In Conversation with Stewart Robertson, co-founder of BAR Studio
On a recent visit to the Grand Hyatt Seoul, we were struck by BAR Studio’s design of rooms, suites and F&B spaces, all of which are contemporary, sensitive reinterpretations of John Morford’s original design
Suzy Annetta: You’ve talked before about being a fan of the Grand Hyatt Seoul’s original designer, John Morford. How did it feel to be in there tinkering around and refreshing something that you already respected so highly?
Stewart Robertson: It’s been a privilege to build on John Morford’s work. The Grand Hyatt Seoul, in particular, has been his experimental ground for over 20 years — it’s an ever-evolving site of ideas. Here you can see the catalyst for designs that were subsequently incorporated into the renowned Park Hyatt Tokyo and Grand Hyatt Hong Kong.
The hotel evolved almost organically — like a little city — so each area has its own personality, connected by a common thread, and our overall approach was to respect these identities and not approach it from a viewpoint of old versus new, but rather as a contemporary interpretation of the traditional spaces.
For example, in the lobby our challenge was to keep the original bones but update and expand it, both operationally and aesthetically, for today’s market. To make it feel exactly the same, but totally different. It was quite the challenge!
Seoul is a city of the future but still so steeped in history. How did you balance the two in the design?
Typically, our whole approach to design starts with understanding the history and culture of a place. In almost every project we’ve had an opportunity to capture how it will resonate with — and respond to — its location.
In this instance, the hotel’s strong history as a local escape that’s not contextualised by the city, but rather by its distinct design legacy, is itself a destination. For decades it’s been a special getaway for both Seoul’s residents and international travellers; a place with its own unique spirit. The legacy of this spirit and identity remains unchanged, but we’ve reinterpreted it for the modern traveller.
Can you explain the concept behind the F&B spaces and their individual identities?
For the spaces of 322 Sowol-ro, it was about taking that idea of Grand Hyatt Seoul as a little city and using that to create the concept of three small-scale shophouse restaurants and a series of private dining spaces that lead off a central street, with a market-style flower shop signifying the entry. The concept is reminiscent of a Seoul alleyway.
At the same time, we wanted to maintain a sense of discovery in the unique identities that respond to the individual F&B offerings. Every space has its own open kitchen and display, so each space is built around that activity, but they’re all quite distinct. The sushi bar is a more tranquil, quiet and contemplative space, whereas the teppanyaki restaurant is all about the theatre of cooking. The steak house, on the other hand, is moody and features lots of raw brick and dark timber.
Each venue has narratives that form its unique character; the idea was to create spaces that feel as if an individual operator has taken on the space and renovated it in a style that tells their own unique story. The opportunity was to imagine that the existing architecture has been inhabited and renovated by new personalities, in order to create a sense of something much more private with a sense of the local.
What about the concept for the guest rooms and suites?
Like in the lobby, it was about maintaining the spirit of Morford’s design. We retained his signature use of golden oak, black-and-white photography and calligraphy, but then updated that to create a more residential feel through new furniture and lighting. We also inserted a strong motif: a contemporary interpretation of the traditional Korean bojagi pattern that we reinterpreted in artisanal hand-painted glass that connects bedroom and bathroom, to create a sense of space and bring natural light into the bathrooms.
The redesign of the rooms responds to how travel has evolved, to create the sense of a more relaxed, residential feel and to blur the boundary between business and leisure. The large multi-purpose table can be used for dining or working, the sofa next to the window provides an opportunity to relax and take in the views, and there’s a personal, homey charm with subtle local and cultural details.
The suites have been similarly interpreted as luxury residences, but with distinct personalities of their own. The Grand Executive suites flip the palette of the guest rooms and offer a sophisticated base of dark timber and wall coverings with gold highlights, while the Diplomatic suite shares this elegant palette, teaming dark wood with soft leather tones and deep blue hues.
In the Ambassador suite we’ve reconfigured the layout to make the most of 180-degree views and to create additional opportunities. The crisp, light-coloured spaces of the interlinked living-dining-study zone blend with the abundance of natural light in the bedrooms and bathrooms, but at the same time this space can also be used as a separate independent events venue.
The Presidential suite maintains the much-loved feel of Morford’s original design. We approached the design as though we were renovating a heritage residence; respecting the past, retaining the historical elements that it made sense to keep and then juxtaposing them with a very contemporary, residential design language.
Are there any particular details or artworks that you'd like to talk about?
Morford’s strong focus on art was something that we loved working with. We had the opportunity to build on the hotel’s existing collection with a selection of thoughtful local pieces, creating the sense that they’d been accumulated over time.
We have spent an enormous amount of time exploring the inspiring contemporary Korean art scene. We brought Aeyoung Kim’s sculptural ceramic accessories into the suites, while original works by Jieun Park in the Diplomatic suite blend the subject of international cities with the traditional art of calligraphy; one of the standout works is by Kim Jong Sook, who creates traditional ink brush landscapes embellished with crystal.
And lastly, have you accumulated any Seoul tips you’d care to share?
Caravan is an Australian-style cafe, designed by Melbourne’s Flack Studio, which serves great coffee. Leeum, Samsung Museum of Art is close to the Grand Hyatt, and is a must-visit to experience both traditional and modern Korean art; as well as architecture by Jean Nouvel, Rem Koolhaas and Mario Botta in one place. Also nearby, the neighbourhood of Itaewon is full of great cafes and design stores to discover.
As told to / Suzy Annetta
Images / Edmon Leong
