When looking up from the shower booth, seeing the sun, clouds and the leaves hovering above you is as close as you can get to showering al fresco, while being indoors.

South Korean architect Byoung Cho, who designed the cabins, says he wanted to create an experience where people ‘can see the forest while they take a shower.’ He explains: ‘I focused on the experiences. Jeju is known for its great nature. I wanted to keep what was originally there and have people enjoy that nature.’ In contrast to the dark grey exterior covered in cedar board with an oil stain finish, the interior of each cabin is furnished with bright coloured birch plywood, evoking lightness and warmth. The simple design – there is only a bed, table, kitchenette and bathroom – allows for a meditational and healing environment that fosters visitors’ communing with nature.

A short walk away from the cabins stands another building, titled ‘Above Ground,’ which offers a different kind of immersive forest experience. The concrete structure is designed to gently guide guests from the ground upwards, with stairs leading all the way to the top floor. There, an undulating, transparent roof in glass and aluminum, brightens up the interior with natural light. ‘I wanted the space to reveal itself as you go up the stairs. From the deck on the top floor, people can enjoy the forest view as if they’re up in a tree house,’ says Cho. ‘I really liked the forest there. So I wondered what kind of architecture would be suitable for this forest, and how could I build something without destroying the trees? I imagined something like a tree house where people could go up and have tea and have a view of the forest. So I decided to elevate the building. That’s why it’s called Above Ground.’

As its name suggests, the building is lifted from the ground at eye level, placed on concrete columns. On one side, a semi-sunken space anchors the structure to the ground and is used as an office. Two curved concrete walls at ground level create extra open air space and add to the immersive experience.

The walls gradually curve downwards on the outer edge, allowing for views of the landscape. ‘It’s an exterior space for people to stand still and enjoy nature – looking at the sky and the forest. It’s a way to actively connect the exterior with the interior,’ says Cho. The ground floor space initially opened as a museum featuring the art collection of Cho’s client – a South Korean entrepreneur running a cosmetics company. It is now empty while its next incarnation is being discussed. Options include a yoga studio and a restaurant.

Above Ground and Egattoc are at home within Cho’s nature-embracing architectural portfolio. Cho, head of BCHO Architects, is known for work that connects people and nature, emphasising notions of land. However, he confesses he hadn’t realised he was so focused on the subject, until recently. ‘It was only a few years ago when a magazine publisher wanted to do a book on my projects that I realised that my projects were mostly focused on stories related to the earth,’ he says.

Having already built two spaces with ‘ground’ in the name – an exhibition space beneath his office called ‘Under Ground’, and a café called ‘On Ground,’ both in Seoul – it may seem as if Above Ground was intentionally named to be part of a series; especially since the last seems to be such a natural iteration of his style, which is typically defined by a sense of stillness and serenity. Cho explains that, at least on a conscious level, the name was a complete coincidence. Additionally, ‘this one has movement,’ he argues. ‘Past projects, like the Earth house, are heavy. This one is lighter and has more form, colour and brightness. I also used colour on the glass walls – lighter colours such as sky blue, because this one is ‘Above Ground’.’

The Egattoc cabin starts from $ 127.40 per night and available to book here

bchoarchitects.com

From the Japanese Genmaicha dotted with popped brown rice to the time-consuming but deliciously foamy West African Ataya, the world of tea is truly full of wonders. And it’s certainly not stuck in time: today, a new generation is discovering the beauty of bright-green matcha and fragrant masala chai. For her latest book, 150 Tea Houses You Need to Visit Before You Die, writer and editor Léa Teuscher – a long-time Wallpaper* staffer – explores what’s brewing, whether it’s in a cool café in Istanbul, a historic tea plantation in Darjeeling, an elegant hotel in London or a beautiful Kyoto ochaya. Here she picks ten tea houses serving great drinks and homemade blends in elegant, often architect-designed spaces, around the world.

Ten contemporary tea houses to visit now

Basao Tea, Xiamen

Designed by Norm Architects, this beautiful minimalist space is the flagship tea room of Basao Tea, a brand established in 2011 in Xiamen, Fujian. It is named after a Japanese zen monk who once wrote: ‘Having learned the ways of silence, within the noise of urban life, I take life as it comes to me, and everywhere I am is true.’ Its pared-back space aims to help visitors enjoy quiet contemplation and the calming sounds of tea being prepared, poured and enjoyed. Sit at the large stone tea counter to take part in a Chinese gongfu tea ceremony, or learn about more contemporary ways of tea making, like Basao’s nitrogen-infused cold brews. The tea sommeliers can also guide you through the company’s collection, which ranges from hand-rolled Nepali tips to Hangzhou’s ‘dragon well’ tea. Basao also has branches in Shanghai and Hong Kong.

Basao Tea is located at 8 Jianye RdSi Ming Qu, Xia Men Shi, Fu Jian Sheng, China; @basaotea

Bellocq Tea Atelier, New York

Bellocq is known for its single-estate full-leaf teas and signature botanical blends, as well as its famous yellow tea caddies now found in the tea rooms of some of the world’s leading brands, from Tiffany & Co to Cartier. Designed by co-founder Heidi Johannsen Stewart, and her husband, architect Scott Stewart, its studio and tea room is located in a brick warehouse in Brooklyn’s Greenpoint, and celebrates the luxury of taking time to enjoy a fine cup of tea. Distilling inspiration from botanical traditions while embracing innovation, the brand focuses on sustainable production practices, sourcing teas from exceptional gardens that reflect the unique terroirs of China, Japan, Taiwan, Nepal, Sri Lanka, India and South Africa. Bellocq’s Earl Grey, for example, is made with an exceptional base leaf and, uniquely, the essence of Sicilian bergamot extracted from the entire fruit.

Bellocq Tea Atelier is located at 104 West St, Brooklyn, NY 11222, United States; bellocqtea.com

Cafe Svenskt Tenn, Stockholm

Leading Swedish interiors brand Svenskt Tenn was founded in 1924 by Estrid Ericson, an entrepreneur and a great tea lover who is said to have drunk five cups of tea every day. Fittingly, the brand’s beautiful shop in central Stockholm is also home to a café serving a wide range of teas, with everything from delicate, grassy Japanese green teas and Indian Darjeeling, to its own flavoured blend of Chinese keemun/Yunnan. The teas were selected by chef Petter Nilsson’s team at Petri, a fine dining restaurant that is known for its focus on tea pairings, so expect some pretty special drinks here, such as rare jungle teas from the Monsoon Tea Wat Ket in Thailand and Dongfang meiren (‘Oriental beauty’) from Nantou County in Taiwan. These can be accompanied by dishes such as smoked salmon on French toast, or rhubarb cheesecake, canelés and chestnut tartlets.

Café Svenskt Tenn is located at Strandvägen 5, 114 51 Stockholm, Sweden; svenskttenn.com

Casa de Chá, Brasilia

Designed between 1965 and 1966 by legendary architect Oscar Niemeyer, the Casa de Chá was conceived as a meeting point on the monumental Three Powers Plaza, the site of the three branches of the Brazilian government. It is a unique spot with floor-to-ceiling windows hiding under a long flat white roof, in the great modernist architecture tradition. Inside, you will find classic pieces such as Jean Gillon armchairs and a menu by local chef Gil Guimarães. Drinks include Itamaraty Chai (black tea with star anise, cloves and pepper), a house maté, and the Congresso infusion, with hibiscus, apple, clove and cinnamon. We’d recommend sampling these with a slice of corn cake or, if really hungry, a Niemeyer tartine with Parma ham and umbu jelly. Refurbished in 2019 by Bloco Arquitetos, the café is actually part of the local university and a training ground for its hospitality students.

Casa de Chá is located at Praça dos Três Poderes Três Praça dos Três Poderes - Brasilia, DF, 70802-140, Brazil; @casadecha.df.senac.br

Ksana matcha, Bangkok

Located in cosmopolitan Pathum Wan, this cave-like specialist matcha tea room offers a unique haven of tranquillity away from chaotic central Bangkok. Sourced from Japanese heritage farms in Uji and leading tea estates in Shizuoka, the powdered green tea is served here on simple wooden tables in a cocooning white cave designed by local practice JUTI architects. Ksana matcha uses the finest-quality tea leaves to create four teas, including Coastal Breeze, with umami flavours that evoke the fresh serenity of a coastal morning, and Smoky Peaks, a hōjicha with a hint of hickory. Also on the menu are traditional Japanese wagashi sweets, such as yuzu and yokan jelly. Ksana has just opened an equally slick new outpost in the nearby Central World mall.

Ksana Matcha is located at 2nd Floor, One City Centre, Unit R2-02, 548 Phloen Chit Rd, Lumphini, Pathum Wan, Bangkok 10330, Thailand; ksanamatcha.com

Osulloc Tea Museum, Jeju

Set on an organic tea farm on the island of Jeju in South Korea, this stylish tea room and museum designed by Seoul-based practice Mass Studies was set up by the South Korean brand Osulloc, which started growing tea here only in 1979, after painstakingly transforming the rocky land into tea fields. It has since won a string of prestigious prizes for its teas, including Illohyang, a first-flush green tea handpicked in early April, and Sejac, the brand’s signature green tea. You can try them at the museum’s teahouse, which also serves blended teas, such as Samdayeon Jeju Tangerine, and lots of pretty tea-flavoured treats, such as matcha tiramisu and Jeju green tea cheesecake. Osulloc also has teahouses in Seoul, including a flagship location in the Bukchon district.

Osulloc Tea Museum is located at 15 Sinhwayeoksa-ro, Andeok-myeon, Seogwipo-si, Jeju-do, South Korea; us.osulloc.com

Oxi Tea Room, Melbourne

Known for its exquisitely detailed themed afternoon teas, this serene tea room in downtown Melbourne celebrates the tea terroirs of Kenya and Taiwan, the home countries of owners Mehboob and Andy. From Kenya come teas such as Nandi Gold, a fruity black tea with hints of roasted hazelnuts, while from Taiwan are sourced crisp Alishan and delicate dong ding oolongs. The 30 premium whole-leaf teas are paired with meticulously crafted menus, and an interactive app guides diners through a culinary journey, revealing the stories behind each dish. Designed by local practice Alta Architecture, Oxi Tea Room is well known for its themed afternoon teas, with past inspirations ranging from local honeys to artists such as Yayoi Kusama. All feature pastry chef Johnny Ping’s eye-catching creations, including surprising bites such as cheesecake with plum, blueberry and tofu.

Oxi Tea Room is located at T4/158 Victoria St, Carlton VIC 3053, Australia; oxitea.com.au

Steep LA

Located in Los Angeles’ Chinatown, this teahouse, bar and eatery was co-founded by Samuel Wang and Lydia Lin, for whom tea is a family tradition. While Samuel grew up drinking oolong with his dad, Lydia’s favourite is pu-erh tea, which her family enjoys while eating dim sum. Their menu focuses on premium teas handpicked from China and Taiwan, which cover five out of six major Chinese tea categories: black, green, white, oolong and pu-erh – the latter including a refreshing Green Tangerine tea with notes of citrus and freshly cut grass. Come 5pm, Steep LA introduces its After Dark program, offering tea-infused cocktails such as Winter’s Whisper, with Jiaziyuan oolong tea. There is also a food menu with noodle bowls and snacks and a boutique selling pieces by local designers and craft makers.

Steep LA is located at 970 N Broadway #112, Los Angeles, CA 90012, United States; steepla.com

Théhuone, Helsinki

As you’d expect for a boutique and tea room located in the Design District, the décor at Théhuone is pure Scandinavian minimalism. Tea is served in sleek white porcelain cups and transparent teapots, which are perfect to watch flowering teas unfurl. There’s only a handful of tables and a seating area with floor cushions by the window from which to enjoy a selection of over 400 teas, carefully selected by sisters Nina and Nea, who founded the tea room in 2005. Flavoured teas such as classic Earl Grey and cherry-flavoured Sencha Sakura are particularly popular here, as are rare pu-erh varieties from Yunnan and the finest oolong teas from Taiwan. In keeping with the pared-back décor by local studio Pure Design, which lets the teas do the talking, there is no food menu – but drinks do come with little biscuits, mochis or a piece of green tea chocolate on the side.

Théhuone is located at Eerikinkatu 10, 00100 Helsinki, Finland; thehuone.com

To Tsai, Athens

Owned by specialist Ceylon tea importer Mlesna, To Tsai opened its doors in 1993. Inspired by Japanese architecture, the sleek space by Georges Batzios Architects is divided into a boutique and a tea room, where tea is served in a variety of teapots (porcelain, cast iron or clay) depending on its origin. It’s a real treasure trove of hard-to-find teas, such as an organic orange pekoe, grown near Etseri in the mountains of Georgia, and mastic tea, a tea flavoured with natural mastic oil (a key Greek ingredient), from Dimbula, Sri Lanka. Another local favourite is mountain tea, or Sideritis scardica, grown on an organic farm on Mount Olympus – a delicious infusion with notes of mint, chamomile and citrus.

To Tsai is located at Al. Soutsou 19, Athens 106 71, Greece; tea.gr

The atmosphere in central Seoul around Gwanghwamun Square in early April was certainly lively, as South Korean citizens awaited their Constitutional Court’s decision on whether to uphold the president’s impeachment on Friday 4th (the Court did, and unanimously so).

On the same date, those seeking distraction from the drama could alternatively visit the first public day of the 2025 Seoul Mobility Show at Kintex, the Korea International Exhibition Center, to the north-west of the city. Celebrating its 30th birthday in 2025 (and running until 13 April), this year’s biennial event hosted world-first unveils from local carmakers Hyundai, Kia and Genesis, plus regional reveals from global exhibitors BMW, BYD, Lotus, Mercedes-Benz and Porsche.

The show was rebranded from the Seoul Motor Show in 2021, with the aim of drawing in a wider audience and product offering. When Wallpaper* snuck in a day early for the press preview, we found innovative transport of all shapes and sizes. From hydrogen-powered cars to hubless electric bikes and autonomous pods, here is our curated edit.

Highlights from 2025 Seoul Mobility Show

Hyundai Nexo

The importance of Hyundai in South Korea is huge. The various wings of the business make everything from passenger cars – including under its own brand, plus sister marques Kia and Genesis – to giant earth diggers and more. Predictably, the local corporation-turned-global powerhouse went large at the Seoul Mobility Show, and arguably its most significant design was the second-generation Nexo hydrogen fuel cell electric vehicle (FCEV).

Targeting a 435-mile range from a five-minute refuel, the production vehicle may be niche, mainly due to the current lack of global hydrogen refuelling infrastructure, but Hyundai is still seeking 11,000 annual sales worldwide. More significant is the car’s heralding of a wider new exterior design direction, which Hyundai is calling ‘Art of Steel’. Based closely on the late 2024 Initium concept, expect future designs across the whole Hyundai range to visually reflect the strength and malleability of the metal in a variety of incarnations, while still anchored to the brand’s use of pixel graphics in its front faces and rear lights.

Hyundai.com

Hyundai Ioniq 6

Another significant unveil – and one more relevant to a wider buying public – was the new Ioniq 6 full-electric saloon. Majorly updated from the first generation, only put into production in 2022, the biggest changes are to its exterior. The front lights have been greatly reduced in size and complexity to just four pixels on each side, and at the rear, one larger ‘ducktail-style’ spoiler now replaces the two previous smaller spoilers. The net result is a visual lengthening and cleaning up of the already elegant ‘streamliner’ silhouette of the 2022 model. Technically only a facelift, with some small changes to the interior too, the exterior visual transformation is nonetheless impressive up close, especially for those who appreciate ‘less is more’ vehicle design.

A sportier Ioniq N Line model was also launched in Seoul, with a red exterior, and visually differentiates itself through gloss-black lower cladding that sweeps back and dramatically upwards to nestle under the single rear spoiler to enhance the go-faster vibe. Those seeking an actually go-faster Ioniq 6 won’t have to wait long either. The N version promises boosted performance, ride and handling, plus digital sonic pops, bangs to enhance the electric driving experience to a more petrol engine-like feeling and sound – in the manner of the already well-received Ioniq 5 N. Expect the 6 N to be unveiled at the 2025 Goodwood Festival of Speed in just a few months’ time.

Hyundai.com

Hyundai Insteroid

Wildly different again from Hyundai in Seoul was the Insteroid concept car. With a brief to make a vehicle that would engage the younger generation, the result is a slammed and widened Inster EV (known as the Casper in Korea) with a stripped-out and customisable interior. The dinky city car underpinnings are almost lost in the ‘Insteroidal’ transition, and there is no stated production intent for the concept, but the car can be driven in virtual form now as an option within the KartRider video game (think Korean Mario Kart).

As Nicola Danza, Hyundai Europe’s exterior design manager told Wallpaper*: 'We keep hearing the young generation don’t want to buy cars. That’s partly true, but I think the main problem is that there’s not a car by them, for them. So we took some of our young new designers – luckily not yet polluted by production problems – and just said, “What would you have as a dream car for yourself?” And they were like, “OK, we want a small car but also want it to be fun. They like gaming and the digital world, so combined the two things and came up with the Insteroid.'

Hyundai.com

Genesis X Gran Coupe and Convertible

Hyundai Motor Group’s luxury brand Genesis has been quietly developing a small foothold in the upmarket car market over the last decade through the strong direction of ex-Bentley designers Luc Donckerwolke and SangYup Lee. The latest concepts unveiled in Seoul, based on the G90 production model – respectively the X Gran Coupe and Convertible – reflect that experience and attention to proportion, quality and detail. Impressive? Absolutely, but the brand needs to put a few of these well-realised ideas into production more quickly and, longer-term, make the marque stand further apart from its inspirations.

Genesis.com

Kia PV5

Kia's latest offerings were first shown at its own ‘Kia EV Day’ in February 2025 in Tarragona, Spain, but the Seoul Mobility Show was nonetheless a good moment for the wider public to see them. The key product on the stand may have been an all-electric van – a new segment for Kia – but there were also camper van-style passenger variants.

In addition, there was a collaboration with fellow Korean electronics powerhouse LG, showing how the PV5’s rear cabin could be transformed, plus versions optimised for wheelchair users too, in keeping with the show’s recent wider and more inclusive mobility focus. The PV5 goes on sale in the second half of 2025 in Korea and Europe, with other markets to follow.

Kia.com

Top Secret Hubless e-bike

A Korean-made two-wheeled transport option that caught our eye at the show was the Top Secret e-bike, featuring a titanium and aluminium main frame and striking hubless wheels with airless tyres. The 48V 500W motor is restricted to 15mph and good for 80 miles of range but alas, the e-bike is currently only available for pre-order, with a $10,000 estimated retail price for an as yet undefined launch date. After which, logically, it should become less ‘top secret’.

TopSecretBike.com

Pix Moving Robobus

Autonomous shuttle pods have been envisioned, designed and in some cases actually delivered to various forward-thinking global cities as a safer, greener and potentially more accessible type of localised public transport for some years now. But they don’t come cheap, due in no small part to the significant sensors and tech that allow such driverless movement.

The compact sub-4m-long Pix Moving Robobus pod shown in Seoul – on the stand of its software provider Treeze – can carry up to six passengers and travel 60 miles before a recharge, but currently costs circa $500,000-600,000. However, engineers are working hard to integrate less expensive cameras that could soon replace pricey Lidar units and work as well, with a target price per pod by 2028 of $100,000. Still not a bargain compared to many private cars, but perhaps a fair enough price for more local councils and other municipal bodies to buy in and then coax citizens into this more high-tech shareable transport system.

PixMoving.com

2025 Seoul Mobility Show runs 4-13 April, MobilityShow.or.kr

French interior architect and furniture designer Pierre Yovanovitch is known for creating compelling design showcases – from the Paris showroom of his brand, Pierre Yovanovitch Mobilier, to narrative-led furniture exhibitions such as 2019's show ‘Love’ at New York’s R & Company. He has also successfully transferred his skills to costume and set design for operatic performance – his first foray being with Theater Basel’s staging of Rigoletto in 2023, for which he created a chic and slick set comprising three brightly painted curved walls – like abstract flower petals – that moved as the action unfolded and intensified.

Now, Yovanovitch has revealed the set design and costumes for a production of Le Nozze di Figaro by the Korea National Opera in Seoul.

Pierre Yovanovitch’s set and costume design for the Korea National Opera

Yovanovitch is a lifelong opera fan, and his passion for the medium resonates through his work and its attention to detail. A setting sun presides over the performance, tracking the passage of time as the ‘day of madness’ unfolds. The stage, set on a rotating platform, shifts between the Countess’s atelier and the Count’s house, offering clean-lined architectural vignettes in the round. A smooth, spiral tower and the imposing symmetry of the Count’s home draw on 1920s and 1930s modernist architecture – namely the stepped form of the ancient Mesopotamian ziggurat and the minimalist geometry of Villa Noailles - an aesthetic Yovanovitch hopes will resonate with younger, contemporary audiences.

Notably, this production marks his first creating costumes – a total of 53 – along with accessories, hairstyles, and makeup. Drawing on his eight-year tenure designing menswear for Pierre Cardin in the 1990s, he blended references to traditional Korean attire, such as traditional Korean knots and hanbok influences, with the sharp tailoring and silhouettes of 1920s–30s fashion.

'This project allowed me to expand my storytelling into new realms – beyond the set to costumes – and to reflect the witty intricacies of Le Nozze di Figaro through every visual detail,' says Yovanovitch, who meticulously tailored each look to reflect the contradictions and complexities of the characters. 'Everything seems simple in this opera, but in the end, all the characters are ambiguous. Love is everywhere, and melancholy more than meets the eye.'

The designer worked closely with director Vincent Huguet, with whom he also collaborated on Rigoletto at Theater Basel. For those curious to see where this creative partnership goes next, keep your lorgnettes at the ready: Yovanovitch and Huguet will reunite for Wagner's 'The Valkyrie', set to open later this year at the Rome Opera House. Encore!

Le Nozze di Figaro was staged by Korea National Opera at Seoul Arts Centre this March,

pierreyovanovitch.com
nationalopera.org.

Following its acquisition of two-thirds of Asiana, Korean Air has unveiled a major brand makeover, the first since 1984 and the second in its 55-year history. The refresh embraces a clean, modern aesthetic, emphasising the airline’s signature blue spectrum as its most distinctive visual element.

All about Korean air’s new identity

Korean Air enlisted global creative consultancy Lippincott to spearhead the redesign, a key part of its strategy to position both the airline and Seoul as global aviation hubs. The redesigned aircraft now feature a matte blue body, complemented by a navy fuselage logotype that reads ‘Korean’. By omitting ‘Air’, the airline aims for a sleeker, more refined look while reinforcing its national identity.

On the tail, the traditionally red-and-blue Taegeuk symbol – representing the balance of natural forces, as seen on South Korea’s flag – goes monochromic. The update, states the airline, seeks to capture the elegance and dynamism of Sangmo Nori, a Korean dance symbolising prosperity and abundance.

The new branding extends across physical and digital touchpoints, including redesigned economy and business-class cabin interiors by PriestmanGoode (also behind designs for Finnair Business Class and Lufthansa First Class Suites in recent years), updated livery, refreshed check-in areas, printed materials, and an overhauled website. Seats and boarding passes will now showcase a Jogakbo-inspired patchwork design. Additionally, the airline has partnered with chef Seakyeong Kim to revamp its in-flight menu.

‘Our cross-functional global team has worked closely with the Korean Air team to honour the brand’s rich history and heritage while also creating a bold reinterpretation for the future,’ says Lippincott CEO Michael D’Esopo.

Although the airline’s existing A380s will continue flying for at least another year, newly designed planes and liveries have already begun rolling out this month.

koreanair.com

The global practice of thermal bathing has been around for millennia. But this ancient activity is experiencing a contemporary boom, as we shun screen time in pursuit of meaningful connection.

As Wallpaper’s wellness report outlined in February 2025, the rise of traditional saunas, onsens, hammams and banyas receiving a contemporary twist are a few examples of this phenomenon, beloved for their communal atmosphere. (In the UK in particular, wellness practitioners such as Katie Bracher even offer ‘sauna master’ training courses, billing her techniques as ‘ancient technologies for modern times’).

The Wallpaper* wellness report: thermal bathing is rising

Outside of the UK, old-school establishments are also updating their offering when it comes to bathing. Even in Scandinavia, where people never stopped enjoying sauna and cold dips, run-down venues are being brought back to life. This spring, the Swedish town of Lanskrona opens a renovated pier and modern bath house inspired by the ‘cold baths’ – or ‘kallbads’ – of the 1800s. ‘These bathhouses played a historical role as a social gathering point’, says Ulf Svensson from Magasin A architects who is creating the new space. With picture windows and saunas leading into the sea, it’s not only a place to swim, but one in which to relax with fellow bathers.

Denmark’s legendary Kurhotel Skodsborg has provided preventative health therapies since 1898 and features a Henning Larsen-designed spa with more than 16 different options for thermal bathing. In 2025, the hotel hosted its first Nordisk Retreat with British breath work coach Richie Norton. Here, activities included sauna and steam rituals, sea dipping, breath work, forest walks and more. ‘Lots of spas might feel dated, and bringing in new practices around hot and cold contrast therapy shines a light on other possibilities,’ says Norton. ‘The more we learn about the health benefits of hot and cold exposure, the more spas are going to change.’

Countries blessed with thermal mineral springs and sea baths are brimming with history, culture and authenticity – all qualities that the modern wellness aficionado seeks. Australia’s Great Victoria Bathing Trail, for example, is developing a series of 30 new bathing spots along a 900km route, including the Phillip Island hot springs. In Iceland, Árböðin – a new spa complex designed by T.ark architect Halldór Eiríksson – will open on the banks of the Hvitá River in Laugarás in the summer, with hot and cold pools on multiple levels. (Guests will even have to pass through a waterfall to move between them).

‘In North America, the bathing movement is on the cusp of a huge wave,’ says Robert Hammond, US president of Therme, a water wellness group offering huge bathing complexes echoing the Roman baths of old, such as AIRE Ancient Baths in London. ‘It’s being driven by renewed interest in and deep desire for real life connections with other people and with nature, and the speed at which it’s moving is palpable,’ he continues. Following this trajectory, in the coming months, hotel group Fairmont is set to unveil a new thermal spa called Basin Glacial Waters at Chateau Lake Louise in Canada. Built by architect Matteo Thun and integrated into the natural landscape, this will be the group’s debut ‘wellness-first’ location and has taken two decades to complete.

The UNESCO-listed spa town of Vichy in France is currently undergoing a six-year, multimillion-dollar modernisation, too, where water from Vichy’s natural springs will provide drinks, baths, showers, mud poultices, thermal ovens and swimming pools. French pharmacy stalwart Vichy is also renowned for its skincare products harnessing the healing and soothing power of this water. (Avène is another, drawing its water from the Sainte-Odile Spring in France’s south for face mists and more).

Hungarian skincare brand Omorovicza, which was founded by Margaret and Stephen de Heinrich de Omorovicza in 2006, includes a patented healing concentrate in all of their products. Stephen de Heinrich’s family built Budapest’s Rác Thermal Bath during the 1800s, on the site of a hot medieval spring. With new Omorovicza Institutes continuing to crop up, the brand also partners with hotels, including a new venture at spas in the Four Seasons.

So, what next? According to the Global Wellness Institute, thermal and mineral springs – renowned for their healing properties – have now rocketed to more than 31,000 across 130 countries. And the organisation estimates that this is only set to increase by 14.3 per cent a year through to 2027.

This will include Hyatt’s new hot spring brand Atona, which arrives next year in Japan, bringing 30-50 room ryokans (traditional inns with bathing facilities built on hot springs that date back to the 8th century) to three locations in the country. Also in the pipeline is Therme’s $200 million watery oasis in Incheon City, South Korea, which aims to increase global awareness of Korean health and wellness practices, following the K-beauty’s worldwide take off.

It’s been five years since Bong Joon Ho made Oscars history in 2020 with Parasite – a contemporary classic of social satire, and only the second film in history to win both the Cannes Palme d’Or and the Academy Award for Best Picture. Now, the wait for a follow-up is finally over as the long-delayed sci-fi romp Mickey 17 hits the big screen in the UK (7 March 2025).

To mark the occasion, the BFI invited the Korean filmmaker to reflect on his career via an exclusive ‘In Conversation’ event ahead of a series of retrospective screenings in March and April. Wallpaper* was on hand to indulge in his wisdom – find out what we learned below.

Barking Dogs Never Bite (2000)

Bong’s feature debut was, in his words, ‘a complete box office disaster’. Even today, this dark comedy about missing dogs in an apartment complex feels like the black sheep of his canon. But the BFI London Film Festival thought highly of it in 2000 –prompting a memorable occasion for the visiting filmmaker that year.

‘It was an exciting time for Korean cinema,’ Bong explains – so the ambassador of South Korea came to see the film at that year’s festival. ‘But he was very anxious because there was this documentary out about Koreans eating dogs. It was a sensitive issue – and then this film of mine was all about serial puppy killing. I remember him being so nervous and tense. I felt incredibly bad!’

Memories of Murder (2003)

Bong’s 2003 detective thriller was his native breakthrough – and it’s still considered one of the greatest Korean films of all time. Its rich, detailed plotting was largely inspired by meticulous research into a series of shocking crimes that rocked the country in the late 1980s.

‘There were ten confirmed victims over six or seven years,’ says Bong. ‘And at the time of filming, the case was unsolved. Before I could start writing, I was investigating and meeting detectives and journalists – but I really wanted to meet the killer himself. I even carried a list of questions in my pocket just in case I ran into him by coincidence. I was obsessed with this man and this case.’

Profilers assumed that he was either dead or abroad when the killings stopped in the early 1990s, but it later turned out that he was already in prison. In 2019, Lee Choon-jae – incarcerated for the murder of his sister-in-law in 1994 – was implicated by new DNA technology that connected him to one of the unsolved murder cases, leading to an admission of responsibility for the deaths of 14 other women.

The Host (2006)

True crime was a running theme for Bong in the early 2000s. ‘In 2000, there was a case where a US military doctor gave orders to pour formaldehyde into the Han River,’ he recalls. ‘The MacFarland case was done quite seriously on the news – but I kept feeling like I was watching the beginning of a sci-fi film…’

The events were recreated for the opening of the director’s international breakthrough, The Host – a monster movie otherwise remembered for its unique, tadpole-like creature design. The key concept was ‘a sick fish’, says Bong, praising the work of ‘genius’ Jang Hee-chul – who also designed the creatures of Mickey 17 and Okja.

‘If you look at contaminated rivers, a lot of the fish have bent spines – that was the starting point for this design,’ he says. Up to 1,500 different sketches were made, with the winning idea taking further inspiration from an unconventional source. ‘We had a lot of photos of Steve Buscemi in the office,’ says Bong. ‘Especially from Fargo, when he’s bloody and hysteric.’

Mother (2009)

Music plays a vivid role in Bong’s films – from the unexpected John Denver needle-drop in Okja to Jung Jae-il’s baroque score for Parasite. But landing famed Korean guitarist Lee Byung-woo for 2009 thriller Mother was a real coup for the director: ‘I remember buying his vinyl records and excitedly unwrapping them. I’ve been a fan of his since high school.’

Lee played guitar for the movie’s memorable opening sequence, which features veteran actress Kim Hye-ja dancing in a meadow. ‘We shot that scene in broad daylight,’ Bong recalls, ‘and she felt quite awkward. So she had me and my producer – who’s quite a big man – dance along with her behind the camera. It was… not so beautiful.’

Mickey 17 (2025)

‘My producers were quite surprised when I took on this project,’ says Bong – whose only previous adaption was 2013’s Snowpiercer, based on a French graphic novel. But when the book Mickey 17 landed on his desk, it was a no-brainer: ‘The story, the concept, and the character of Mickey Barnes were captivating.’

Ashton Edwards’ original novel is based on the concept of ‘human printing’. Bong mentions Hewlett-Packard in his explanation. ‘That in itself is quite funny,’ he says. ‘It’s inhumane to think of Robert Pattinson getting printed out to do these failed missions and to die over and over again, but I was fascinated.’

In the novel, Mickey is killed seven times – ‘But my film is called Mickey 17.’ The penny drops: ‘It’s not that I wanted to create a serial killer movie – it’s simply his job to repeat the routine!’

The BFI are celebrating the work of Bong Joon Ho with a season of films screening at BFI IMAX now, including Mickey 17, and throughout April at BFI Southbank

whatson.bfi.org.uk

Gone are the days when a trip to the cinema was solely about the film. While movies (of course) remain central to the experience, cinemas are transforming into well-equipped spaces where audiences can linger before, during, and after a screening. And with films becoming longer (take Brady Corbet’s three-hour-long The Brutalist, with a built-in 15-minute intermission), flimsy plastic chairs simply won’t do. Architects are increasingly tasked with creating cinematic environments so striking, they could be scenes in the films themselves. Keep reading for Wallpaper*’s edit of must-see cinemas with award-worthy design.

The best cinema design around the world

Busan Cinema Centre

The Busan Cinema Centre, home to the South Korean city’s annual International Film Festival, is a melting pot of rich cultural programs, entertainment, and architecture. The complex, which opened in 2012 and was designed by the Viennese architecture studio Coop Himmelb(l)au, features an interplay of outdoor and indoor spaces sheltered by two roofs, whose exterior ceilings are clad with LED panels. The project won the International Architecture Award and the Chicago Athenaeum in 2007, alongside the Guinness World Record for the ‘longest cantilever roof’ in the world. The main building, known as Cinema Mountain, serves as a multipurpose entertainment centre, housing a three-screen multiplex, which includes one 400-seat and two 200-seat cinemas, as well as a 1,000-seat multifunctional theatre.

Busan Cinema Centre is located at 120 Suyeonggangbyeon-daero, Haeundae-gu, Busan, South Korea; dureraum.org

Cinema Godard at Fondazione Prada, Milan

Fondazione Prada has long been engaged with the world of moving images, partnering with iconic filmmakers like Pedro Almodóvar, Danny Boyle, and Ava DuVernay, while also supporting conservation and funding initiatives. The foundation’s passion for cinema is palpable, with the bar at its Milan location designed by American filmmaker Wes Anderson. True to form, its in-house cinema also impresses. Designed by Dutch architecture studio OMA, which also created the rest of the 2015 complex, the multimedia auditorium features distinctive olive-green velvet chairs by AMO, OMA’s research arm, and movable walls that merge indoor and outdoor spaces. In late 2023, the cinema was renamed Cinema Godard in tribute to the influential Franco-Swiss director.

Cinema Godard is located at Fondazione Prada, L.go Isarco, 2, 20139 Milano, Italy; ticketing.fondazioneprada.org

Cineteca Madrid

A former 20th-century slaughterhouse is an unlikely setting for an ultra-modern cinema, but Spanish architects Churtichaga + Quadra-Salcedo certainly made it work. The 14-year-old Cineteca Madrid comprises a three-floor film archive, a studio, two cinemas, offices, a canteen, and a summer film patio. While dark grey wooden panels and neon lighting seem at odds with the building’s history, exposed bricks and preserved features integrate perfectly with the futuristic design. The standout element here is the permeable basket structures that filter orange LED light and double as lamps. In the main screening room, these baskets cover the walls and ceiling, casting a soft orange glow until the film begins, leaving only a black surface.

Cineteca is located at Pl. de Legazpi, 8, Arganzuela, 28045 Madrid, Spain; cinetecamadrid.com

Cineum Cannes

Nestled in the western district of La Bocca, Cineum Cannes stuns with a sculptural façade that fuses sleek lines and futuristic curves – the brainchild of French architect Rudy Ricciotti and Israeli designer Arik Levy. Cineum is the first cinema in Europe to feature the state-of-the-art Dolby Atmos sound system. The complex further brings out the city’s love for cinema with an immersive gallery and exhibition space dedicated to showcasing the behind-the-scenes of movies.

Cineum Cannes is located at 13 Av. Maurice Chevalier, 06150 Cannes, France; cineum.fr

Curzon Camden, London

Curzon is the go-to choice for Londoners craving an arthouse experience in a sleek setting. Among the group’s flagship venues in Mayfair and Soho, Curzon Camden stands out with its distinctive soft pink and green-hued design by Takero Shimazaki Architects, also responsible for Curzon Bloomsbury. Situated just off Camden High Street, the cinema is tucked beneath Railway Viaduct 4, forming one side of a narrow alley. It features five intimate screens, each seating 30 guests, alongside public spaces like a café and a popular New York-style bar. A blend of galvanized metal, plywood, structural steel, stone, and render creates a dynamic mix of textures, light, and shadow, offering a lush and welcoming atmosphere.

Curzon Camden is located at Arches N7 - N14, Dockray Pl, London NW1 8QD, UK; curzon.com

The Gem Cinema, Jaipur

The Gem Cinema, dreamed up by its founder, the late Lakshmi Kumar Kasliwal, and engineer PK Lauria, opened in 1964 with distinctive Art Deco elements and a 1,145-seat capacity. Featuring a state-of-the-art 70MM Stereophonic TODD AO sound system, it was only the second cinema in India to offer this advanced technology at the time. After closing in 2005 due to the rise of multiplexes, the cinema reopened in 2019 for the Jaipur International Film Festival with minimal changes. Spanning 18,000 sq ft, it remains Rajasthan’s largest theatre and arts venue. Now operated by Kasliwal’s son, the cinema upholds its tradition of screening a single film at a time – with its bold geometric design, vibrant colours, and obligatory curtain roll intact.

The Gem Cinema is located at Mirza Ismail Rd, Bapu Bazar, Biseswarji, Jaipur, Rajasthan 302003, India; @thegemcinema

Pálás Cinema, Galway

Pálás Cinema, envisioned by Irish studio dePaor Architects, sits at the heart of Galway’s old town and occupies the site of a former merchant house and garden. Comprising three screens, a bar, and a café, it creatively integrates into the plot through a redesigned façade that enhances both the streetscape and back-of-house areas, along with a new courtyard foyer. The building, with its slate pyramid roof and weathervane, stretches beyond Georgian plot boundaries. Made of reinforced concrete, it incorporates cantilevered walls and staircases, allowing ample natural light. Each cinema is adorned in red fabric, with the bottom draped, the middle ruched, and the top following the roof’s pitch.

Pálás Cinema is located at 15 Merchants Rd Lower, Galway, H91 F6DF, Ireland; palas.ie

Wushang Mall International Cinema

For Wushang Mall International Cinema, Hong Kongese architecture studio One Plus Partnership drew inspiration from the theme of a bustling city, with design choices mirroring an abstract urban landscape. The lobby features irregular, road-like shapes and intersecting lines, symbolising streets and skyscrapers. Meanwhile, the open ticket office and bar, connected by ramps, mimic a free-flowing city layout. Stone patterns are incorporated into metal panels, fabrics, and carpets, creating a natural, textured atmosphere. This extends into the auditoriums, where the earthy colours – orange-brown and red stone patterns – are used on sound-absorbing surfaces.

Wushang Mall International Cinema is located at Jiefang Avenue No.690 Wuhan International Plaza C Block Floor 7F Jianghan, Wuhan, Hubei China; meituan.com

Leisure time is limited in South Korea. A combination of factors, from the rapidly developing economy over the last 40 years to long working hours, mean enjoying free time has become more challenging for the South Korean population.

It is a shift recognised by photographer Seunggu Kim, who has documented the fast-paced lifestyle and community’s hard-won enjoyment despite the challenges in new photography book, Better Days. With many Koreans only taking half of their holiday allowance, and choosing to spend it at home due to the time restrictions which come with travel, there is a burgeoning culture of urban leisure facilities. In Kim’s images, communities gather in lakes, water parks and fields of flowers, finding joy in the quotidian.

A graduate of Korea National University of Arts and Sangmyung University, Kim has closely observed the role of tradition in Korean suburban life in images which span the climate, leisure and urbanity. ‘The individual leisure activities in the photographs in Better Days are clustered around this foundation of ‘pragmatism’ and ‘community- orientated individualism’,’ Kim says. ‘The Korean’ order of coexistence’, the communal values that refer to and complement each other, are firmly entrenched in a long historical narrative. Ordinary leisure activities, chosen by individuals, are gathered in a single square frame, expanded and arranged into dozens or hundreds of moments, forming multi-layered relationships and coexisting.’

For editor, writer and educator Simon Bainbrige, author of the Better Days text, Kim’s panoramas are singular in their elevation of people and places into architectural symbols. ‘In the complex networks of pathways and boundaries, we see how we are shaped by our environment,’ he adds. ‘He draws our attention to the outer edges to show us the workings of things. And in many of the pictures, the spectacle itself is absent, or peripheral. At a cherry blossom festival in Gwangmyeong, we see crowds converging from all directions upon a small amphitheatre. Yet we are presented with a rear view of the stage facade and a cluster of service tents, the nearest of which opens to reveal bored security staff sat around a table, indifferent to the focus of everyone else’s attention.’

Seunggu Kim, Better Days, is published by Kehrer Verlag

kehrerverlag.com

The Seoul neighbourhood of Hannam-dong, overlooking the Han River, is home to some of the wealthiest households in South Korea (the family of the chairman of Samsung among them). Here, on the hill above the Samsung-owned Leeum Museum, the houses are grand, but that is not the only reason they look quite different from those in the rest of the city. These homes are largely completely blocked from view from the street, with high walls and fences sheltering the high-profile properties from prying eyes.

Tour Taikaka House

Among those formidable mansions, there is one that stands out in both colour and shape – a black building wrapped in wooden fins. Up close, the patterns on its perforated ‘roof’ structure come into sharper focus, evoking a bird’s nest. ‘There wasn’t any real intention behind the shape,’ says Nicholas Burns, the architect who designed the house. ‘It was more something that came out naturally when I was drawing. But it creates interesting light and shadow patterns.’

Recycled teak found in a 300-year-old Dutch building in Java, Indonesia, was used for the fins. They were brought to Bali and milled into the cladding at Burns’ workshop – his studio has a base there, as well as offices in Australia and Portugal. Dark colours were chosen for the exterior because teak lightens over time. ‘I think the goal was to make it quiet, to make it absorb light rather than reflect light and for it to weather,’ says Burns. Enclosed in the teak fins is a dark zinc building with sturdy, heavily insulated walls.

The four-storey home was commissioned by Seoul-based, New Zealand entrepreneur and art collector Adam Ballin, who lives here with his South Korean wife and two children. ‘I didn’t want to live in an apartment,’ he says. ‘I wanted land and a home for my family – a sanctuary, a space that had everything I needed within its walls.’

His aim was to be able to close the gates and feel away from the hustle and bustle of Seoul, and to be self-sufficient. He named his sanctuary Taikaka House, which, in the native Māori language of New Zealand, means ‘heart-wood’, or the middle and strongest part of a tree. His aspiration to build a strong family is reflected in the design of its base – using wood at its heart.

Two types of wood were used for the interior – French oak on the ceiling and bog oak for the cabinet joinery. The latter is oak that has been preserved in peat bogs for hundreds or thousands of years – it comes with a carbonised finish, which gives it its black colour. Wood and limestone were the two materials used consistently throughout the house. 

Sunken below ground level is a wild garden courtyard, while just above it lies another outdoor area with an al fresco cooking section. ‘The idea was to introduce nature into the centre of the house almost as the focal point,’ says Burns.

The wide, floor-to-ceiling windows facing the mountains and cityscape bring in the natural surroundings, too. Another ‘mini’ garden spills out from the living room. It ‘frames up the buildings below and intensifies the views of the mountains so it makes the mountains come closer,’ according to Burns.

Nature is also present inside the house through a collection of artworks by New Zealand creatives. Hanging in the foyer is Bill Hammond’s Placemakers. ‘To me, this is New Zealand art at its finest,’ says Ballin. ‘It’s almost primaeval; the birds are keeping guard over a sacred land, pushing back the settlers. I love the feeling of the painting, its deep green envelops you and cools the space down.’

Next to the basement pool is Michael Smither’s Rock Pools, the largest piece the artist ever painted. ‘Every time I walk past it, it reminds me of the beautiful clear rivers of New Zealand,’ says Ballin. ‘It’s almost surrealist, but it ties the rooms together.’ In fact, the home’s swimming pool was designed to be like a rock pool; all its edges are curved as if they were carved out by the ocean.

Burns designed the space with Ballin’s expansive art collection in mind. ‘All of the walls are obviously positioned in ways to suit the art,’ he says. ‘Museum-grade lighting was used because that is very important in terms of protecting the artwork and giving a very even, true colour and light to the works.’

Connecting the floors is a one-of-a-kind walnut and brass lift piercing through the middle of the house. The work of German designer Valentin Loellmann, who also created furniture for the house, its exquisite look is more of a sculpture than a lift.

Despite Covid, construction took only 13 months to complete since it kicked off at the end of 2019. One of the many beauties of this house, Ballin told Burns after moving in, is to have a skylight over the en-suite shower in his bedroom. What could be more luxurious than enjoying the bright blue sky in the morning and the moon shining down at you at night?

nicholas-burns.com

This article appears in the December 2024 issue of Wallpaper*, available in print on newsstands from 7 of November, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

In partnership with Hyundai

Once touted as a novel material offering unprecedented malleability and versatility, plastic is steadily becoming one of the biggest threats to our natural environment. But it can be hard not to marvel at it when walking around a new exhibition currently on at Hyundai Motorstudio Busan in Korea’s second largest city. ‘Plastic: Remaking Our World’ looks at the past, present and future of this practical but problematic material, and explores how the Korean car manufacturer is addressing the issues surrounding its production and use.

Co-organised and developed by the Vitra Design Museum in Germany in collaboration with the V&A London and Dundee and Lisbon’s Museum of Art, Architecture and Technology (MAAT), the exhibition opens with an immersive, large-scale film installation by Asif Khan (who was also responsible for the exhibition’s design). Entitled Kalpa, it chronicles how, over a period of four billion years, microscopic life turns into oil, which is then used to produce all kinds of plastics, threatening the very natural environment that gave birth to this material. The message is clear. The current plastic crisis is a human-made one, and it is up to us humans to make it right.

The world’s third largest car manufacturer, Hyundai isn’t shy to admit that it’s part of the problem. ‘We think the interesting thing about having these exhibitions is that the Vitra Design Museum really highlights and explains these issues,’ says Sungwon Jee, senior vice president and global chief marketing officer at Hyundai Motor Company. ‘Now it’s time for global companies to address them. We feel a responsibility within the car industry to be part of the solution.’

Hyundai operates a total of seven studios globally – four in Korea and three outside the country. ‘Each studio has a different focus depending on its location,’ says Jee. ‘Our Busan studio is located within the city’s F1963 cultural complex, so our prime focus is on culture and design.’ Opened in 2021, and designed by Seoul-based studio 101 Architects, the predominantly glass-and-steel structure – which houses a large exhibition space, a small shop selling Hyundai merchandise, and a restaurant – has served as a hub for the company’s many cultural activities. ‘Plastic: Remaking Our World’ is the third exhibition presentation it has co-organised in collaboration with the Vitra Design Museum, following on from ‘Hello Robot’ in 2021 and ‘Home Stories’ in 2023.

The bulk of the show takes visitors on a journey from the first uses of natural plastics, such as horn and ivory, through the various semi- and fully-synthetic plastic variations. There are early design classics in Bakelite, like Isamu Noguchi’s 1930s ‘Hawkeye Measured Time’ clock or André Mounique’s 1945 foldable ‘Lucidus Bloc’ desk lamp. There is also a model of Monsanto’s ‘House of the Future’, a 1957 Disneyland attraction in which not only the house itself, but everything in it, was made of plastic, and a striking 1916 Charles Rennie Mackintosh ebonised wood smoker’s cabinet, which features bright yellow casein plastic as a surface inlay instead of a more traditional material such as mother-of-pearl.

Looking to the future, the exhibition features a large section dedicated to the development of new materials, including ones made of waste from the seafood industry, nut shells and coffee grounds. There is also clothing made from mycelium and edible packaging made from seaweed. Bioplastics, meanwhile, have been receiving a lot of global attention, but many of the proposed solutions are still at very early stages. ‘Talking to many experts in the field and industry, it’s clear there is not one single solution,’ says show curator Mea Hoffmann.

The exhibition has already shown at the Vitra Design Museum, V&A Dundee, MAAT and the National Museum of Singapore, but at the Busan show, visitors also get a unique close-up look at some of Hyundai’s initiatives to become less dependent on plastics.

For instance, much of the interiors of the company’s electric IONIQ range are made from eco-friendly materials developed to reduce the cars’ overall plastic footprint: flaxseed oil is used in the dyeing of the bio-leather seats; yarn spun from sugarcane and corn is used for armrests and headliners; and a paint, made from black pigment extracted from discarded tyres, is used on the lower bumpers and side mouldings.

There is a positive note, with the exhibition staging demonstrations of designer Dave Hakkens’ Precious Plastic project, where visitors have the opportunity to convert plastic bottle caps into spinning tops, rulers or coasters. Feeding caps into a machine and, just a few minutes later, seeing a totally new product is an important reminder than discarded plastic can be a resource, rather than waste. In the last section, Hyundai illustrates how it is developing technology to convert non-recyclable plastics into hydrogen, with plans for commercialisation. The exhibition not only highlights the challenges of plastic waste, but also offers innovative solutions. It’s a move in the right direction as Hyundai aims to foster in-depth discussions on plastic pollution, and present creative, eco-friendly solutions based on modern technologies.

‘Plastic: Remaking Our World’ is on show until 25 May 2025 at Hyundai Motorstudio Busan, South Korea, hyundai.com

With more cafés per capita than any other city in the world, Seoul offers a dynamic coffee culture unlike anywhere else, comprising international chains, local favourites, themed cafés, and a growing number of high-quality independents. Among the thousands of options available, the following selection of design-led cafés stands apart from the ordinary – perfect for a pause amid the bustle of Frieze Seoul 2025 (3-6 September).

Ten of the best coffee shops in Seoul

Blue Bottle Myeongdong Cafe

Speciality coffee roaster Blue Bottle enlisted Teo Yang Studio for the design of its outpost in the heaving shopping district of Myeong-dong. The brief was to preserve the brand’s DNA while tailoring the site to its surroundings. The Seoul-based practice responded by elevating the brand’s trademark blue into a central design element, weaving it through a concept that also draws on hanok (traditional Korean houses) and the spatial philosophy of jakyung (architecture as part of the scenery).

Compact and pared back, the Myeong-dong café is built for its grab-and-go rhythm. A soft palette of white and blue sets a calming backdrop that sharpens the senses for the aroma of freshly brewed coffee. Order the signature New Orleans-style coffee, laced with roasted chicory, and pair it with something sweet from the rotating bakery counter. SDLC

Blue Bottle Myeongdong Cafe is located at 14 Myeongdong-gil, Jung District, Seoul, South Korea.

Cafe Aalto by Mealº

In the transformed district of Yongsan-gu, a clean-cut café inspired by Alvar Aalto anchors David Chipperfield’s first project in South Korea: the Amorepacific World Headquarters. Aptly named Cafe Aalto, the site is a study in wooden textures and stark proportions, attuned to natural rhythms. While the singular Stool 60 and Chair 66 offer the most direct references to the work of the late Finnish architect and designer, a striking ceiling installation by Teo Yang Studio is equally noteworthy. Thinly slatted birch screens frame a sculptural cut-out ceiling, recalling Aalto’s Savoy Vase.

The central reading table, featuring tomes on Finnish architecture, is best enjoyed with a drink – even the coffee receives an Aalto-inspired twist, with fresh chestnut cream. Sweet bites, led by local bakery Mealº, complement the café’s aesthetic. Expect cube custard bread and Goyang slices to disappear quickly from the shelves. SDLC

Cafe Aalto by Mealº is located at 100 Hangang-daero, Yongsan District, Seoul, South Korea.

Coffee Nap Roasters

Coffee Nap Roasters selected design studio MAOOM to conceptualise its award-winning space, which heralds a hill made of 7,000 bricks for people to sit and enjoy coffee. Located on a triangular corner in Yeonnam-dong, the unique space shares a strong connection with nature, with its ceiling allowing sunlight and moonlight to come through.

The café, notes founder and owner Jinho Lee, ‘brightens up the area and will continue to show its unique beauty with only the simplest tones and textures even after a long time passes’. RS

Coffee Nap Roasters is located at 70 Seongmisan-ro 27-gil, Mapo-gu, Seoul, South Korea.

Foreplan

Foreplan, which lies hidden at the end of an alley in Seongsu-dong, near Ttukseom Station, perfectly reflects the ambience of an architectural office. Near the entrance, visitors can playfully flip wooden boxes to create letters. Inside, displays of sketches and models, tables lined with cutting mats and yellow tracing paper, as well as open shelving displaying books and magazines, add character to the space.

Offerings comprise a brunch menu along with a wide selection of beverages, including coffee and espresso drinks. However, those looking for something beyond the usual latte might try the signature Macadamia Cream Latte, topped with a thick layer of smooth cream and a sprinkle of crushed nuts. RS

Foreplan is located at 30-11 Wangsimni-ro 14-gil, Seongdong-gu, Seoul, South Korea.

Hahouse Cafe

One of the latest industrial-chic additions to the city, Hahouse Cafe operates in the multicultural Itaewon district. The coffee shop, which doubles as a gallery on its upper floor, is a clean choreography of raw materials, including concrete, stainless steel, and wood. Niceworkshop’s founder, Hyunseog Oh, aimed to conceptualise a space that would connect natural elements with man-made materials as a symbol of unity and cohesion.

Bespoke furnishings follow the same principles as Oh's Neo-Naturalism series: tables and chairs feature wood grain patterns etched onto geometric stainless-steel surfaces, while standard-sawn timber logs inspire stools. If the steel leaves you feeling a little cold, pair a warm coffee with one of the bakery’s signature sweet domes. Hahouse Cafe’s edible Jenga – made with French AOP butter, Guérande sea salt, Valrhona chocolate, and other rich flavours – makes for a very sweet pastime. SDLC

Hahouse Cafe is located at 8 2F Itaewon-ro 54ga-gil, Yongsan District, Seoul, South Korea.

Hrr

The name of this coffee shop-cum-glasshouse comes from the onomatopoeic Korean word 흐르르, phonetically rendered as ‘Hrr’. Located at the entrance of Jamwon Hangang Park, its crisp white interiors are as calming as the nearby Han River. The minimalist colour palette and open layout are grounded by mature wooden pillars, evoking the area’s maritime heritage. Thanks to the floor-to-ceiling windows, natural light continuously pours in, and with the subtle blue tint in the glass, it often feels like you're submerged underwater.

The highlight here is the joyful trio of baked goods, bagels, and coffee. Fruits and vegetables are home-grown by the café owners, and the top pick is the signature sandwich featuring ham, figs, cream cheese, garlic, and butter, perfectly balancing savoury and sweet. Pair it with a warming Americano and a coconut financier, and sink into a pocket of calm. SDLC

Hrr is located at 201-12 Jamwon-ro, Seocho District, Seoul, South Korea.

Perception

Perception sits in the Hapjeong neighbourhood: an area that has become popular for cafés due to its proximity to several major universities, including Hongik University, a prestigious art school. The spot is known for its striking ceiling – a flowing structure consisting of curved wooden slats, which architect and designer Jung Hae Jun-Feelament dubbed ‘The Shading Tree’.

A range of coffee options and espresso-based drinks, including the usual cappuccinos, lattes, and flat whites, might be the order of the day, but their Atmosphere of the Place (an ice-crème latte), Temperature of the Day (a mocha-crème latte), and Memory of the Moment (an espresso with a blend of sweet cream and pink salt) are the real highlights. RS

Perception is located at 16 Eoulmadang-ro 1-gil, Hapdžong-dong, Mapo-gu, Seoul, South Korea.

Pont Cafe Mullae

Pont Cafe Mullae is located in Mullae-dong, one of the oldest industrial areas in the city, with many of the former factory buildings being turned into artist workshops and galleries. The coffee shop operates in an old red brick building that formerly housed five separate ironwork factories.

Studio Stof was chosen to design the space for its adaptive reuse as a café. The architects preserved the distinctive shell while incorporating modern elements. The original rough, raw ceiling was partially exposed to add height and depth to the space, allowing sunlight to filter in through various types of windows. The orange-toned interior features a mix of materials, including plywood, terracotta tiles, and plaster walls, symbolising the bright and warm service customers receive. RS

Pont Cafe Mullae is located at 1F, 6, Gyeongin-ro 77ga-gil, Yeongdeungpo-gu, Seoul, South Korea.

Seoul Coffee Ikseon

Seoul Coffee Ikseon is housed in an old traditional Korean house (hanok), among the small alleys in Ikseon-dong. Local architectural firm Labotory preserved the traditional features of the original building, including sections of the roof, beams and the entrance's thick wooden door, while adding modern elements, such as brass accents, glass blocks and a horizontally shaped light-box exterior sign.

The café design possesses a humble desire to preserve the unique culture of the city and reminds visitors of the comfort that familiar things provide. Visitors can expect a traditional coffee and espresso menu, but also delicacies like Angbutter Bread, Injeolmi Tiramisu, Sobok and Vienna Milk Tea. RS

Seoul Coffee Ikseon is located at 166-31 Ikseon-dong, Jongno District, Seoul, South Korea.

Upstanding Coffee

A different take on the warm, light-filled cafés of Seoul, Upstanding Coffee appeals with its run-down aesthetic. Conceptualised by The First Penguin (T-FP), the local practice sought to create a modern-day coffee shop that would attract a contemporary clientele while respecting the local environment. Much of the aesthetic of the former site was left intact, with new finishes including stainless steel and lauan plywood. Doors and windows were designed to reinterpret the shape and movement of the original ones, while a brand new, striking spiral staircase was installed.

Settle down on one of the three floors with the café’s signature Magic coffee, inspired by how baristas in Melbourne achieve the golden ratio of espresso to milk. Bakery goods are also prepared with the utmost care. The interior might be purposely undone, but the offering here is anything but. SDLC

Upstanding Coffee is located at 99-11 Sinheung-ro, Yongsan 2(i)ga-dong, Yongsan District, Seoul, South Korea.

The Wallpaper* Architects’ Directory 2024 has been revealed, highlighting 20 studios from around the world as some of the year's most exciting newcomers.

Conceived in 2000 as an international index of emerging architectural talent, the Wallpaper* Architects’ Directory is our annual listing of promising practices from across the globe. While always championing the best and most promising young studios, over the years, the project has showcased inspiring work with an emphasis on the residential realm. Now including more than 500 alumni, the Architects’ Directory is back for its 24th edition.

Join us as we launch this year’s survey – 20 young studios, from Australia, Brazil, British Virgin Islands, Canada, China, Denmark, Estonia, Finland, India, New Zealand, Nigeria, Portugal, Singapore, South Korea, Spain, Thailand, Tunisia, the UK, the USA, with plenty of promise, ideas and exciting architecture.

Wallpaper* Architects’ Directory 2024

Here are the 20 practices celebrated in this year's Wallpaper* Architects’ Directory 2024 – spanning 19 countries and five continents.

Wallpaper* Architects’ Directory 2024: Europe

Kasawoo, UK

London-based Kasawoo was founded by Kyriaki (Katie) Kasabalis and Darius Woo in 2020, after they met during their studies at Cornell University in the USA. Their studio was established with an aim to work on bringing great design to everyone. 'Early on in our practice, we discovered that good design was often out of reach for most people, and we made a commitment to change that. For us, good design does not need to come with a big price tag. That is why we set up our practice to bring this ethos to life,' they say.

This desire is combined with an approach that draws on a more ‘gentle’ architecture – minimalism, not through formal reduction, but rather through the efficiency of both design gestures and resources.

Brown Urbanism, UK

Richard Brown's Brown Urbanism was born some ten years ago, as a London-based architecture and urbanism design practice with a mission to 'create better places for people to inhabit that are inclusive, engaging and meaningful'. As part of this philosophy, the studio works on a range of typologies and scales, including commercial, residential, retail and hospitality; always with a focus on sustainable, low-cost, high-impact design.

'Simple, well-thought-through design that works for the client while creating distinctive and meaningful urban environments,' says Brown. 'We are interested in how design can better reflect, support and enable new ways of inhabiting and experiencing space. We are particularly interested in how the home can support the complexities of life’s requirements – from working from home and experiencing nature to treating the home as a performative cultural place.'

Mast, Denmark

Mast, founded in 2021 by Australian architect Marshall Blecher and Danish maritime designer and architect Magnus Maarbjerg, is on a mission to improve the relationship between the city and the sea. 'We are motivated by the amazing potential that comes from reconnecting with water, as we have seen the amazing effect that even small improvements to water access and quality can produce in cities,' Blecher explains.

Specialising in architecture on or near water, the duo have completed several small structures floating around Copenhagen harbour. There is the 20 sq m tiny prototype floating island KBHØ1 (KBH for Copenhagen and Ø for island) with its 6m tall Linden tree; and the portable ‘harbour bath’, or Dyppezone, which can be freely moved around the city’s waterways, creating intimate bathing experience along its way.

Studio Argus, Estonia

Architect Margit Argus brings more than 20 years of experience in interior design, fine arts, and architecture to her young and fast-emerging architecture studio. The practice, based in Tallinn, is rooted in a Nordic aesthetic, bringing together local Estonian vernacular and a fine attention to detail. Current projects include a seaside hotel in Tallinn, a high-rise residential building, and a university campus in Tallinn, alongside a handful of schools and single-family houses.

Studio Collaboratorio, Finland

Young Helsinki practice Studio Collaboratorio was founded in 2016 by Finnish architect Kristiina Kuusiluoma and Italian architect Martino De Rossi. The dynamic, emerging practice aims to 'create beautiful habitats by using natural and ecological materials while at the same time paying close attention to the place and its history: more beauty, communality, affordability and humanity! Interactive cooperation, profound ecology and long life cycle are at the heart of everything.'

Branco del Rio, Portugal

Founded by Paula del Rio and João Branco, the architecture studio Branco del Rio is based in the riverfront city of Coimbra, Portugal’s former capital. Motivated by curiosity and influenced by the ever-changing city around them, the architects view each project as an opportunity to investigate different contexts and topics. Gathering inspiration from their travels, books and colleagues the team say: ‘We are convinced that what we do can improve quality of life. We live and work in spaces we designed, we share spaces we designed with friends. It is a privilege and also a motivation.’

Wallpaper* Architects’ Directory 2024: Asia

Playball Studio, India and Spain

Established in 2017, Playball Studio is an Indo-Spanish architecture firm led by architects Celia Fernández Duque and Ronak Gangdev. Based in Rajkot, India, and Valladolid, Spain, the studio works on a range of uniquely contextual residential and commercial projects, often within urban conditions.

The word ‘Playball’ reflects the studio’s philosophy of always ‘playing ball’ and prioritising the needs of its clients. Fernández Duque and Gangdev are also conscious of the impact of their projects on the physical environment. The studio’s core strength lies in striking a harmonious balance between the organic and the technical, simplicity and refinement, and form and functionality.

Tsing-Tien Making, China

Suzhou-born Freja Bao's studio, Tsing-Tien Making (TTM), was founded following the architect's education in London's Bartlett School of Architecture and stints in Japan, in the offices of KPF Architects and Kengo Kuma & Associates. Bao set up her independent practice in her home town in 2023 and has been going from strength to strength since.

'As a collective deeply passionate about architecture, we at Tsing-Tien Making thrive on embracing challenges and infusing each project with innovative experimentation,' she says. Beyond her first completed project, featured here, Bao adds that there's more to come: 'Our focus extends to a range of exciting undertakings, including the development of a retirement house, the restoration of a scientist’s former residence, and the conceptualisation of a private collector’s room.'

L Architects, Singapore

Boutique studio L Architects was founded in 2016 by Lim Shing Hui. Based in Singapore, the practice focuses on creating homes that enhance the living experience. ‘Architecture has the power to evoke a wide range of emotions within us. You have to find the soul of the space,’ says Lim. ‘The search [for this] is what keeps me motivated. I believe that a good piece of architecture has the ability to touch the human soul, communicate messages, stir empathy and at the same time quietly delight – and this in itself transcends mere physical realms.’

The studio also believes it is important to stay rooted in its culture, in particular the experiences, cultural background and personal journey of its founder, allowing this to inform the shape and unique style of each residential design, giving it a distinct authorship.

Studio Heech, South Korea

Working across a range of creative fields that encompass architecture, industrial design, furniture, and interactive performance installation, Studio Heech welcomes multi-layered, rich experiences. Meanwhile, ‘the craftsmanship of “making things” is still important in the 21st century,’ says Park. With a keen eye for detail, the studio strives to create its contemporary architectural expression through techniques that bridge technology and traditional manufacturing – ultimately addressing the fundamentals of urban architecture.

Championing both the traditional and the contemporary, the studio often creates intriguing architectural forms. As with many forward-thinking practices, Studio Heech integrates sustainability into its work. From planning through to construction, Park makes sure to collaborate with a wide network of engineers, artists and craftsmen to broaden ideas and spark curiosity within the creative process.

Touch Architect, Thailand

Based in the bustling Thai hub of Bangkok, Touch Architect crafts residences drawing on its cultural ties and environment, while adding sustainable architecture practices. When approaching a project, the duo applies a 'bottom-up approach’, meaning they focus on the functionality of the space before layering on aesthetics. ‘For us, good architecture must be functional, timeless, and sustainable,’ they say. ‘While beauty and aesthetics are also important, it comes as an enhancement which completes the architecture. Great architects like Frank Lloyd Wright and Louis I Kahn inspire this philosophy in our work.’

Wallpaper* Architects’ Directory 2024: Africa

Fleury Atallah Architectes, Tunisia

Fleury Atallah Architectes is one of the exciting emerging architecture practices to be included in the annual Wallpaper* Architects’ Directory 2024. Founded in 2011 by Catherine Fleury and Chacha Atallah, it has offices in Toulon, France and Carthage, Tunisia. The studio focuses mainly on residential projects for private clients who are after a sensitive, sober and context-specific approach as well as inventive and beautiful solutions to architectural and interior challenges; but it has also designed art galleries and wine production facilities.

SI.SA. Nigeria

African culture motivates Lagos-based architecture firm SI.SA. ‘We are influenced by the abstracted forms found in African traditional art and their ability to convey power and meaning,' says founder Seun Oduwole.

Founded in 2015, the ten-person firm aims 'to make beautiful buildings that enhance the built environment’. Dedicated to the betterment of communities, SI.SA focuses on inclusive and socially responsible architectural designs. Boasting a diverse portfolio of residential, educational, and cultural projects, the practice has worked on some impressive projects, such as the colourful John Randle Centre for Yoruba Culture and History in Lagos.

Wallpaper* Architects’ Directory 2024: Americas

AD-WO, USA

Ethiopia-born Emanuel Admassu and Australia-born Jen Wood formed AD-WO in New York in 2015. The young art and architecture studio brings together their 'divergent' backgrounds to create valuable 'friction' within their practice – which, combined with their agility and multi-disciplinary approach, gives them a distinct edge when it comes to crafting works that are 'transnational' and experimental. The portfolio of the research-based studio spans from images and objects to furniture, tapestries, installations, and buildings.

Studio Porto, Brazil

The emerging practice of Camila Porto stands out through its contemporary fusion of Brazilian culture with a cosmopolitan attitude. Studio Porto's projects are intended to be timeless, balanced, and hospitable, Porto explains – but functionality is equally paramount. Attention to detail, empathy, and integration with nature are also strengths.

'Our greatest influence is Brazilian modernism, which brings with it a legacy of architectural solutions guided by simplicity and elegance. We combine this foundation with a contemporary and global perspective, integrating elements of nature and prioritising people's wellbeing. This combination of values shapes our approach uniquely and innovatively in architecture and design,' Porto explains.

TigerQi Architecture, British Virgin Islands and Saint Kitts and Nevis

Lavina Liburd started TigerQi Architecture in 2013, having previously worked at different firms and gained experience on a wealth of projects, from transportation and civic briefs to luxury residences and commercial buildings. With this under her belt, Liburd set up shop on her own, with a focus on a contemporary design approach that embraces simplicity and minimalism.

Due to the climate and topography of its secluded Caribbean home, the practice centres on three key principles; creating healthy buildings that support the social health and wellbeing of its clients; embracing hillside living to maximise views and light; and creating architecture that is designed to serve its community as a whole. These underlying principles are threaded into the studio's design process, wrapped up in a tropical modernism aesthetic.

Svima, Canada

Starting Svima five years ago, Anamarija Korolj and Leon Lai, looked towards nature and ecology. During our era of mass construction, the studio fine-tunes its mission by focusing on three key pillars: air, light and greenery. With this in mind, their designs draw on the blossoming biomes of Canada, while balancing a human-centric approach, ensuring that the client receives a design that provides ample access to nature. The studio's portfolio brings together a series of schemes that nod towards creating a more equitable and sustainable future.

Seeing themselves as ‘not only as designers of buildings but as stewards of human experience’, Korolj and Lai seek to unite art and architecture to ‘continuously leverage the two mediums as vehicles with a reciprocal relationship in pushing the boundaries of the visual and spatial expressions.’ The creative duo strives to implement projects with a sense of place, resilience and inclusivity, ‘reflecting the essence of what it means to be Canadian.’

Büro Koray Duman, USA

This agile New York and Istanbul architecture practice – Büro Koray Duman – was founded by architect Koray Duman in 2014. The studio is a proudly immigrant- and LGBTQ-led business, comprising a team of architects that represent a diverse mix of nationalities and experiences. As a result, its output is equally varied and captivating - from projects for MoMA PS1 Museum, to the Finnish Cultural Institute NY, the Noguchi Museum, IKSV, artist Richard Prince, the American Society for Muslim Advancement, Council for Fashion Designers of America, and Design Within Reach.

Wallpaper* Architects’ Directory 2024: Oceania

Alexander Symes, Australia

Architect Alexander Symes founded his namesake practice in 2014 with a vision to challenge the current status quo in sustainability in architecture, pushing and challenging the field's boundaries. With a ‘hands-on’ approach and a speciality in delivering passive homes that don't impact their context negatively, the practice aims to create residential design with a purpose.

‘On a macro level, this ensures we contribute to protecting biodiversity and providing a future-proofed housing stock,’ says Symes, ‘while on a micro level providing a healthy and resilient home for our clients in the changing climate.’ With this in mind, it is arguably only natural that the environment would be the studio’s biggest influence. Keeping context and nature at the forefront of its decisions, the practice enjoys working with bio-based construction and existing materials and suppliers. The result is buildings with a natural feel and a reduced carbon footprint.

Spacecraft Architects, New Zealand

Spacecraft Architects founders Roberston and Gittos often tackle limited budgets and the smaller scale in their work – a challenge they enjoy taking on to make architecture more accessible. Their own headquarters is nestled off the back of a self-built house in Whanganui, and is a clear representation of the studio's ethos.‘ The constraints offered by tight budgets and difficult (affordable) sites breed creativity and drive our design work,’ the creative duo told Wallpaper*.

With an interest in buildings that do not rely on luxurious materials or highly detailed construction, the pair hope to create powerful architecture even within the simplest structures. Working on infill housing across New Zealand opened up a niche for a wealth of recent work focused on the rising appeal of co-housing, in various forms of multi-residential projects and apartment builds.

Studio Heech joins the Wallpaper Architects’ Directory 2024, our annual curated listing of emerging practices from around the world. The Korean practice was founded in 2018 by Heechan Park, a qualified architect who'd spent his time between London and Seoul. His Mews House, a transformed brick structure originally built 30 years ago in the heart of Seoul, showcases the studio's contemporary architecture approach through the simple insertion of glass bricks at its heart, creating a new bright and airy space.

Who: Studio Heech

Working across a range of creative fields that encompass architecture, industrial design, furniture, and interactive performance installation, Studio Heech welcomes multi-layered, rich experiences. Meanwhile, ‘the craftsmanship of “making things” is still important in the 21st century,’ says Park. With a keen eye for detail, the studio strives to create its contemporary architectural expression through techniques that bridge technology and traditional manufacturing – ultimately addressing the fundamentals of urban architecture.

Championing both the traditional and the contemporary, the studio often creates intriguing architectural forms. As with many forward-thinking practices, Studio Heech integrates sustainability into its work. From planning through to construction, Park makes sure to collaborate with a wide network of engineers, artists and craftsmen to broaden ideas and spark curiosity within the creative process.

What: Mews House

Originally built in 1990, Mews House was a classic brick home tucked away in the quiet mews in the residential neighbourhood of Seocho-dong, Seoul. The same client built the original structure 30 years ago and asked Park to give the building a refresh, creating a new multi-generational home to accommodate their family, while containing privacy and personal space for all.

Making the most of the existing build, Studio Heech inserted translucent glass bricks to fill in the U-shaped façade and provide a new living room. The ceiling was raised to create an atrium with a roof-light. The design was inspired by Pierre Chareau’s 1932 Maison De Verre, a celebrated example of modernist architecture that effortlessly merges indoors and outdoors. Mews House’s new glass wall flirts with the same concept while respecting its own condition, retaining the family’s history and memories of the old building on site. A touch of colour is integrated through the entrance hall tiles, adding a sense of playfulness.

Why: Wallpaper* Architects Directory

Conceived in 2000 as an international index of emerging architectural talent, the Wallpaper* Architects’ Directory is our annual listing of promising practices from across the globe. While always championing the best and most promising young studios, over the years, the project has showcased inspiring work with an emphasis on the residential realm. Now including more than 500 alumni, the Architects’ Directory is back for its 24th edition. Join us as we launch this year’s survey – 20 young studios from Australia, Brazil, British Virgin Islands, Canada, China, Denmark, Estonia, Finland, India, New Zealand, Nigeria, Portugal, Singapore, South Korea, Spain, Thailand, Tunisia, the UK, the USA, with plenty of promise, ideas and exciting architecture.

studioheech.com

Sunscreen is a non-negotiable skincare step all year round, but never more so than now, as we head into summer. As Baz Luhrman’s 1999 spoken word track Everybody’s Free (To Wear Sunscreen) proclaimed: ‘If I could offer you only one tip for the future, sunscreen would be it.’ In 2026, it’s a sentiment taken as gospel, reflected in the ever-evolving roster of sun care products now available. So finding an SPF you truly love involves a degree of trial and error – particularly when it comes to those designed for the face.

Some SPFs can cause sensitive skin to break out, or be unsuitable for your skin tone, while others might ‘pill’ when mixed with certain make-up products. There’s also a choice to be made between physical (mineral) or chemical sunscreen. The former sits on the surface of the skin, creating a ‘shield’ that stops harmful UV rays from penetrating, whereas the latter absorbs them. In addition, compliance regulations – rules by medical or governing bodies written to ensure SPF products are created with safety and efficacy – vary from country to country. Dermatologists usually recommend an SPF rating of 30 or above, however, for maximum protection against UVA and UVB rays. UVA is responsible for ageing, whilst UVB causes burning, so opting for a ‘broad spectrum’ SPF ensures you get the best protection from both.

Here, beauty editor Mary Cleary and contributing editor Hannah Tindle have whittled down a definitive list of facial sunscreens with the Wallpaper* stamp of approval. From a luxuriously tinted balm by Hermès to sport-ready protection from Hard Sun – plus quintessential French and Korean formulations from La Roche-Posay and Beauty of Joseon – if you’re in the market for a new SPF, this article is the place to start looking.

The best sunscreens for your face, selected by the Wallpaper* beauty editors

Beauty of Joseon

Emma Lewisham

Horace

Alta Marea

Hermès

Hard Sun

Dr. Barbara Sturm

Herbar

Raeso

Dr. Dennis Gross

Mecca Cosmetica

Supergoop!

Dulcie

Rationale

La Prairie

A groundbreaking exhibition dedicated to the avant-garde artists that emerged after the Korean War is currently on show at UCLA’s Hammer Museum. ‘Only the Young: Experimental Art in Korea, 1960s-1970s’, which debuted at the National Museum of Modern and Contemporary Art in Korea last summer before travelling to LA via the Guggenheim in New York, shines a spotlight on a moment of unprecedented creative energy in the country’s art history.

Experimental Korean art comes to LA

Confronted by a period of intense cultural transition, these young experimental artists worked both collectively and as individuals in pursuit of an artistic process and a language of resistance that could respond to the rapidly evolving socioeconomic, political and material landscape of the new South Korea.

The exhibition features nearly 80 works – in mediums ranging from painting, sculpture and ceramics to photography, installation and film – by 26 artists, centring on the likes of Ha Chong-Hyun, Jung Kangja, Kim Kulim, Lee Kang-So, Lee Kun-Yong, Lee Seung-taek, and Sung Neung Kyung. 

Highlights include Sung’s 1976 work Apple, a row of 17 gelatin silver prints depicting the artist taking bites from an apple, and Jung’s 1967 mixed-media, mouth-shaped installation Kiss Me, one of a number of Jung pieces that challenged the gender politics that defined Korean society at the time. This generation lost momentum in the late 1970s, but would gain wider recognition in the early 2000s when the art historian Kim Mikyung revisited the period, referring to the movement as ‘Korean experimental art’.

Ann Philbin, director of the Hammer Museum, says, ‘LA is a city with deep connections to Korean culture, and home to the largest population of Korean descendants in the nation. The artists featured in this exhibition represent a particularly important and compelling era within the recent history of Korean art, and add greater dimension to the study of art made around the world in the last 60 years.’

Adds Kyung An, the Guggenheim’s associate curator of Asian art, says, ‘The exhibition has been in the works for five years and it is fortuitous that there is so much attention on Korean culture – be it film, music, art or food – right now. While most people are interested in what is happening today, the exhibition highlights a particular moment in history that allows us to ground these moments of celebration and bring to the fore figures and stories that would otherwise remain unknown to a wider audience.’

‘Only the Young: Experimental Art in Korea, 1960s-1970s’ runs until 12 May 2024 at Hammer Museum, LA, hammer.ucla.edu

One of the places to try the viral 15-step Korean scalp treatment is the Eco Jardin by Park Jun salon, nestled beside Gongdeok station in Seoul (Best City in the Wallpaper* Design Awards 2024). One of South Korea’s most comprehensive scalp treatments, it incorporates products containing plant-based ingredients alongside human stem cell culture extract, known for effective hair loss prevention. The meticulous process takes approximately 90 minutes to complete. Practitioners at the salon spend a year studying scalp physiology, so all are well-versed in the treatment’s effects (from an intensely deep cleanse to purported relief from insomnia and stress).

It starts with a microscopic scalp analysis (in which an image of the client’s follicles appears digitally enlarged on a screen). Is your scalp too dry? Or too oily? Perhaps there is a build-up of products that show the need for a deeper cleanse than previously thought. (Using heavy products and skipping a clarifying scrub or shampoo, or using dry shampoo that is recommended for your hair type, can lead to this issue).

The 15-step Korean scalp treatment by Eco Jardin by Park Jun

This is followed by various massages on the neck, head and scalp. Massage opens up the follicles, allowing for the rest of the treatment’s steps to work at an optimum level. It also reduces tightness and tension in the body. Incorporating regular scalp massage into your haircare routine is also beneficial for hair growth. But make sure, when doing this yourself, to use the pads of your fingertips and gently manipulate your scalp rather than your hair to prevent breakage, or use a soft silicone tool like this one).

One of the treatment’s stand-out steps is the use of a galvanic sealing brush, which emits a gentle, continuous electric current to soften and emulsifies sebum and keratin in the hair follicle. (Galvanism was first used on hair in the 19th century, by an optometrist looking to remove ingrown eyelashes and encourage regrowth.) In the 15-step treatment, the brush also emits a combination of red and blue LED light on the scalp. Red light increases cell turnover, whereas blue light kills acne-causing bacteria. Steam and gentle water pressure, through the use of a waterfall tool, finally rinse the hair clean. The treatment concludes with a reanalysis of the scalp (where you will see it rejuvenated as never before), a mist tonic, and styling.

The below illustrations by Lucy Birant, as originally published in the February 2024 issue of Wallpaper*, demonstrate exactly what to expect, step by meticulous step.

01. Microscopic diagnosis

02. Oil massage

03. Galvanic sealing brush

04. Invigorating scrub

05. Steam mist

06. Neck massage

07. Relaxation tool

08. Hot towel

09. Shampoo

10. Y stick massage

11. Waterfall spa

12. Reanalysis

13. Mist tonic

14. T stick massage tool

15. Styling

A version of this article appears in the February 2024 issue of Wallpaper* – dedicated to the Wallpaper* Design Awards 2024 – available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Seoul is set to become one of the most influential style and culture hubs on the planet. It’s a brave statement, perhaps. But that’s what defines the Korean creators who are shaping the city: bold, brave and proud. Visit Seoul and you will instantly encounter keys to the success of contemporary Korean culture. Dynamic energy, speed and a remix of so many things (old and new, Western and Eastern, high fashion and streetwear, industrial and craftsmanship) welcome you – although it might make you feel slightly giddy.

‘If love and hate have the same meaning, I love you, Seoul, I hate you, Seoul’, sings RM, of South Korean boy band BTS, in his song ‘Seoul’, produced by Honne. Growing up and living in Seoul, that’s how I felt about the city of over 10 million inhabitants, so intense and full of contradictions. From being one of the poorest countries in the 1960s, South Korea achieved remarkable economic growth, and such rapid social change enforced speed and fierce competition for Koreans to outperform. A small country squeezed between China and Japan, it had an insatiable desire for external recognition, which fuelled its cultural exports, from music and drama to fashion.

If you ask Korean artists how they did it, they’ll tell you that they are great at absorbing diverse cultural influences and remixing them to create something of their own. An extremely hard-working ethos keeps us going until we are assured that something original has been created. As Koreans have delved deeper into identity-seeking, Korean heritage has become a key influence. Keen to stand out from the crowd, Koreans once devoured foreign trends, but many now value our sense of place, our culture, traditions and the potential to rediscover our identity.

Reinventing heritage is prevalent, particularly in two of the capital’s oldest neighbourhoods, Bukchon (North Village) and Seochon (West Village). Designed by leading Korean architect Choi Wook, of One O One Architects, the flagship store of Korea’s leading beauty brand, Sulwhasoo, is located in Bukchon. Choi’s design reflects the character of the neighbourhood, a jumble of alleyways lined with traditional hanok houses. ‘Korean culture has a long tradition of juxtaposing images with a structured logic to express ideas, as seen in its Hangul alphabet,’ says Choi. ‘I wanted to create a place’s character through imagery and easy communication; I hoped to give back the sensation of the body along with the visual experience and convey the unique landscape of old Seoul.’

Choi believes that Seoul’s architecture is a reflection of Korea’s identity. ‘It is a complex of many fragments, chaotic but cheerful. It is not considered grand or beautiful, but it has a unique energy that blends with the mountainous landscape. It is not a collection of individual buildings but a giant collective.’ On the other side of Gyeongbokgung Palace is the Seochon district, home to the Onjium research institute, a cultural guardian of Korean traditions. ‘We carry out research, exhibitions, publishing and consulting centred on clothing, the culinary arts and lifestyle to ensure our traditional culture continues in modern life’, says Onjium’s chief creative officer Jeongin Kathryn Hong.

The centre also runs one of the most respected fine dining restaurants in town. Many acclaimed local establishments, such as Mingles, Mosu and Jungsik, reinvent staple Korean ingredients into recipes with a modern flourish. At Onjium, deep research takes a driver’s seat. Explaining Onjium’s approach, Hong quotes an ancient book: ‘The better the taste, the lighter it is. It is easy to get tired of a stronger flavour after the first taste, but a light flavour gradually seeps in and captivates for a long time.’

At Seochon Lounge, run by Seoul’s local government, the aim is to provide much more than just a cup of Korean tea for visitors. It offers guests the chance to experience everyday life in a hanok, with ongoing exhibitions on K-style living, and a library. ‘Thanks to interesting collaborations, today’s hanoks extend to hip and trendy contents, and young audiences love their increasingly evolving charm and values,’ says Yoo-sik Kim, Seoul’s director of hanok policy. You can pick up Korean crafts at Solunaliving or Ilsang Yeoback, while enjoying exhibitions by Korean designers and artisans.

Seoul, formerly known as Hanyang during the Joseon Dynasty (1392-1897), was chosen as a capital for its outstanding feng shui. ‘The four mountains surrounding old Seoul are its best landmarks,’ said Seung H-Sang, who became Seoul’s first city architect in 2014. He shifted direction from urban growth to regeneration, and argued against people who felt Seoul needed a landmark by a starchitect.

You can easily hike up Inwang Mountain, or walk around the old city walls to appreciate the charm of old palaces oddly set against the dramatic backdrop of the grey slabs of tall buildings. My Life as an Architect in Seoul (Thames & Hudson; among Wallpaper’s pick of architecture books), by another established architect Byoung Cho, will equip you with a warm-hearted architectural guide to the city.

Seoul is dense and chaotic, with buildings tumbling over each other. You can take an underground train for 15 minutes and walk out into yet another bustling centre. But it’s easy to embrace this chaos once you realise how aptly it reflects the energy of the city, where dynamic architecture and hyper-aesthetic, cutting-edge shops are juxtaposed with great swathes of the old grey streetscape.

Trends come and go super-fast in Korea, but being on trend helps the fashion industry to develop fast and nurture talented designers. PAF (Post Archive Faction), stocked at Dover Street Market and Ssense, is one to watch. ‘For every PAF collection, there are “Left”, “Centre” and “Right” labels,’ PAF founder Dongjoon Lim says. ‘In Korea, political tension is high, but you are not supposed to casually express it, so I wanted to take on it in a playful way through clothes.’

Here is why he thinks PAF attracts global fans: ‘With each collection,we genuinely change. We continue to break with tradition and remix the past and the present.’ Lim believes this is the best time to start a brand in Seoul. ‘The spotlight is on Korea and you can access a great infrastructure in the middle of the city, something that will unfortunately soon disappear.’

South Korean brands such as Hyein Seo, Kanghyuk and We11Done established themselves by redefining the contemporary notion of luxury, but Seoul’s sybaritic aspirations are reaching new heights. Homegrown tailoring brand Lerici approaches its craft with an architectural perspective. Its eight seasoned Korean tailors produce only 16 suits per month, spending 90-100 hours for each garment sold at £6,000-8,000.

In the art world, Seoul’s rich pool of artists, private and public museums, and collectors have brought key players, such as Frieze Seoul, and blue-chip galleries, including White Cube and Thaddaeus Ropac, to town. ‘Seoul is an incredibly exciting destination for the arts that really shines amid the breadth and quality of its cultural landscape,’ says Frieze Seoul director Patrick Lee. ‘I would describe the art scenes as both cutting-edge and enmeshed in Seoul’s history.’ Alongside staples such as the National Museum of Modern and Contemporary Art (MMCA), which also boasts a good bookstore, and Leeum museums, Seoul has many stellar museums, including the Seoul Museum of Art, which has a few branches across town, and the recently opened Songeun art space.

The Songeun art and cultural foundation has been dedicated to supporting Korean artists for the last 35 years, and its artistic director Laurencina Farrant-Lee has witnessed a significant increase in the representation of younger talents. She points out that the compartmentalisation of art departments into specific disciplines, such as Western, Oriental or Buddhist painting, is a distinctive challenge in Korea. But there is an interesting twist, she says: ‘While this structure may pose technical limitations on the creative expression, it has paradoxically spurred artists to forge new languages, resulting in an intriguing and unique panorama within the Korean art scene.’

At the fringes of art lie the world-famous Korean-style tattoos. ‘The human body is my canvas and needles are my brushes,’ says tattoo artist Doy, who radiates the dignity of an established artist. When he is invited to Brad Pitt’s mansion in LA to create tattoos, he gets full respect as an artist. However, the moment he lands at Incheon airport, he is treated as a criminal and customs confiscate his tools because Korea is the only country where performing tattoos without a medical licence is illegal due to its historic association with organised crime. Doy has been leading the movement to legalise tattoos and is currently producing a documentary about tattooing as an art form. He travels around the world to tattoo a dot – a fundamental component of tattoos – on people, and interviews them on what it means to them.

Seoul is also where you can observe the future of retail spaces. Some brands here generate so much interest prior to their stores’ unveiling because they know how to create jaw-dropping spaces that will cause a buzz. At hip eyewear brand Gentle Monster’s Haus Dosan in Gangnam, immersed in the upbeat music and fashionable crowd, I felt like I had become cool. I couldn’t remember the last time I felt that way while visiting a store.

Often compared to Shoreditch or Brooklyn, Seongsu is where unexpected and creative exploration thrives, as seen in stores by fashion label Adererror or numerous pop-ups. The founder of Point of View and LCDC, which celebrate small local brands, Jaewon Kim lived in east London while studying at Central Saint Martins and liked the old redbrick buildings she found in industrial Seongsu when she returned. She started opening cafés with a design focus in 2014, and her places helped to transform the industrial streets by attracting like-minded shops.

Kim’s childhood dream was to own a stationery shop. Believing tools are important for creative minds, she wanted to share her passion for stationery, hoping that her future customers would think, ‘If I write my journal using this pencil, I will feel better.’ She started Point of View in a small corner of her café in 2016, and soon realised people were visiting the café only in order to go to the shop. Success was such that she expanded it to the entire three floors of the building last year.

Asked why Seongsu became so popular, Kim says: ‘The contrast between the industrial background and brand new shops is a big draw. Fundamentally, Seongsu enables delightful independent shops and big brands to coexist. For a neighbourhood to develop an interesting character, you need many fabulous small businesses. But people also enjoy large spaces by big brands where you can breathe.’

South Korea is at a point of social transition. The dynamic, explosive energy of its creative scenes is a counterpoint to a very repressive society with a narrow definition of success. There is a vigorous solidarity among young creators to ride a big wave of Korean culture. Some worry that competition and speed, which trained Koreans to churn out creative content, might also break us.

Over a nicely brewed Korean tea in his studio overlooking hills, architect Choi Wook explains what’s happening in Seoul. ‘Along with economic growth, people’s excess energy is on full display in the city, and the disharmony has created a free-spirited culture. Seoul is a safe haven from the chaotic energy of the marketplace that is common in Asia.’ What will happen to Seoul? ‘There has been a recent surge in density that is typical of a country with a growing economy, but I think the cultural maturation that will take place in the coming years of low growth will make Seoul even more beautiful.

At times, Seoul can feel overwhelming, and to recuperate, I like to visit Welcome to Paradise, a tiny makgeolli (milky Korean rice wine) bar in Hongdae, an area known for its indie music and skate scenes. Its owner Changhee Park has a genuine sparkle in his eyes. He used to design sets for films and his bar is a collection of everything borrowed from the work of his favourite director, Wong Kar-wai. The last time I saw him, I was suddenly curious about what inspires him. ‘I used to be influenced by philosophers and monks, but now the lives around me move me. The funny lives of my friends, the bright and sunny hearts of my regulars, the sunlight pouring out of my window, and my four cats.

When we last caught up with Korean designer Jinsik Kim (who had been selected by Nendo as one of 25 creative leaders of the future on the occasion of Wallpaper's 25th anniversary), he told us he was working on a new brand that would 'create an intersection of five senses through objects and space. With simple details, we try to connect the past and the present and find a simple expressionist aesthetic.'

Fast-forward two years, and he is launching True to Type, a brand created to explore craftsmanship and aesthetic purity through furniture and objects. 

'True to Type has centred its focus on the subtle interplay of materials, their inherent purity, and masterful craftsmanship, with a keen emphasis on sensibility,' says Kim. 'It delves into the question of how objects can intricately impact human emotions, blurring the lines between art pieces and everyday objects by astutely exploring the sensory aspects that seamlessly unite visual and tactile experiences.'

The inaugural collection includes angular chairs and stools, boxy side tables, a sophisticated folding screen a series of essential sculptural mirrors, as well as aluminium storage boxes and trays. Simplicity and honest craftsmanship are at the core of the series, each piece defined by an essential silhouette and tactility.

'While acknowledging the prevailing trend of modern design that places a significant emphasis on functionality and rationality, True to Type also warmly embraces cultural heritage and the evolving zeitgeist,' adds Kim. 'As a brand in the furniture and lifestyle sector, it aspires to be the next generation, with the overarching goal of rekindling the essence of humanity and championing an inspiring ethos.'

truetotype.co

When describing his architecture, Byoung Cho often talks about nature. But his connection to it is not achieved through specific physical means – such as materials of a certain provenance, or particular low-tech construction methods. He doesn’t only build on arcadian sites, neither does he forsake dense urban conditions or tall buildings. 

At the core of his practice, Cho places ‘interdependent nature,’ a flexible, context-specific take on architecture, centred on the idea of an equilibrium. He cites the Dalai Lama, who first talked about this concept in his ‘The Path to Tranquility’ (1998): ‘We need a clear awareness of the interdependent nature of nations, of humans and animals, and of humans, animals, and the world. I feel that many problems, especially man-made problems, are due to a lack of knowledge about this interdependent nature.’ 

Byoung Cho and the notion of 'interdependent nature'

Byoung (Soo) Cho broadly defines this as the way ‘nature, people and every living organism interacts and coexists - the social relationships between people, how air flows through a space, the interplay of light and shadow, the passage of time and the weathering of materials.’ He is fascinated by how it is all connected, ultimately shaping our lives, as we, in turn, shape our environment. The Korean architect, head of his namesake studio in Seoul, BCHO Architects since 1994, seeks to explore this relationship between nature, landscape and architecture, as a sense of balance, through his work. On top of this, he layers the traditional Korean concept of ‘ubuntu’. Its rough translation is ‘humanity towards others,’ which promotes an awareness of how one’s actions affects others, and how we are all interlinked. 

Growing up in a Korean hanok, he experienced firsthand his country’s traditional architecture, and how it touches the ground lightly – using gentle design gestures, but quite literally too, as hanoks are typically slightly raised from the ground. He also remembers Korea’s growth and change in the 1970s, as it was increasingly influenced by international styles. It inspired him to become an architect (he studied in the US completing a postgraduate degree at Harvard), before setting up shop in his hometown of Seoul. 

His career grew slowly and steadily (but he capped staff numbers at 30, so ‘I can have close input in every project’), starting with a series of private residences, such as his 2004 Concrete Box House and his 2009 Earth House. He sees those as the continuation of his Harvard thesis project on the emotional impact of a place. They are both low, minimalist, rural structures about ‘lowering oneself in the ground and being submerged in nature,’ he explains.  

He acknowledges the 2014 Southcape Hotel in Gyeongsangnam-do as a landmark commission, which propelled him to the forefront of his field in the country due to its elegant yet bold design, scale and public nature. It is now due to be extended, and Cho has been busy revisiting his old design to bring it to the 21st century. It’s one of his biggest current works, alongside Saemanguem Seed, a scheme that looks into restoring damaged ground in a former landfill site and introducing nature back in, creating more sustainable architecture, as part of a public library, youth job creation centre and cafe complex some three hours outside Seoul. He has also worked on high rises, including office buildings in the capital, but his approach is always the same, drawing on context and seeking a sense of calm and poise between what he builds and what lies around it.  

His latest completion is AYU Space, a flowing, serpentine gallery, restaurant and café complex just outside Seoul for art entrepreneur Miyoung von Platen. It is a project that encapsulates Cho’s approach about humankind’s relationship to landscape, as its terrain ‘ultimately determined the undulating form of the building, creating an unique dynamic experience for the visitors.’ Complementing an existing, 1970s structure next to a traditional hanok, the scheme draws on the site’s dynamic topography to carve a volume that swells and drops around a circular courtyard hosting a dry, meditative, rock garden. The restored hanok hosts exhibitions, while the concrete extension hugs it on one side, containing hospitality. The whole frames vistas towards the nearby river and surrounding nature, making for the perfect viewing platform, projecting a sense of calm, and inviting visitors to take in art, architecture and landscape at once.  

Cho is also heading the Seoul Biennale of Architecture and Urbanism 2023, which launched this month [September 2023] – the festival’s fourth iteration. He was appointed curator of the event in 2022, and has been working on its programme ever since. His theme, centred on ‘land architecture,’ follows his fascinations, aiming to place landscape, nature, and related ‘social and cultural phenomena’ at the forefront of people’s mind. As part of it, he is crafting two site-specific installations – the Earth and the Sky Pavilion. The latter, in Songhyeon-dong, uses soil from four excavation sites across the country. Their differences in colour and texture become an integral part of the design, symbolising unity and collaboration as part of his ‘interdependent nature’ thinking. The former is an ‘indentation into the ground’, from which visitors can experience panoramic views towards the mountains of the north and the city on the south. He is also particularly excited about the students’ contributions as part of the Global Studio section of the event, where participants were asked to reimagine bridges - themes of connection reappearing. 

While his work always looks crisp and elegant, strongly, seemingly, leaning towards minimalism, he believes that formal expression, and the idea of maintaining a certain ‘look’, is overrated in the architecture world. His response tends to favour more conceptual routes, where there’s space for feeling and flaws too. Imprinting personality and allowing imperfections to come through in each project has, for him, value. ‘I prefer more meditative spaces that feel raw and unique. I really value that so many people truly consider working with the environment and not just try to greenwash a project. Being mindful and highly sensitive to what is happening around you is an important skill to have as a designer,’ he says. 

In a bustling office with some 30 projects on the go at any one time, including the biennale, and several teaching and speaking commitments, is it hard for Cho to practise this mindfulness? He’s been an avid painter since his student days and art not only helps him express his creativity, but also has meditative qualities. ‘Art and architecture stem from the same process,’ he explains. ‘The only part that differs is the media used. Instead of shaping buildings, in my art I create shapes in paint on paper. In both scenarios I feel guided by the spontaneous reaction and energy that I call ‘Mahk’ - it refers to the humble action of making that ultimately leaves traces on the finished product. My paintings and my habit of sketching early in the morning are means to preserve this essence of Mahk. In a busy world these moments energise me.’ 

‘My Life As an Architect in Seoul’ by Byoung Cho (Thames & Hudson) comes out in September

The Seoul Biennale of Architecture and Urbanism 2023 will run 1 September to 29 October 2023

bchoarchitects.com

This article appears in the October 2023 issue of Wallpaper*, available in print from 7 September, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

'Land' is the key word to zoom into at the Seoul Biennale of Architecture and Urbanism 2023, which has just launched at the South Korean capital, taking place from 1 September through to 29 October. 

Titled 'Land Architecture, Land Urbanism: City of Mountain Ranges, Waterways, and Wind Breezes – Drawing of the Seoul’s Next 100 years' and curated by general director Byoung Cho, this year's biennale explores the connection between urbanity and nature, especially in the context of its host city of Seoul. 'Ecology', 'topography' and 'view' – the three elements highlighted at the festival as critical to building – are master concepts explored throughout the event, threading together the theme across the biennale.

Seoul Biennale of Architecture and Urbanism 2023: stepping outside the box

The main difference between this year’s biennale and previous editions is the use of outdoor space. While previous festivals were all held indoors in a more conventional, exhibition format, this year, an outdoor, green space is used as the main venue, inviting visitors to connect with nature. 

Songhyeon Green Plaza – which used to be an empty, unused space that had been closed off to the public until earlier this year – has now become the event's beating heart. Whats more, situated between Gyeongbokgung Palace and the Seoul Museum of Craft Art, this open square will continue to be available to the public for three years after the biennale ends – until a museum dedicated to the late Samsung chairman, Lee Kun Hee, breaks ground on site. 

Beyond Songhyeon Green Plaza, two more locations have been enlisted for this year's big architectural event: the Seoul Hall of Urbanism and Architecture, and the Seoul Citizens Hall. At the Songhyeon Green Plaza lie Cho’s Sky Project and Earth Project. Conceived as independent pavilions, the two structures are an important part of the biennale's themed show. 

The Sky Project is an installation that provides an experience that resembles climbing a mountain, as visitors must go up stainless-steel stairs to reach the top of the 12m structure. There, from a platform which functions like an observatory, people can feel the breeze and enjoy the scenery. It is also meant for visitors to appreciate land and its provenance and variety, as the soil piled up in small hills within it were brought from four different regions in the country.

'Seoul has a unique topography and is a city that was built around an axis – from the mountains to the river. I wanted people to feel and discover that axis,' says Cho. 'Only when you are 12m up can you see the nearby mountains (Mount Bugak and Mount Inwang), which are shadowed by the buildings.'

Nearby is the Earth Project, a large pond surrounded by stones and manmade hills. The installation will remain on site for three years while the others will be taken down after the biennale. The festival this year aims to be waste-free, using re-usable, modular materials that are easy to assemble and dismantle.

Surrounding the two main installations are a further five pavilions, including Sound of Architecture by USI Mendrisio, and art installations of nine Korean new and established artists, such as Jungjoo Im and Jungmo Kwon. 

At the Seoul Hall of Urbanism and Architecture, which is located next to City Hall, the exhibition 'Seoul 100-year Masterplan' explores ideas for the future – looking into the next 100 years. 

Here, a mix of studios from across the globe map out suggestions for life and architecture in the city in the next century or so. For example, the Los Angeles-based architecture collective RIOS reimagines the future of Apgujeong, a posh neighborhood in Gangnam, as a vertical Hanok Village that extends and connects to the river barrier-free. 

'Seoul has become too dense and clustered by buildings and roads, leaving little space for greenery. In the masterplan, we explore how we can make way to greenery in spaces occupied by buildings and roads,' says Cho. 'Until now, Seoul only had regulations and no masterplan. As European cities were built with a masterplan, Seoul should also move in that direction.'

In that vein, the Guest Cities exhibition 'Parallel Grounds' at the Seoul Hall of Urbanism and Architecture and Seoul Citizens Hall, presents case studies of how other cities address the issue of density and yet maintain vibrancy at the ground level - expanding the biennale's theme beyond its host city's strict borders and reaching out for meaningful connections, inspiration and idea exchange. 

seoulbiennale.org 

With little fanfare, JW Marriott Jeju Resort & Spa has opened its first resort in South Korea's idyllic, largest Island. On every metric, it’s a sleek beauty. A brisk one-hour flight south from Seoul to Jeju, the 197-room retreat is the work of architecture studio WATG with interiors by the Bangkok-based and long-time Marriott collaborator Bill Bensley – anchoring the sprawling, but low-rise complex of plushly furnished rooms, indoor and outdoor lap pools, and gardens with a smart mix of tradition and modernity.

Stepping inside the JW Marriott Jeju

There is plenty to admire about the JW Marriott’s debutante. For starters, it doesn’t hurt that the 27,000 sq m resort is set high on a cliff on Jeju's southern coast, a particularly picturesque spot featuring sweeping views of the East China Sea, the sea-wet rock of Beonseom Island, and 27 walking trails that cut across nearly 440km of forests, bijoux villages, and craggy coastline.

A sense of place is established with the use of rough-hewn chunks of local volcanic basalt stone and pine. Light touches of traditional Hanok architecture in both guest rooms and public spaces are set off with modern artwork by way of Pierre Soulages’ abstracts, Jeff Koons’ crowd-pleasing balloon pieces, Lynn Chadwick’s raw bronze and steel installations, and Ugo Rondinone’s specially commissioned triptych of vivid yellow, blue and pink-hued rock boulders.

Speaking of yellow, the colour threads its way through the resort. In spring, the island’s canola fields fairly blossom with sunny bursts, the effect so enchanting Bill Bensley that he decided to brighten the hotel’s palette of grey, blue and black with judicious hits of yellow; he also added texture through quilted patterns on the walls, metal flying fish on the skirting of corridors, and ceiling lights that are meant to evoke traditional Korean scholars’ hats.

As resolutely plush as these trappings may be, the resort saves its biggest hurrah for its dining offerings. Here, executive chef Joon Ko orchestrates a moving feast from locally sourced, seasonal ingredients – including the island’s famed black pork – which are served every which way; think outrageously perfumed sesame seed oil, green barley and peanuts that show up in desserts and hot beverages, and sparkling lemons and oranges. 

If the culinary spread doesn’t tempt, then perhaps the mood-lit spa – stocked with Elemis and Thermes Marins, and flanked by an indoor 25m lap pool and oversized sunken Jacuzzi – just might. Keep an eye out, though, for the unveiling of the circular outdoor hot spring, which is due this winter in the resort’s west wing. 

marriott.com 

‘Space of Light’ by Tadao Ando is the second meditation pavilion opening at Museum SAN in Wonju, South Korea. Launching today (18 July 2023), this is the newest addition to the Japanese architecture master’s contemplative series, embodying his signature style expressed by concrete, light and integration with nature. 

Intense sunlight cuts through the square concrete structure, as two narrow slits on the roof intersect and solemnly light up the four walls of the cold, dark void. Although not conceived as a piece of religious architecture, the space invites visitors to an almost sacred moment of contemplation and self-reflection.

Space of Light: a Tadao Ando meditation pavilion

At a glance, the pavilion might remind guests – at least those who follow Ando’s work – of his Church of Light in Osaka, Japan. The placement of the cross-shaped opening is the key difference between the two structures. The Church of Light has one at eye level on the main façade, and it is covered in glass. In the Space of Light, a similar opening is located in the ceiling and is open, with no glass to stop the elements from entering the space.  

'In the Space of Light, the light falls in directly from the sky, just like the Pantheon in Rome,' says Ando. 'I believe this has a significant impact. When you look at light, there’s a feeling that touches the heart.'

This pavilion was built to mark the tenth anniversary of Museum SAN, a cultural destination tucked away in the mountainous region of Gangwon Province. Ando, who also designed the overall campus, which opened in 2013, was commissioned by the museum director to build a one-of-a-kind museum that will attract visitors to make the journey (it’s a good two-hour drive from Seoul). 

Celebrating its fifth anniversary in 2018, the museum unveiled the first meditation pavilion by Ando the following year. It is a dome-shaped structure that swells up from the ground like a tomb. A single streak of light shines into the space from the entrance. 

'Light,' is the main focus here, says the architect of his newly revealed pavilion. 'People will be able to feel that they are directly encountering nature.' He adds: 'With Space of Light, I wanted to create a space where nature and humans become one.' 

Unobstructed light flooding into the building is something Ando is proud of. 'Light is much more beautiful without the glass,' he says. 'One day, I would like to get rid of the glass in the Church of Light.'

An exhibition exploring Ando’s oeuvre, titled ‘Tadao Ando – Youth,’ is being held inside the main museum building, also part of the anniversary celebrations. The show will run until the end of October 2023 – awarded a three-month extension as a result of the enthusiastic response by the 100,000 guests that visited since its opening in April. The exhibition showcases 250 pieces of Ando’s works spanning his long career. This is the first time the architect’s works have been showcased in the space that he designed.

tadao-ando.com 

Seosaeng House is nestled serenely on a clifftop, a five-hour drive south from the South Korean capital of Seoul. Here, lies a popular sunrise-watching spot: Cape Ganjeolgot, near the eastern coastal city of Ulsan, is where the sun first rises on the Korean peninsula. Named after the Old Korean word for ‘the brightening East’ or ‘new life’, the soft-coloured three-bedroom holiday home makes a striking contrast against the blue sea, yet blends perfectly with the sky’s tones as the sun rises and sets on the horizon. 

Seosaeng House by Studio Weave

Seosaeng House’s unusual upward-slanted roofs are designed to allow in maximum sunlight, making extra room for generous windows below. Wide openings frame views of the sky and the water. ‘From anywhere in the house, if you look to the east, you see the sea,’ says British-Korean architect Je Ahn, co-founder of the London-based Studio Weave, who designed the house together with Architects Office DOMA.

Its façade is clad in pink-tinted tiles whose gentle curves smartly conceal the streaks created on their surface by the region’s salt water during typhoon season, a result often visible on building façades here. Meanwhile, the house’s concrete frame makes it safe and durable in what is a designated earthquake zone. 

The home’s floor plan is shaped like the Korean letter digeut, or a square letter C. The opening forms the entrance, while, protected between the three ‘closed’ sides, is a jungjeong, or inner courtyard. ‘We purposely planted trees that grow quite large here, with a lot of leaves,’ says Ahn. ‘Environmental control was really important to us. The trees create a lot of shadow during summer; and in winter, the leaves fall and the sun penetrates deep into the building.’ 

Boundaries are blurred between interior and exterior. Thanks to expansive glazing, the courtyard blends into the living room, which, in turn, bleeds into the front garden. ‘I took cues from the hanok [the traditional Korean house],’ explains Ahn. ‘One thing I liked about hanoks when I was growing up is their direct connection between inside and outside. They always have that openness. With this building, I really wanted to have that.’

Seosaeng House: material and context

The interior of the house is a mix of concrete, lauan plywood (a warm and tactile Asian timber) and locally sourced grey terrazzo. Aesthetics are skilfully married with functionality: electric sockets and air conditioning are hidden from view, mosquito nets are embedded into the ceiling, large windows are triple-glazed to prevent heat loss, and the structure makes the most of natural ventilation. One element that stands out is the stainless steel track inserted into the deep eaves on the first floor, conceived as a place to hang dried fish and fermented soybean blocks. 

Locally sourced river boulders surround the house. ‘You see them everywhere and I find them incredibly beautiful, but often they’re not really celebrated,’ says Ahn. ‘So we used many elements that you can get hold of easily here, but mixed them with a European sensibility. When you look at this building, it’s a very Asian house in its bones, very Korean, but expressed through my British design sensibility.’ 

Ahn was born and raised in Ulsan before moving to the UK at the age of 13. His grandparents lived in a traditional hanok – a memory which he made the most of while working on this project, which was Studio Weave’s first build in South Korea. Due to the pandemic, Ahn had only been to the site once (when construction began in early 2020) before completion. ‘Seeing it completed, in real life, was so surreal,’ he says. 

The client, a Korean-born financier who lives in Hong Kong with his family, wanted a courtyard house where they could all stay when they travelled back to Korea. Similarly, the project brought Ahn back to his roots for the first time. He had never been conscious of it, but looking back, he says, he uses maru-like spaces a lot throughout his work. In Korean culture, a maru is a communal space for gathering, similar to the modern-day living room. Its influence is apparent in Seosaeng House’s various living spaces, which also act as connectors between different parts of the house.

‘Subconsciously, my upbringing comes in. I travel a lot, too, so I tend to design spaces that are more hybridised,’ says Ahn. Yet, going forward, he is not planning on consciously adding Korean elements to his designs. ‘If you think about it too much, it becomes self-referential,’ he says. ‘Sometimes, you just have to disrupt.’   

 studioweave.com 

A version of this story appears in the June 2023 Travel Issue of Wallpaper*, available now in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

A torrential downpour during the opening day of a major art event, with peak deluge falling as dignitaries and artists take to an outdoor stage for the ceremony, might normally be considered a disaster for organisers. Not so for the Gwangju Biennale. ‘After the drought of the last few weeks, this rain is a blessing’, said Park Yang-woo, president of Gwangju Biennale.

While perhaps annoying to the saturated attendees of Gwangju Biennale opening, especially those who stayed beyond the politics and platitudes to watch Lebanese artist Tarek Atoui perform new electroacoustic work Prelude to Rain, created – like much within this 14th edition – in collaboration with local makers and artists. ‘I feel very silly now,’ a soaked Atoui said after introducing the work, the rain having preluded many hours earlier.

14th Gwangju Biennale: Soft and Weak like Water

The weather was also curatorially fitting to the central theme of biennale artistic director Sook-Kyung Lee, moonlighting from her position as senior curator of International Art at Tate. Her overarching title Soft and Weak like Water references rain, flood, and climate, but is drawn from a Daoist principle concerning water’s ability to embrace contradiction and paradoxes. Lee’s curation centres on artists from global indigenous communities and practices which do not neatly fit into Western-centric classification systems, amplifying voices of the politically marginalised to be considered agents of social and planetary transformation.

79 individual artists and collectives pack four large galleries of the city’s Biennale building and four sites of historic and cultural importance across Gwangju, a city in southeast Korea with rich artistic and political histories. It was here, on 18 May 1980 that a citizens' democratic uprising was opposed by military violence. The Gwangju Massacre, in which up to 2,300 died, left a legacy resonant throughout modern-day Korea. The curators here seek to not contain the events to regional status, but to explore them through global shadows of solidarity and progressive opposition.

This is present within a striking hang of woodcut-printed fabrics by Malaysian collective Pangrok Sulap, whose research into local political struggles and craftsmanship informed collaborative woodcarving and a series of stark renderings of resistance, recognition, and solidarity. Displayed in proximity to 1980s woodcut prints by Oh Yoon of the human body in acts of dance and labour, a poetic continuity of aesthetic and political awareness is present.

Nearby, work by two Gwangju artists of different generations speak to one another. Yu Juwon’s (b. 1983) Terminal Destiny is a gridded wall-maquette of urban development built for the biennale space, fragile in material but robust in its orthodox grid, critiquing ideas of the modernist reproducible unit to form a greater whole. Nearby, black ink works of Yeon-gyun Kang (b.1941) show a geometry seemingly holding more innate strength through informality and fluidity. Kang was present at the May 18 uprisings, their arrangements reading as psychological maps, diagrams, or a recognition of the strength of solidarity between different agents.

Considering water as more of a cyclical force than a capturable form, many works seek to solidify beyond the fixed or physical. A ritual from Mexico City-based Noé Martínez responds to his 11 ceramic sculptures and a hanging collection of ceramic amulets, invoking his 16th-century Huastec ancestors to the biennale, lives once trafficked by European colonisers. Martínez’s works symbolically bring those distant lives and their unlived potential into the place. Elsewhere, Oum Jeongsoon’s patchwork-covered sculptures read as abstract forms in fact are based on models of elephants created by visually impaired collaborators who draw on senses beyond sight to visualise the animal. The project which began at the city’s zoo, won the biennale’s Park-Seo-bo Art Prize of $100,000, the first of ten awards over the next two decades following a donation by the celebrated monochromatic painter. These are unique recreations of an unseen creature, formed by visually impaired collaborators then celebrated by the artist.

‘Water,’ the curator says, ‘can be slow moving, but shapes geographies over time.’ Works throughout also speak to this gradual but impactful flow, not just riparian but also cultural and social. Betty Muffler’s acrylic paintings on linen are psychological and physical mappings of sites of invisible healing energy across Australia’s Pitjantjatjara Country, while Judy Watson also evokes memory landscapes of the same country with a series of recent works made with natural materials found in the very watery landscapes she poetically maps.

New work by Robert Zhao Renhui continues his Critical Zoological gaze, re-forming a culverted Singapore river into an installation. Videos of wildlife in nearby spaces overlook an arrangement of found objects from the buried stream in a process of archiving and refreshing its many layers of life. Where Zhao Renhui’s stream is released from its manmade encasement, Abbas Akhavan creates an artificial looping watercourse. Using stones and pebbles from Gwangju he has created a short stream as a set piece framed by a greenscreen corner. This is a real stream, but the visible technology and structure behind the imported stones highlight the forced cycle and question the representation of nature.

This is not a biennale of the normal blue-chip artists airdropped into the global art festival circuit – and is the stronger for it. New voices and ancient ideas are both able to float to the surface in a confluence of thinking and practices which speak to ways of perceiving and working with human and non-human nature. Instead of dwelling upon the Gwangju massacre and its national importance, Sook-Kyung Lee and her curatorial team have used it to consider how it connects to other times and places, an exercise which can only forge more solidarity and planetary understanding.

The 14th Gwangju Biennale runs until 9 July 2023. 14gwangjubiennale.com

A colossal wave crashing onto the two-sided rectangular LED display on the external façade of COEX in Seoul’s Gangnam district was a sight that captivated many Seoulites. They stopped to stare, mesmerised, into a three-dimensional tank of screens that offered a cathartic visual experience.

On the other side of the world, a larger-than-life waterfall flowed in the middle of Times Square in New York, stealing the show amid the visual noise of its surroundings. 

WAVE (2020) and Waterfall-NYC (2021) by South Korean digital media design company d’strict are two of many public artworks that astonished crowds amidst the pandemic and catapulted the firm to fame with their instantly-recognisable, captivating aesthetic. Both pieces were created using anamorphic illusion, a type of projection technique used to create an illusion of depth and three-dimensionality. 

While d’strict now frequently collaborates with big-name brands, a’strict – the artistic arm of the company – is open to digital media artists from both within d’strict and outside. A’strict functions as an art collective creating non-commercial artwork with more creative freedom.

‘Among our projects, WAVE was the most popular. I think it came from the unexpectedness of the artwork in the middle of the city. No one would expect a wave to be there and to be so real,’ said Sang Jin Lee, vice president at d’strict. ‘Timing worked well for us because we became well-known during the pandemic. Waves and waterfalls in the middle of the city provided solace and were a stress reliever for many, in times of frustration. I think this made our work connect with the audience,’ she says.

Starry Beach (2020), exhibited at Kukje Gallery in Seoul in September 2020, is an example. Maximising sight and sound, a’strict created an intuitive and immersive beach experience, which enthusiastic visitors queued for hours to see. Morando (2021), which was shown at the much-acclaimed ‘LUX: New Wave of Contemporary Art’ show at London’s 180 The Strand, uses an X-ray technique to depict infinitely blooming peonies and the ethereal cycle of life. 

‘A’strict focuses on intuitive artwork which can be enjoyed without prior knowledge of art and something that can resonate with people’s everyday lives,’ Lee explains. ‘Nature is a theme that people can intuitively resonate with and immerse in, and also gives them a sense of comfort.’

Through immersive digital art installations, both d’strict and a’strict aim to bring nature closer to people’s lives. D’strict’s own exhibition space, Arte museum, is structured around nature-orientated themes such as ‘beach’, ‘wave’, ‘waterfall’, ‘forest’, ‘flower’, ‘garden’, and ‘jungle’, to name a few. The museums are currently located in Jeju, Busan, Gangneung and Yeosu in Korea, with d’strict’s first overseas branch having debuted in Hong Kong in October 2022. Plans for 2023 include museums in Las Vegas, New York, Los Angeles, and Chengdu. 

As well as anamorphic illusion, generative art technology is also an integral part of a’strict’s work. A recent collaboration with crypto artist duo Hackatao resulted in Spirit Forest Incanto, in which a reindeer changes its colour subject to the movement and behaviour of visitors. The colour of the reindeer – red, green, yellow, etc. – is responsive to how visitors walk towards them or touch them. Using code, the reindeer can generate multiple appearances that shift based on subjective input.

A’strict will soon launch a flower project titled Mugunghwa, which uses generative technology to produce multiple variations of Korea’s national flower. The aim is to create 815 different variations of the flower to be sold as NFT editions, meaning that each collector can own a unique version. The flower will be incubated and exhibited from the seed stage in one museum, then presented as a blossomed flower in a travelling show across Arte museums across Korea.

‘Using a technology called real-time engine, the flower will be coded to bloom and die continuously and change its colours. The characteristic of generative art is that there is no beginning and end. The work keeps moving,’ said Lee. 

‘For example, if we code to create five red flowers in five types of shapes with five different stems, we will have multiple random variations possible within this setting. We can also program it to reflect the reality, such as when it snows, the flower will be white, if it rains, it will turn yellow and so on.’

D’strict also has a crypto art project arm called Arte Meta under which these NFT projects are handled. 

The digital revolution in generative art emerged due to NFTs, says Lee. ‘For NFT artworks, many of them have to be mass-produced and often each one represents each person’s identity so each work would have to be unique. Unfortunately, it is difficult to create 10,000 different variations of an artwork,’ she said. 

‘People started using generative technology to produce random variations of works. What differentiates generative art from randomness, however, is that combinations will be made from pre-coded settings.’

D’strict’s next project will touch on environmental issues. ‘Ice’ will be a work of anamorphic illusion of the arctic melting, exhibited at one of its Arte museums. ‘It won’t be an explicit statement on saving the environment, but it can send a message indirectly,’ said Lee. 

dstrict.com; kukjegallery.com

Somewhat unexpectedly on West Hollywood’s Melrose Avenue, with its gaudy colours and billboards, gallerist Rosa Park has cleverly created a sanctuary that instantly soothes the senses. Expanding from Francis Gallery’s first location in Bath, UK, Park’s second space has recently finished its year-long renovation.

Francis Gallery Los Angeles: the art of gallery design

Working in partnership with Lindsey Chan and Jerome Byron of LA-based studio BC, Park has created the antithesis of a stark white cube, instead exploring her talent for developing restrained environments that are harmonious with the works she shows. ‘I wanted to add softness and curves to what is otherwise a very clean, hard-edged space,’ she says. Unlike Francis Gallery in Bath, a Georgian townhouse, the Los Angeles gallery comprises a concrete shopfront. ‘LA is the kind of place where you can make anything that you want it to be, right?’ she jokes. She did so by referencing shapes and forms synonymous with Korean culture, such as the curved partition wall constructed at the centre of the gallery that emulates the form of a Korean moon jar, when viewed from a bird’s eye perspective.

Park worked only with natural materials, in a colour palette she calls ‘nuanced neutrals’, inspired by Korean and Californian hues, adding warmth and texture. Walls are painted with Portola’s Lime Wash in an off-white (nothing is optic white or black) and natural linen blinds diffuse the light (intentionally blocking out the busy street outside). She chose the smoked oak flooring from Madera and used only antique brass hardware for the same reason: ‘It will age beautifully over time.’ She adds, ‘Even though the gallery has just opened, I wanted the space to feel as though it’s been around for a while, for it to already be imbued with a sense of time.’

She commissioned artist Minjae Kim (who held a solo show at LA's Marta Gallery in 2021 and showed at Matter Projects during New York Design Week 2022) to create a round table and bench set for the back area of the gallery, while the long benches for the interior and courtyard were custom-made in-house, alongside upholstered cushions for a rare two-piece antique Korean summer bed, used separately as two low stools.

Outside in the courtyard at the rear of the gallery, Park points out the elements that are redolent of a traditional Korean hanok courtyard: ‘The low bench seating; the stone-like concrete steps; the single tree – in our case, a maple planted in the middle.’

All the consideration paid to the surroundings speaks directly to the consideration Park pays to her artists, who are on view within the gallery.

The inaugural show: ‘Morning Calm’

Titled 'Morning Calm', the gallery’s inaugural Los Angeles art exhibition includes mostly unseen works by six contemporary artists, both Korean and of Korean-American descent, at various stages of their careers, working in multiple mediums, and living in Los Angeles and Seoul.

John Zabawa is a Korean American artist specialising in portraits imbued with a sense of nostalgia. Park first showed his work in Bath in 2020, and for this show, he painted a rare self-portrait. 

This is the first time young painter Song Jaeho has shown work outside of Korea. ‘I love the lightness, wit and humour to how he paints,’ says Park of his abstract oils.

Rising star Bo Kim works more traditionally, carrying on the ‘Dansaekhwa’ movement focused on monochromatic simplicity. Using layers of acrylic and sand, her works address decay and physical ageing over time. 

Renowned photographer Koo Bohnchang has travelled the world photographing antique Korean vessels in prestigious museums, with the hope of ‘reuniting’ these artefacts that were taken out of the country due to war and colonialism through his images. The show also includes never-before-seen works of old Korean farming and fishing tools. 

Rahee Yoon created some sculptural acrylic tables finished with the traditional ‘ottchil’ lacquering technique, which uses tree sap to create an intense dark brown hue. The finish takes two years to fully cure and will keep subtly changing colour until then. 

LA-based ceramic artist Nancy Kwon has created wall hangings that call on her conservation expertise and abstractly resemble ariel footage of rice paddies, towns, and coastlines.

The show takes its name from the generations-old mistranslation, ‘The Land of Morning Calm’, and questions notions of time, place, memory, imagination and history as well as the idea of ‘Koreanness’. ‘This phrase leads me to a place where Koreanness is not absolute, but rather a collection of personal beliefs, meanings, and values that is ever-changing and shape-shifting,’ says Park.

‘Morning Calm’, until 7 January 2023 at Francis Gallery, Los Angeles. francisgallery.co

From K-pop to K-fashion, there has never been a time when Korean culture has been more enthusiastically consumed and beloved by fans overseas (there’s also good reason to visit – see our Seoul tour). Without a doubt, K-culture is in its golden era. 

As much as it is being consumed, however, there seems to be a shortage of publications with a credible explanation for the peak popularity of Korean culture. The power of storytelling has been commonly cited as the key to the Korean film and entertainment industry’s international success, but that doesn’t suffice as an answer when it comes to music, fashion, design and food. Surely there must be something more that is steering the global audience to Korean culture as a whole.

New book Make Break Remix: The Rise of K-Style takes on two major questions: Why has K-style garnered so much attention and popularity globally? And what lies ahead for the Korean cultural trend?  To find answers, author Fiona Bae, a long-time publicist who is based in Seoul and London, met with 16 creatives from Korea’s diverse cultural fields and gained insight into their lives, work, and mantras. Deep-diving into their creative processes, the book extracts the essence of each creator’s distinct identity and their perspective on the rise of K-style. 

Raw yet stylish snapshots of these creators and their work environments, taken by the renowned Korean fashion photographer Less (Taekyun Kim), come as a bonus. His photo essays, interspersed with Bae’s texts, reflect each of the themes. Devouring the photos may itself be a delight of reading this book. 

Interviewees range from celebrated K-pop choreographer Lia Kim to lesser known but highly influential fashion designers who are leading the streetwear scene, such as Bajowoo, Ilse and Mischief. Leading names of high culture – interior designer Teo Yang, craft artist Kwangho Lee, and chef Mingoo Kang – are juxtaposed with subculture’s musicians DPR REM, Hwang Soyoon, and Lim Kim. Despite the eclectic mix, the book’s main focus is on Korean subculture, specifically street culture creators in the fashion and music scenes.

‘My publisher and editors initially wanted to focus on mainstream K-pop and Korean fashion. However, I realised through research that subculture played a critical role in Korea in influencing the mass cultural trend,’ Bae tells Wallpaper*. Referencing Danny Chung, one of the commentators she interviewed for the book, Bae points out that ‘even the biggest acts in K-pop are in tune with what’s happening in the subcultures of Seoul.’

Bae’s interviewees are creators in the subculture scene who are influencing the wider trends, whom she believes will lead the future of K-style. She deliberately avoided featuring celebrated figures in popular culture who have already received extensive coverage.  ‘K-pop and K-fashion are the two pillars leading K-style overseas. At the same time, I believe Korean design will also take off and Korean food is increasingly becoming popular as well. So these potential growth sectors were also what I wanted to feature in the book,’ says Bae.

To Bae, ‘bold and brave attitude by Korean creatives’ is what defines K-style. Defying the old order in a suppressive and competitive society and creating something of one’s own, something original, is what makes K-style so special, she says. 

‘There is an energy that comes from this attitude. Koreans like to learn new things, [and] try new things. They are passionate. My interviewees had a common conviction about what they wanted to do and bravely moved forward. They constantly reiterate and re-mix anything cool from various cultures, with no inhibitions. In the process, new authenticity is born. This reflects the spirit of K-style.’

Competition for originality is much more intense in the digital era than ever before. As people have access to the internet, and particularly social media, they now have a better eye and taste. So creators are under constant pressure to come up with something new, something more original than what is already out there.  

The four Korean fashion brands introduced at the end of the book, in a separate section written by renowned fashion editor Sukwoo Hong (aka Your Boyhood), may be the epitome of originality for K-fashion in this new era. For those keen to learn about new, fast-growing players in the Korean fashion scene, the fashion directory will be a worthwhile read. 

K-style is flying high thanks to digital media, but it is both a blessing and a challenge as creators can struggle to keep up with the speed of society and fast-changing trends. What comes as a result is deeper contemplation and a search for originality. The book has a clear message: Korean culture really started to blossom overseas when creators went back to being true to themselves. In the end, authenticity matters most.

INFORMATION

Make, Break, Remix: The Rise of K-Style will be published by Thames & Hudson on 22 September 2022. thamesandhudson.com

Seoul’s summer monsoon season brings with it a biblical rain that doesn’t shower but saturates. Each time the rain clears, a new Seoul is born; umbrellas become parasols and the muted urban vista makes way for a vibrant, old-meets-new vernacular, accentuated by a lush, mountainous backdrop.

In recent years, Seoul has undergone another sort of rebirth. After the international phenomena of K-pop, K-beauty, K-style and K-cinema, it now seems to be the moment for K-art, thanks to the rise of local players and the arrival of international cultural titans. Our arts editor, Harriet Lloyd-Smith, explores how, with new museums and galleries, bustling bars and restaurants, all eyes are on the South Korean capital. 

Postcard from Seoul: 8 arts and culture must-sees 

International galleries 

Joining acclaimed native galleries such as Hyundai and Kukje, a new wave of global blue-chips – including Thaddaeus Ropac, Lehmann Maupin and König – have flocked to Seoul for a piece of the action. Ahead of Frieze Seoul 2022, two major players announced ambitious extensions. Pace Gallery will expand its multi-level arts complex with a new outdoor sculpture courtyard, while Perrotin will open a new space in the upmarket retail neighbourhood of Gangnam, joining its original outpost in the historic art district of Jongno. 

Frieze Seoul

The inaugural edition of Frieze Seoul in 2022 marked a major moment for Asia’s art scene. Held at Coex and led by director Patrick Lee, Frieze’s fourth global location, and its first in Asia, welcomed more than 110 galleries and featured a special section, Focus Asia. The much-anticipated addition to the art world calendar took place alongside KIAF (the Korea International Art Fair), placing Korean art firmly on the international stage. Frieze Seoul 2023 is set to take place 6 – 9 September.

Seoul Museum of Craft Art

The Seoul Museum of Craft Art opened in 2021 as the first institution of its kind in South Korea. Shows in 2022 included ’Craft, Moving Beyond Time and Boundaries’, exploring how age-old traditions can collide with contemporary experimental approaches. Korean craft also took the spotlight at the 2022 Loewe Foundation Craft Prize, exhibited at the museum in July, where seven of the 30 international finalists hailed from South Korea, including this year’s winner, horsehair weaver Dahye Jeong. 

Sanchon

All this cultural consumption demands sustenance, and a culinary gem lurking in a backstreet nook of the Insadong district promises to awaken tastebuds you didn’t know you had. Sanchon is an acclaimed vegan temple food restaurant established by a former Buddhist monk. The soul- and body-cleansing a la carte menu offers distinctive dishes involving kimchi, tofu, seaweed, japchae glass noodles and lotus fruit – the latter a punchy experience for the unseasoned palate. The food is accompanied by live piano music, live birds chirping, bounteous live greenery and an adjacent art gallery.  

Design Museum at Dongdaemun Design Plaza

The new Design Museum at the Zaha Hadid Architects-designed Dongdaemun Design Plaza was inaugurated in 2022 by the exhibition ’Meta-Horizons: The Future Now’, exploring ZHA’s work across digital technology, artificial intelligence, virtual reality and sustainable strategies. Created in collaboration with artist Refik Anadol (who created the Seoul Light: Seoul Haemong multimedia public installation at DDP in 2019), the show was a multidisciplinary collision of virtual and physical worlds. 

281 Eulji-ro, Euljiro 7(chil)-ga, Jung-gu, Seoul
museeum.com/museum/dongdaemun-design-plaza/
zaha-hadid.com

Wellness K at Kukje Gallery

With its unique union of world-class art, wellness, food and design, Kukje is part art gallery, part state-of-the-art lifestyle hub. Within the multi-use art complex’s K1 building (which secured a Wallpaper* Design Award in 2021) is Wellness K, an inventive fusion of fitness, mindfulness and aesthetics. Within a space designed by Teo Yang studio, the wellness centre offers members personalised programmes including strength and core training, yoga, dance, and meditation. What’s more invigorating than lifting weights within feet of a Julian Opie? 

54 Samcheong-ro, Jongno-gu, Seoul, South Korea
kukjegallery.com

Oul at the Four Seasons Seoul 

Cocktail hour at the Four Seasons Seoul has long been headlined by the ‘secret’ subterranean speakeasy that is Charles H. But above ground, the newly-opened Oul is shaking things up. The late-night bar concept, tailored to the Korean ‘Generation MZ’ (encompassing Millennials and Gen Z), offers contemporary takes on a long history of Korean liquor crafting and fermentation, such as a reimagined Gyeongseong-era sujeonggwa cinnamon punch, and a Kimchi Highball with a twist of green chilli soju. With its dynamic Obangsaek colour palette and neon signage, Oul is a new mixology hotspot for experimentally-minded night owls. 

97 Saemunan-ro, Jongno-gu, Seoul
fourseasons.com

SongEun Art & Cultural Foundation

Seoul has long been a hub for projects by internationally acclaimed architects, from Mario Botta, Jean Nouvel and Rem Koolhaas (who each designed a wing of Leeum, Samsung Museum of Art) to Dominique Perrault, whose Ewha Womans University blends seamlessly into its hillside landscape. In late 2021, Swiss firm Herzog & de Meuron made their South Korean debut with the SongEun Art & Cultural Foundation, an angular, monolithic 11-storey structure in the high-end Gangnam district. The building – which houses a non-profit cultural space championing Korean and international emerging art – has become something of a Seoul landmark, a feat in a city defined by such a dense urban tapestry. 

441 Dosan-daero, Cheongdam-dong, Gangnam-gu, Seoul
songeunartspace.org

INFORMATION

This article appears in the September 2022 Issue of Wallpaper*, available on newsstands now, as well as on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

‘When I was in elementary school, we always had to buy this bag,’ begins the Korean-born, Berlin-based graphic designer Na Kim when I ask about the concept behind her latest exhibition. She tells me about this simple, small bag that in the 1980s and ‘90s was sold at stationery shops across Korea, and contained a number of ambiguous objects that were often used as teaching materials at school. ‘I remember some images of individual objects,’ she continues, ‘but more strong are the memories attached to these objects.’

In ‘Bottomless Bag,’ Kim’s new solo exhibition at Buk-Seoul Museum of Art, the designer’s distinctive visual vernacular forges a framework for considering images as networked components within a relational system of organisation as well as discrete, subjective sites of memory. This unorthodox presentation of Kim’s elemental sense of colour and geometry engages with her longstanding interest in recontextualising forms and patterns found in everyday objects and proposes alternative approaches to graphic design based on dynamic logics of spatial organisation.

Anchoring the exhibition is the most recent iteration of Kim’s installation series SET (2015-present), which reinterprets a range of two-dimensional design elements as physical objects. ‘In many cases of previous SET series it was built up as a wall painting’ she recalls, ‘but here I want to bring these shapes and colours into the space, and that could be a sort of playground for children.’

As a commissioned artist for the museum’s biannual Children’s Exhibition Series, Kim had carte blanche to create a multilayered platform where visitors of all ages can freely interpret and interact with her work. An expansive playground installation at the core of ‘Bottomless Bag’ reflects the constantly-evolving rules of engagement that guide Kim’s aesthetic decisions, enlarging shapes, blobs and squiggles derived from her visual archive to construct an immersive environment of colourful curtains, carpets, stairs and structures.

The origins of these images can be traced to Kim’s daily collage practice, in which she repurposes found objects and mass-produced materials – such as stickers, plastic bags and various papers – in a meditative process of discovery that yields a steady stream of inspiration. She calls these small works on paper Found Compositions (2009-present), explaining that ‘most of them are based on the idea of how to find the hidden rules inside a composition.’ Beyond addressing the impulse to communicate such rules and relationships, however, this methodology also invites the active reinterpretation of specific memories that she associates with each object. By imagining the gallery space itself as her own ‘object bag,’ Kim imbues her images with meaning as visual objects that evoke recollections of the past as well as tools for realising mindful designs that ontologically tether form and function.

INFORMATIONADDRESS

‘Bottomless Bag’, until 13 September, Buk Seoul Museum of Art. sema.seoul.go.kr; ynkim.com

Buk Seoul Museum of Art 
1238 Dongil-ro
Nowon-gu
Seoul

K-Pop's star-makers YG Entertainment have got a brand new headquarters – a piece of futuristic office architecture to match their impressive ability to have their fingers on the global cultural pulse, when it comes to musical talent and chart-topping successes. The building, now the home of these giants in the world-famous South Korean music scene, comes courtesy of Dutch architecture practice UNStudio and sits in Seoul's Mapo district, next to Yanghwa Bridge and the green island of Seonyudo Park. 

UNStudio says that the headquarters is 'inspired by YG Entertainment’s business and the music industry in general.' The overall, streamlined shape of the building, in fact, draws on musical references. 'The protective shell of the new HQ building manifests as a new ‘urban speaker’. It is designed to be more reminiscent of a product than a building; one in which every design feature has a performative function,' the architects say. Additionally, as the new structure is located next to the YG Building, a multi-functional practice and performance space belonging to the same company, its massing reflects that of its neighbour, maintaining harmony and continuation in this Seoul streetscape. 

The building contains a workspace for employees, chic meeting rooms for the multiple stars on its roster, and recording studios. The aim, the architects explain, is to create a space that is functional but also uplifting, to make for an engaging and motivating working environment for the company's numerous employees and visitors. 

The interior's light-coloured tones and large openings help towards that. They invite the light in and direct the gaze out. Playful geometries create a sculptural, futuristic environment, while allowing the natural light to bounce off the walls. Tall ceilings, planted areas and expressive shapes make for an arresting interior, with an atrium placed at the heart of the internal arrangement, glazed on one side to open up towards the views.

This also fits its site and context, as the plot is located on the edge between a housing district and a series of open urban spaces, including the river, a couple of parks and part of Seoul's dense urban circulation network of roads and bridges. The project is designed to be orientated towards the long views of the adjacent public spaces and beyond - offering a sense of place in this dynamic and contemporary piece of office architecture.

INFORMATION
unstudio.com

The Seoul neighbourhood of Hannam-dong, home to Gucci’s flagship store in the South Korean capital and Thaddeus Ropac’s first Asian branch, has now also welcomed the metropolis’ newest luxury residential scheme, Brighten Hannam. The design- and amenity-led development, the brainchild of established local real estate specialist Shinyoung, architects Urban Agency and dynamic Seoul architecture studio Intg, which is led by partners Daniel Song and Kate Cho, promises a luxurious, architectural experience for its residents – and it has just launched its show apartment. 

Drawing on the neighbourhood's richness, diversity and international culture – which also makes it hub for subcultures and hipster hangouts – Brighten Hannam proposes a vibrant, sophisticated spatial experience that appeals to creatives and young professionals. In a similar vein, Intg’s design approach (the studio looked after the interiors, while Urban Agency tackled the overall shell architecture) merges the refined luxury of a modern residential development with the spacious and somewhat utilitarian feel of a loft. Brighten Hannam will include a total of 144 units in its elegant high rise volume. 

Brighten Hannam interiors by Intg

The structure’s clever design means that the loft interiors can be adjusted and customised by the residents, so as to appeal to various needs and requirements – from open-plan, flowing spaces to an approach that favours more privacy and the creation of more individual rooms. A selection of floorings and wall treatments can similarly flexibly respond to different interior design concepts. 

Communal areas within the building are designed to have an intimate feel, using warm, rich colours and clever spatial separations so as to provide residents with the option of using the Brighten Hannam facilities with a certain privacy. Amenities range from private meeting rooms to wellness spaces and bespoke classes. 

Intg, which was founded in 2016, may still be considered a young practice, but Cho and Song's flair and hard work have taken the brand from strength to strength since its inception. Projects such as Hana Bank’s minimalist private lounge and a Memphis-inspired Gangnam apartment (both in Seoul) have showcased the team's versatility and refined, contemporary take on interior design and architectural space, with Brighten Hannam now representing the studio’s first residential project of this scale.

INFORMATION

intgspace.com

brighten-hannam.com

urban-agency.com

Leading Korean financial institution Hana Bank is adapting to the digital era with a state-of-the-art private lounge for its customers, launching courtesy of Seoul design studio Intg. Located in the business district of Yeouido island in the South Korean capital, the space’s minimalist architecture has been carefully designed to offer the best digital service to its visitors, as the bank  enters a new phase where mobile and internet banking are central to its activities. 

This goal is clearly reflected in the design, which allows visitors to relax in the calm, uncluttered environment of Gold Club Yeouido, as the private banking lounge is called. In their research, the design team discovered that ‘in a highly digital environment, customers still visit bank branches to handle complicated tasks, which come with an emotional burden’. Their aim was to create an interior that makes customers’ interaction and time there as fresh and uncomplicated as possible. 

To achieve this, Intg blended the digital with the analogue and the physical, ensuring that while the private lounge club is fully kitted with the latest technology and can become a highly digital environment at the touch of a button, the customers can also experience a gentle, tactile interior full of textures and serene colour tones. 

Spanning over 1,100 sq m, the lounge spreads across two floors that cater to customers at different levels of membership – including up to exclusive, VIP-access-only areas. A glass enclosed, ‘floating’ meeting room at the heart of the space sets the tone with its clean lines and ethereal presence. A variety of areas around it serve different needs, in a flexible and adaptable way. This arrangement loosely reflects traditional Korean residential architecture, the Intg team explain, making visiting the bank both relaxing and friendly. 

‘The “floating” meeting room on blue sand’, appears modern yet is inspired by classical and Oriental elements, says the studio's Kate Cho: ’It is designed to subtly reflect the way people enter a living space’, adds the studio's Daniel Song and nods to Hanoks, traditional Korean houses. ‘Separate meeting rooms are placed like islands, similar to the Hanok structure. Intg chose hard metal, which comes to mind when thinking of a bank safe, as the main material.’

INFORMATION
intgspace.com

Something majestic and mirrored – reflective in surface, but sublimely at home with organic, natural surroundings – sits at the foot of Hallasan mountain on Jeju Island, in South Korea. It shimmers in the sun, rising amongst the sub-tropical landscape like a space-age temple, overlooking Sanbangsan mountain and the island’s southern shore.

Welcome to Burberry’s The Imagined Landscapes Jeju, a topographical sculpture that is the first of its kind on the South Korean island. It is designed as one of a series of the British heritage brand's global pop-up spaces, which aim to blur the lines between ‘nature and technology, the indoors and outdoors, the real and the imagined'.

Burberry The Imagined Landscapes Jeju: a space-age South Korean sculpture

The space, adventurous in its location and design – and a nod to the pioneering spirit of the brand's founder Thomas Burberry – has an undulating façade that echoes the topographic contours of maps. Inside, it showcases three immersive films by a trio of artists: Maotik, Cao Yuxi, and Lia Jiayu. The films explore themes including nature, physical distortion and the digital realm. The sculpture also houses a range of adventurous Burberry pieces, ranging from puffer jackets to new iterations of the label's signature trench coat, which was first introduced over a century ago.

For visitors who feel a touch peckish after visiting the viewing platform of the sun-reflecting sculpture, Burberry has opened Thomas’s Café just a stone's throw away. The café – which makes its first appearance in Korea – draws not only on Burberry’s beige tones and animal kingdom motifs, but also nods to local culture. The space plays host to chef Justin Lee of Seoul-based JL Dessert Bar, and features an assortment of sweet treats.

Keen to draw yourself even deeper into Burberry's world? As you view The Imagined Landscapes Jeju, you can also turn on a TikTok filter that will activate an augmented reality lens, giving the notion that there are sharks swimming in the sky.

INFORMATION

burberry.com