The first floor which looks floating is large yard to embrace its surroundings.
This is a traditional and buffering space between the alley and the building, and also an important element to neutralize difference between this building floating tranquilly and the crowdedness of the street.
The facade reinterprets the gate of the traditional building in which our ancestors felt season changes and breathed naturally.
The louver was derived from the traditional Bunhapmun (a sliding door to shut the plank-floor room off from the yard), and to which color of Hanji (traditional paper made from a mulberry tree) was applied.
This building borrows the shape of a traditional Korean many-storied building (Nu-gak), according to designer's wish to embody a mass of structure floating in the air.
As we know Daegu is very hot in summer, and moreover,this building faces west with strong sunlight in the afternoon. Thus, the designer equipped a big motor-operated louver shading to control light and wind.
There is a small pond between the hall of the second floor and service area half floor up, and a flower muntin door has a fragrance in the middle of the space, revealing shy looks. The pond can be also used as a small stage for performance.
Flower muntins are connected to the wall pattern and are in full bloom as thousands of flowers on the louver of the facade.
Ceiling of the third floor is high in order to give openness to visitors on the top floor, to attempt natural movement through human traffic line, and arranges the 'tea room', the most sacred place in this building.
In terms of structure, the tea room applicable to the fourth floor means a divine room and the bright sunlight pouring through skylight creates dreamlike atmosphere.
Wooden ceiling frames woven in three dimensions emphasize the identity of the building and play a role to stabilize the hanging tea room visually.