We are thrilled to share the exciting news that The OWO Pavilion and Courtyard has won the 4th edition of the LIV Hospitality Design Award.
Our heartfelt gratitude goes to our wonderful client and project team, whose contributions were instrumental in achieving this success.
The full list of winning projects is announced on the LIV Hospitality Award website.
Eduardo is an architect at DaeWha Kang Design and is responsible for spearheading several virtual architecture projects at the office. In this interview, we asked Eduardo how he became involved in virtual projects, the challenges and triumphs of crafting immersive digital experiences, and the evolution of our firm's approach to virtual and physical projects.
I used to play lots of video games as a kid. I was always fascinated by the worlds that I could explore and discover. Part of this interest led me to study architecture; in a way, the fascination with imaginary worlds came before my interest in the built environment. With time, they became intertwined.
I would say that in “The Movement”, we certainly pushed the possibilities of the Metaverse further. In this collaboration with the luxury lifestyle magazine “Robb Report”, the brief was to create a digital club for watch collectors. Making the most out of the theme, we created a space where circular geometries were continuously moving like the interior of a watch. Walls, floors, and ceilings could rotate and move like a mechanism to generate different spatial configurations and enhance different functions. It was quite interesting testing movement in ways that would be impossible in real life (or very expensive!)
Logically, this was technically challenging and required us to upgrade our skills. However, the result was stunning, and the clients were very happy.
The first part, “the modelling”, can still be done in Rhino or (preferably) Maya; what happens next has been the real leap. We have learned game engines, such as Unity and Unreal, from scratch. One of the main challenges leading the development of digital experiences at the office was that inside my team, there was no one to ask! I was learning from information on YouTube and online forums and asking my partner, who works in the gaming industry. Our office resourcing had to consider the time devoted to learning and testing, which could take up much of the day, particularly during the first weeks. Balancing this time with achieving results that would impress the client was stressful and challenging but also very rewarding. I have a great sense of accomplishment about having been able to upgrade my skills in this sector and achieve such good results.
Virtual projects make you focus on the human experience. When you test them during the design process, you not only review them as 3D models, but you also walk through them and “experience them”. After getting used to this workflow, my view when designing physical spaces has changed, as my focus turned to crafting the human perception of the space.
I see what we call “virtual architecture” or “metaverse” evolving in 3 ways. On one hand, we have the increasingly popular world of digital twins: simulations of real environments or designs that will be built in the real world. Then, we have the fledgling industry of Metaverse projects, meant mainly for social interaction, that are moving increasingly towards gamification. Thirdly, we have gaming universes like Fortnite, which are incorporating more and more elements of real economy, social interaction, etc, (this last group is the most relevant in terms of impact and number of users)
As each of these three strands starts to converge, we are still facing the problem of interoperability: how assets purchased in one universe can be used in another or how our digital self, our avatar, can seamlessly walk through the different platforms. I feel that, at the moment, this is one of the main challenges the metaverse as a concept is facing. It took some time to create common standards for the World Wide Web, and I feel we are in a similar situation with the metaverse. Once we agree on standards, payment systems, ownership systems, and interoperability of assets and avatars, we will achieve this continuous, parallel digital reality that the metaverse wants to be.
In parallel, I am quite intrigued by the future market penetration of some new XR devices being developed. For instance, if the Apple glasses are commercially successful, other companies might push the development of similar products as well (like it happened with the iPhone), which could push forward the use of VR by the mainstream public. This might as well boost metaverse-related applications, as the overall number of users might increase substantially.
Do reach out if you have any interesting virtual projects you'd like to share with us. We can be reached on LinkedIn, Instagram, and email.
We are thrilled to share the exciting news that our renovation of St Andrew Holborn has been shortlisted for this year's RIBA London Award.
Our heartfelt gratitude goes to our wonderful client and project team, whose contributions were instrumental in achieving this success:
A special acknowledgement to Bishop Jonathan Baker, John Booth, Sue Johns, Nick Hills, and Father Mark Young.
The project involves the revitalization of the interior of Sir Christopher Wren's largest parish church, a Grade I Listed church in the City of London. Collaborating closely with St Andrew’s Guild Church Council, DaeWha Kang Design aimed to establish a cohesive aesthetic throughout the entire church, addressing years of ad-hoc evolution. This evolution necessitated a thorough decluttering of the space and a return to the dignity, grandeur, and spirituality envisioned by Wren.
The full list of shortlisted projects is announced on the RIBA website. Winners will be revealed in the spring.
As part of our GenZ initiative, we ask students to contribute articles to foster a thoughtful discussion about design and its impact on the world. This piece, penned by Ananya from St. Paul's Girls' School, focuses on how design influences the mind in interior spaces and architecture. Ananya explores the effects of colour, lighting, materials, and object placement on mood and functionality. The article underscores the significant role of design in crafting both functional and aesthetically pleasing spaces, ultimately concluding that thoughtful design is essential for effectively optimizing a space's purpose.
When you walk into a space, your brain immediately takes in several factors, such as its colour, its shape, whether it is tidy or cluttered, bare, or generously furnished. All these factors have a tangible effect on one’s mood and concentration. Design can often be used to cleverly manipulate one’s mood to fulfil the purpose of the space. For example, a dark room can be used to create mystery, and spotlights can change the focus of the room, curved shapes can create a sense of harmony, etc. In this article, I am going to explore how interior design and architecture can stimulate the mind in different ways.
Interior design involves creating a functional and aesthetically pleasing environment for the people using the space. This includes meeting our psychological needs. The aspects of interior design that affect our mood most significantly are colour, lighting, materials, and the placement of objects within a space.
Architecture and exterior design are also important in meeting our psychological needs. It involves complex and carefully designed structures and creates an impression on our brains before we even enter the space. Once inside, it continues to manipulate our minds to fit the purpose of the room more efficiently. The aspects of architecture that affect our mood most significantly are shape and lighting.
The shape of a space is one of the most striking things about it and affects all the interior design that would come later to further mould the space into a functional area that fits our needs.
The conventional cube or cuboid, go-to options for the shape of a space due to their sturdiness, can create a sense of stability and security, while spherical spaces can create a sense of unity due to the wholeness of the circle and the softness of its curves, inducing relaxation and thoughtfulness. Wedge shapes, or spaces with subtly angled walls, are a more interesting alternative to the traditional cube, creating comfortable reading nooks, ideal for relaxation. Finally, unusually shaped, or exceptionally tall buildings often have rooms inside which do not reflect their exterior. However, the radical exteriors of these buildings can be used to make a political statement or attract tourists, and often dominate a city’s skyline.
To conclude, design is essential in fulfilling the purpose of any space and can stimulate our mind in different ways to fulfil this purpose most effectively.
The OWO Pavilion and courtyard designed by DaeWha Kang have been featured in print and digital versions of Robb Report Singapore.
The printed article can be found in the 2023 December issue, while the online version can be accessed in full here.
With thanks to Indran Paramasivam.
The OWO Pavilion and courtyard designed by DaeWha Kang has been featured in both print and digital versions of the Conservation & Heritage Journal.
The printed article can be found in the 2023/24 winter issue, which is the10th Anniversary Issue of the journal. The online version can be accessed in full here.
With thanks to Chris Connelly.
Laura is an architect at DaeWha Kang Design and the project lead for St Andrew Holborn's renovation. In this interview we asked Laura why she became an architect, and how we successfully delivered the rennovation of the largest of Sir Christopher Wren's parish churches.
Growing up, I was always very interested in a variety of different topics. I chose architecture because it not only married my interest in the sciences and art together, but also because architecture involves history, geography, law, business management and many other subjects, so it is a fantastic career if you are interested in continuing to learn about the world. This influences my work in the sense that I am always passionate about infusing projects with a deeper meaning and understanding of how they fit into their context.
I am also an irredeemable idealist and as such, am deeply interested in how the built environment can make the world better for those who experience it, both from a functional and practical side as well as from a beauty point of view.
For this project, we were very focused on creating a numinous, serene and timeless regeneration that was at the same time rooted on wellbeing, sustainability and resilience.
The project involved a number of smaller interventions within the church. These designs create small moments of intensity within an otherwise more tranquil setting. The “stars in the sea” concept imagines moments of spiritual focus crystallised as individual jewels set into the fabric of the church.
To create order and progression of the key points of worship, icons and memorials, we developed the concept of “from water to light”, which allows to have a coherent conceptual flow and meaning within the church, as the concept moves from the Baptistery - associated with water, genesis and birth - to the East end and the Sanctuary - associated with light, resurrection and revelation.
As St Andrew Holborn is a place of worship and the regeneration is focused on the interiors of the space, the project did not need planning permission but instead needed permission from the Diocesan Advisory Committee (DAC). Because of its Listed status, it also needed approval from Historic England and recommendations from other statutory parties.
To ensure a smooth approval process, we engaged with both the DAC and Historic England from very early in the process and focused deeply on explaining the story of the project and why it is so important for the future of the church. We organised meetings both in Stage 2 and Stage 3 within the space to be able to give further meaning to our concepts and made sure we kept all of their concerns in mind during our design process.
The beginning of the project was heavily focused on researching the building, its history and associations and what we found out formed a key part of the designs we ended up developing. The church is an important part of London’s history and as such, it was crucial for us to not only respect, but celebrate this. From Christopher Wren’s interest in geometry and mathematics leading to the geometric design of the Baptistery floor, to the Virgin Mary being named the “star of the sea” and that forming part of the concept for the Lady Chapel’s reredos or from creating a new Baptistery that can use the water of the spring that was found in the crypt to enhancing an existing connection between Thomas Coram and the Foundling Hospital and St Andrew’s by putting the Baptistery font inherited from this hospital as the centrepiece of the Baptistery. Enhancing these preexisting links with the regeneration allowed the project to be deeply grounded and significant for the users of the space.
I think the most important strategy to achieve the standard we were striving for was to surround ourselves with craftsmen and manufacturers that had the same standards and passion to create something truly special and unique. It was very important to us to choose a group of people that understood the project and what it was that we were trying to create. As an example, Ursae manufactured the Lady Chapel reredos and screens together with the Tabernacle out of brass using the most cutting-edge techniques but also paying incredibly close attention to the detail and overall finish. The amount of time and energy they spent getting these pieces to perfection was remarkable and we are eternally grateful to them for going above and beyond for this project. Another example was when we were first interviewing main contractors and we met Chris Gladwell from Chichester Stoneworks, it was instantly clear to us that he understood our vision and that he had a great deal of knowledge and love especially for heritage buildings and stonework – which is a big part of the restoration. This was a big factor when making our final decision on the main contractor.
I believe that being very heavily involved throughout the process of manufacture was also of great importance. We designed every piece trying to imagine how it would be able to come together and we then worked alongside the manufacturers to solve issues that were arising in what we considered the most elegant and refined way. We were therefore heavily involved throughout all stages of the project.
DaeWha has delivered a public lecture at the Architecture Commission of Saudi Arabia on Thursday 9th November. The conversation, moderated by Prince Nawaf bin Ayyaf, covered the philosophy behind DaeWha's architectural projects and address: How can architects respect the past and build for the future? Where is the intersection between traditional craft and cutting edge technology? And what is the place of artistic and cultural identity in a rapidly changing world?
The conversation can be streamed on YouTube.
The OWO Pavillion and courtyard designed by DaeWha Kang has been featured in both print and digital versions of the global design magazine Wallpaper*.
The printed article can be found in the 2023 November issue of the magazine, while the online article can be read in full here.
With special thanks to Ellie Stathaki.
In addressing 21st-century challenges such as air pollution, mental health issues, and environmental degradation, architects play a pivotal role in shaping sustainable, resilient, and inclusive places to live. At the core of this transformative journey are the United Nations Sustainable Development Goals (UNSDGs), serving as a blueprint for creating a safer and more prosperous future for all. Within the UN's framework of 17 interconnected goals, several directly relate to architectural practices, underscoring the crucial role of the built environment in driving positive change.
UNSDG 11 focuses on creating inclusive, safe, resilient, and sustainable cities. Architects play a fundamental role in designing urban spaces that promote accessibility, affordability, and cultural preservation. By developing innovative solutions like green infrastructure, efficient public transportation, and mixed-use developments, architects contribute to fostering vibrant, livable cities for everyone.
In Paju Farm City, we reimagined urban living by bringing agriculture, raw nature, renewable energy, and waste systems into the heart of the city. We've created a closed loop of food and energy, where waste becomes power and agricultural practices are integrated with the city's daily life. The city is laid out as a walkable paradise, fostering community through shared farms and markets.
Affordable and clean energy is essential for sustainable development. Architects are at the forefront of integrating renewable energy solutions into the built environment. From designing energy-efficient buildings to incorporating solar panels and other renewable technologies, architects are paving the way towards a future powered by clean and sustainable energy sources.
Climate change poses a significant threat to our planet, making Goal 13 a critical focus. Architects are exploring climate-responsive designs, emphasizing natural ventilation, daylighting, and materials with low environmental impact. Additionally, architects are promoting green building certifications, encouraging the construction of climate-resilient structures that minimize carbon footprint and enhance environmental sustainability.
Architects and designers can also make significant contributions by investing their time and effort in educational initiatives, such as supporting the endeavors of organizations like Climate Change All Change charity, whose current projects bring designers and school children together to co-create solutions to the climate crisis.
Creating environments that promote good health and well-being is a fundamental aspect of architectural practice. Architects are designing spaces that enhance mental and physical well-being, incorporating elements such as biophilic design, access to natural light, and recreational areas. By prioritizing the health of building occupants, architects contribute to fostering healthier communities.
Our previous article explains how we designed The Living Lab, a workplace focused on enhancing employee's wellbeing, and how a pilot study measures the impact on employees' well-being.
Architects are championing responsible consumption and production by embracing sustainable building materials, promoting recycling practices, and advocating for adaptive reuse of existing structures. By encouraging mindful consumption and minimizing waste, architects are leading the way towards a more sustainable approach to construction and design.
Our design for The OWO pavilion considers the entire lifecycle of the building, encompassing not only its initial construction but also the afterlife of the materials and components. Both the pavilion and the accompanying water fountain have been crafted for disassembly, ensuring that they can be easily taken apart and relocated as needed. The historic coblestones are stored in a storage room on site, which can be re-laid should the pavilion be relocated one day.
In the pursuit of these UN Sustainable Development Goals, architects are not just designing buildings; they are envisioning and creating sustainable communities that stand as testaments to human innovation, creativity, and compassion. As we move forward, it is crucial for architectural practices to continue integrating these goals into their designs, fostering a future where the built environment aligns harmoniously with the well-being of both people and the planet. Together, architects and the UNSDGs are paving the way for a brighter, more sustainable tomorrow.
The OWO Courtyard pavillion designed by DaeWha Kang has been featured in e-architect, the global online resource for all things architectural.
The article can be read in full here.
With special thanks to Adrian Welch.
At DaeWha Kang Design, we believe in the power of thoughtful design to enhance the human experience. On this World Mental Health Day, we reflect on the profound impact that design can have on our overall wellbeing.
Design is not just about aesthetics; it's about creating spaces that nurture our mental and emotional health. Studies have shown that our environment significantly influences our mood, productivity, and overall mental wellbeing. By integrating biophilic design principles and natural materials into our projects, we aim to bring the calming essence of nature indoors.
Biophilic design incorporates elements of nature into the built environment, from green walls and indoor plants to natural light and organic materials. By immersing ourselves in spaces that echo the outdoors, we can experience improved cognitive function, reduced anxiety, and enhanced creativity. These design choices foster a sense of connection with the environment, encouraging mindfulness and promoting mental balance.
Choosing natural materials such as wood, stone, and sustainable textiles not only adds a touch of elegance to our spaces but also contributes to a healthier indoor atmosphere. These materials have proven benefits, including regulating indoor humidity, reducing pollutants, and providing a sense of warmth and comfort. By opting for sustainable, eco-friendly materials, we can create spaces that not only look beautiful but also support the wellbeing of those who inhabit them.
Working in collaboration with Mitie (our client), and Dr. Marcella Ucci from the MSc in Health, Wellbeing and Sustainable Buildings programme at the UCL, we created not only a physical space focused on enhancing employee's wellbeing, but also a pilot study to measure the impact on employees in a detailed post-occupancy study.
Human physiology is wired to seek qualities of light, view, material, and other factors common in the natural world. This project comprises two spaces designed according to those principles: a “Living Lab” that functions as an immersive work environment, and two “Regeneration Pods” that provide short-term rest and meditation functions for the Mitie employees.
The Living Lab is fully immersive, with rich and intricate patternisation, natural materials, and interactive and dynamic lighting. The room gains privacy through bamboo screens that wrap onto the ceiling above. The floor, desks, and task lights are also formed from different shades and textures of bamboo, providing a holistic organic language for the entire space.
The lighting in the room is circadian, and linked to an astronomical clock—cool blue in the morning, brilliant white in the afternoon, and firelike orange as the day winds down. The light softly breathes, very subtly shifting intensity in an almost imperceptible way, giving additional dynamism to the experience.
During the post-occupancy study, Mitie employees worked at these desks for four weeks at a time, answering daily surveys about their comfort, satisfaction, and emotional response. They then spent four weeks working in a control area on the same floor with similar environmental conditions but without biophilic design, and their responses were compared between the two spaces.
The study concluded that, compared to the control space, participants in the Living Lab appreciated and felt 38% more calm, relaxed, laid-back and at ease; 36% less worried, tensem anxious and nervous, and felt 60% more productive. Click here to download the full report.
While studies have established the positive impact of daylight, natural materials, and a direct visual connection with nature, aesthetic design also has a strong impact. The bamboo screens strike a balance between the regular rhythm of structural ribs and the variation and playfulness of discrete leaves that maintain a sense of transparency and intricacy in the space. The leaves catch natural light but also diffuse embedded lighting within the screen itself.
The Regeneration Pods are part of Mitie’s mental health and wellness initiative, and provide a tech-free meditative moment within the workday. Like the Living Lab, the Regeneration Pods provide a sense of shelter and refuge while also maintaining beautiful views to the outside. They are curated by a behaviour psychologist in Mitie’s team who trains staff on mindfulness and meditation.
When an access card activates a pod, a fifteen-minute sound and lightscape, meticulously crafted for mindfulness and reflection, commences. This innovative system not only offers a serene experience but also provides valuable data. By measuring usage patterns and correlating them with employee stress levels, we gain invaluable insights into the impact of our design on their overall well-being.
For more information about this project, visit here.
At DaeWha Kang Design, we are committed to crafting environments that prioritize mental health and happiness. Today, as we observe World Mental Health Day, let us remember the vital role that design plays in shaping our lives. Let's continue to advocate for spaces that promote mental and emotional wellness, ensuring that everyone has access to environments that uplift and inspire.