HYBE Jongno - The Interface

HYBE Jongno : The Interface

닫힌 오피스의 덩어리를 풀어내어, 도시와 대중에게 가볍게 읽히는 엔터테인먼트 사옥.

ARCHITECTURAL DESIGN(�) 2026학년도 3학년 1학기�건축설계(5) OFFICE BUILDING PROJECT - LIGHT & LIGHTNESS

HONGIK SCHOOL OF ARCHITECTURE 홍익대학교�건축도시대학 KEONHO KWAK 곽건호

overview 위치: 서울�종로구�관철동 10-1~23

Location: ��-�‒�� Gwancheol-dong, Jongno-gu, Seoul

용도: 일반상업지역

Zoning: General Commercial District

대지면적: �,���m² 건축면적: �,���m² 연면적: ��,���m²

건폐율: 59.9% (법정: 60%) 용적률: ���.�%

주차대수: 137대(일반 131대 / 장애인 6대)

Site Area: �,��� m²

Building Area: �,��� m²

Gross Floor Area: ��,��� m²

Building Coverage Ratio: ��.�% / Legal Limit: ��% Floor Area Ratio: ���.�%

Parking: ��� spaces / ��� standard, � accessible

WHY INTERFACE? 사이트�주변�도시의�구조가�광범위하게�해체되고�유리로�둘러싸인

매끈한�커튼월�타워들로�대체되고�있다. 겉모습은�투명하고�가벼워 보이지만, 막상�그�안을�들여다�보면�도시와�단절된�채�상업적 효율만을�따지는 '감성적으로�무거운' 건축물인�경우가�많다. 이�지점에서�질문을�시작한다. "진짜�가벼운�건축을�해보자" Around the site, the urban fabric is being extensively dismantled and replaced by sleek curtain-wall towers wrapped in glass.

On the surface, they appear transparent and lightweight, but when one looks inside, they are often emotionally heavy

buildings—disconnected from the city and driven only by commercial efficiency.

This is where the question begins.

“Let’s create architecture that is truly light.”

WHAT IS INTERFACE? 인터페이스는�안과�밖을�단순히�나누는�벽이�아니다.

그것은�두�조건이�직접�충돌하지�않도록�사이에�놓이는 얇지만�능동적인�층이다.

표면은�보이게�만들고, 두께는�거리를�만들며, 빛은�그�사이의�우선순위를�조절한다.

이때�건축의�경계는�닫힌�외피가�아니라,

시선과�움직임과�분위기가�통과하는�장치가�된다.

An interface is not a wall that simply separates inside from outside.

BOUNDARY

INTERFACE

It is a thin but active layer placed between two conditions,

allowing them to meet without directly collapsing into one another.

Surface makes things visible, depth creates distance, and light adjusts the priority between them.

In this sense, the architectural boundary becomes not a closed envelope, but a device through which vision, movement, and atmosphere pass.

FACADE DESIGN 빛은�거리와�관계를�드러낸다.

이�프로젝트의�파사드는�그�얇은�표면을�두께�있는�인터페이스로�바꾸는�데서 출발한다. 유리면을�건물의�최외곽에�세우는�대신, 슬라브를�앞으로�확장하고 곡면의�프로파일을�부여해�빛과�시선이�머무를�수�있는�중간층을�만든다.

곡면�슬라브는�형태적�장식이�아니라, 안과�밖�사이의�관계를�조절하는�장치다.

화강석 물갈기 THK 25 시멘트 몰탈 THK 25

내부는�완전히�드러나지�않지만, 도시로부터�완전히�닫히지도�않는다. 파사드는 외부를�막는�막이�아니라, 도시와�내부가�서로를�감지할�수�있도록 거리와�깊이를�만드는�경계가�된다.

Light reveals distance and relationship.

The facade of this project begins by transforming that thin surface into an interface with depth. Instead of placing the glass plane at the outermost edge of the building, the slabs are extended forward

and given a curved profile, creating an intermediate layer where

light and gaze can linger. The curved slabs are not formal decoration,

but a device that mediates the relationship between inside and outside.

The interior is not fully exposed, yet it is not completely closed off

from the city. The facade is not a membrane that blocks the exterior,

but a boundary that creates distance and depth, allowing the city and the interior to sense one another.

알루미늄 패널 THK 50 철골 프레임 THK 100

빛, 그림자, 그리고�지연된�읽힘.

이�프로젝트에서�파사드는�건물�위에�덧붙이는�외피로�보지�않았다. 파사드는�덧붙인�외피가�아니라, 외피를�걷어냈을�때�마지막까지�남는�수평�슬라브에서�출발한다. 유리면과�내부�공간은�슬라브�뒤로 물러나고, 돌출된�슬라브는�도시에서�먼저�읽히는�얇은�외곽선이�된다. 곡면�처리된�끝단은

두꺼운�판의�무게를�줄이고, 빛과�그림자에�따라�경계가�흐려지는�상태를�만든다. 이로써�건물은 하나의�닫힌�덩어리가�아니라, 깊이와�빈틈을�가진�인터페이스로�읽힌다.

Light, shadow, and delayed legibility.

In this project, the facade is not understood as an outer skin applied onto the building.

Rather than a layer added afterward, the facade begins with the horizontal slabs—

the elements that remain even after the envelope is stripped away. The glass surface and interior spaces are set back behind the slabs, while the projecting slabs become the thin outer outline that is read first from the city. The curved slab edges reduce

the visual weight of the thick plates and create a condition in which the boundary

becomes blurred through light and shadow. As a result, the building is read not as

EXTERIOR

BOUNDARY

a closed mass, but as an interface with depth and porosity.

INTERIOR

내/외부의�확실한�경계

EXTERIOR

INTERFACE INTERFACE INTERFACE 인터페이스로�작용

INTERIOR

MATERIAL RESEARCH 파사드의�재료는�건물의�무게감을�결정한다. 이�프로젝트는�유리�커튼월의�매끈하지만�닫힌�표면을 비판하면서, 빛과�시선이�머무를�수�있는�두께�있는�경계를�만들고자�했다. 무광�알루미늄은

얇은�판재로�곡면�슬라브의�프로파일을�따라갈�수�있고, 빛에�따라�부드러운�명암을�만들면서도

과도한�반사성을�갖지�않는다. 유리처럼�내부를�지우는�표면도, 석재처럼�무겁게�닫힌�외피도�아닌, 빛의�변화와�슬라브의�깊이를�드러내는�중간적�재료로�작동한다. 따라서�알루미늄은�단순한

외장재가�아니라, 평면적인�투명성을�두께�있는�인터페이스로�전환하기�위한�재료적�장치이다.

The material of the facade determines the perceived weight of the building.

This project begins by questioning the smooth yet closed surface of the glass curtain wall,

and seeks to create a layered boundary where light and vision can pause. Matte aluminum

was selected because it can follow the curved slab profile as a thin surface, while producing

soft changes in brightness without excessive reflection. It is neither a purely transparent glass surface nor a heavy opaque envelope. Instead, it reveals the depth of the slab and

the subtle distance between the city and the interior. In this sense, aluminum is not simply a cladding material, but a material device that transforms flat transparency into a layered interface.

CONSTRUCTION LAYER

01 EXTENDED RC SLAB 구조�슬라브를�외부로�돌출시켜 파사드의�깊이를�만든다.

02 RECESSED GLASS 유리면은 패널 뒤쪽으로 후퇴해

빛과 시선이 머무는 중간층을 만든다.

03 STEEL BRACKET 돌출 슬라브 끝단에 금속 브라켓을 고정한다.

04 SUB-FRAME 브라켓에�곡면�프로파일을�따라가는 금속�서브프레임을�설치한다.

05 ALUMINUM PANEL 무광 알루미늄 패널을 프레임에 매달아 슬라브 끝단을 감싼다.

SITE ANALYSIS 사이트의�세�면이�좁은 일방통행�차로와�맞닿아있음. 주말에는 차�없는�거리를�시행하여�차량보다�보행의�흐름이�더�두드러짐. 청계천에서�유입되는�보행�인구도�상당�수�있음.

Three sides of the site are bordered by narrow one-way streets.

On weekends, car-free street operations are implemented,

making pedestrian flow more prominent than vehicular movement.

There is also a significant amount of pedestrian inflow from Cheonggyecheon.

SEOUL, KOREA

주소 : 서울특별시�종로구�청계천로 85 (관철동 10-2, 10-1, 10-23 일대) 면적 : �,���㎡ 용도지역 : 일반상업지역 지구단위계획구역 : 종로 2·3가�지구단위계획구역 건폐율 : 60% / 용적률 : 800%

삼 일 대 로

종각�젊음의�거리

SITE

청계천로

청계천

청계천 청계천로

청계천로

삼 일 대 로

Address: �� Cheonggyecheon-ro, Jongno-gu, Seoul (Area around ��-�, ��-�, and ��-�� Gwancheol-dong) Site Area: �,��� m² Zoning: General Commercial District District Unit Plan Area: Jongno �·�-ga District Unit Plan Area Building Coverage Ratio: ��% Floor Area Ratio: ���%

CHEONGGYECHEON 청계천은�생산과�유통의�장소였다.

과거엔�청계고가도로�아래에서�여러�봉제�작업장과�판매�점포가�밀집해

생산과�유통이�동시에�이루어지던�산업�구조를�가진�공간이었고, 고가�철거�후 청계천과�연결된�보행�흐름�속에서�공공성과�도시적�개방성이 강화된�환경을�갖고�있다.

이�프로젝트는�이러한�역사적�층위�위에, 오늘날의�음악, 이미지, 퍼포먼스, 팬�경험을�생산하는�열린�도심형�콘텐츠�공장을�제안한다.

Cheonggyecheon was once a place of production and distribution.

In the past, sewing workshops and retail shops were densely

concentrated beneath the Cheonggye Elevated Highway, forming

an industrial structure where production and distribution took place simultaneously. After the elevated highway was removed, the area

gained a stronger sense of publicness and urban openness through pedestrian flows connected to Cheonggyecheon.

Built upon these historical layers, this project proposes an

open urban content factory that produces today’s music, images, performances, and fan experiences.

DESIGN STRATEGY 이�프로젝트의�매싱과�파사드는�사이트의�방향성에서�출발한다. 대지의�남동측은

청계천과�삼일대로가�만나는�방향으로, 보행과�차량의�흐름이�가장�강하게�작용하며

건물이�도시에서�가장�먼저�인식되는�면이다. 따라서�이�방향을�메인�입면으로�설정하고, 파사드의�반응이�남동측을�중심으로�전개되도록�했다. 처음의�매스는�균질한�외곽을 가진�닫힌�덩어리로�읽힌다. 그러나�수평�슬라브를�전면화하면서�건물의�입면은

하나의�면이�아니라�층위가�드러나는�구조로�전환된다. 이후�청계천과�삼일대로를�향한 남동측�슬라브를�더�적극적으로�돌출시키고, 상대적으로�도시적�압력이�약한�면은�짧게 조정하면서�매스는�사이트의�방향성에�반응하는�비대칭적�인터페이스가�된다.

즉, 파사드는�모든�면에�동일하게�적용되는�외피가�아니라, 도시와�가장�강하게�만나는

방향에서�깊이를�만들고, 그�반응이�층별�슬라브의�돌출과�후퇴로�나타나는�시스템이다.

The massing and facade of this project begin from the directional conditions of the site. The southeastern side of the site faces the point where

Cheonggyecheon and Samil-daero meet. It is the side where pedestrian and vehicular flows act most strongly, and where the building is first perceived

from the city. Therefore, this direction is established as the main elevation, with the facade response developed primarily around the southeast side.

The initial mass is read as a closed volume with a uniform outline. However, by foregrounding the horizontal slabs, the elevation shifts from a single flat

surface into a structure where multiple layers are revealed. The slabs facing Cheonggyecheon and Samil-daero are then projected more actively, while

the sides with relatively weaker urban pressure are adjusted to remain shorter.

Through this process, the mass becomes an asymmetrical interface that

responds to the directional forces of the site. In other words, the facade is not an envelope applied equally to every side. It is a system that creates depth in the direction where the building most strongly encounters the city, and this

response appears through the projection and recession of the slabs on each floor.

북서측

코어, 설비, 피난, 동선이�정리되는�쪽 건물의�기능을�잡아주는�기준축

Northwest Side

The side where the core, services, evacuation, and circulation are organized.

It functions as the reference axis that stabilizes the building’s internal operations.

CONCEPT MASSING

삼 일 대 로

종각�젊음의�거리

SITE

청계천로

청계천

청계천 청계천로

청계천로

삼 일 대 로

Southeast Side

The side most visible from Cheonggyecheon and Samil-daero.

It becomes the face of the building—the surface through which the city and the public first perceive it.

남동측

청계천, 삼일대로�쪽에서�가장�많이�보이는�면 도시와�대중이�건물을�먼저�인식하는�얼굴면

CORE & SERVICE PLAN

20100 5100

계단실 (특별피난계단)

DN

UP

3300

5400

계단실 전실

계단실 전실

ST

ST

ST

6300

계단실 (특별피난계단)

UP

DN

남자 화장실

6300

ST 장애인 화장실 (남자)

9000

ELEV (20인승) 비상용 ELEV 전실

시각 장애인용 점자블록

ELEV 홀 장애인 화장실 (여자)

ELEV (20인승)

2700

여자 화장실

EPS

TPS

비상용 ELEV

ELEV (20인승)

AD

PS

시각 장애인용 점자블록

곽건호

ELEVATOR

STAIRCASE

RF

RF

20F

20F

19F

19F

18F

18F

17F

17F

16F

16F

15F

15F

14F

14F

13F

13F

12F

12F

11F

11F

10F

10F

9F

9F

8F

8F

7F

7F

6F

6F

5F

5F

4F

4F

3F

3F

2F

2F

1F

1F

B1F

B1F

B2F

B2F

B3F

B3F

B4F

B4F MAIN & EMERGENCY E/V VISITOR E/V

수직�동선은�이용자의�접근�권한에�따라�분리하였다. 메인�엘리베이터 3대와�비상용�엘리베이터 1대는�최하층부터

Vertical circulation is separated according to the users’ levels of access. Three main elevators and one

셔틀�엘리베이터 2대를�별도로�두어�팬�동선이�상층�업무·제작�영역으로�이어지지�않도록�했다. 계단실은

In the public zone used by visitors, two separate shuttle elevators operate only from B� to �F, preventing

최상층까지�연결되어�내부�운영�동선을�담당한다. 외부인이�이용하는�공개영역에는 B�부터 4F까지만�운행하는 특별피난계단 2개소를�배치하여�전�층의�피난�동선을�확보하였다.

emergency elevator connect the lowest level to the top floor, serving the building’s internal operational circulation. fan circulation from extending into the upper office and production areas. For evacuation, two special evacuation staircases are provided, securing emergency egress routes throughout all floors.

SPATIAL SEQUENCE 프로그램은�콘텐츠가�기획되고, 제작되고, 팬에게�공개되는�과정을�따라�수직적으로

The program is vertically organized according to the process through which content is planned, produced, and revealed to fans.

촬영·연습·녹음·프로듀싱을�통해�이를�실제�콘텐츠로�변환한다. 저층부의 Fan Interface는

it into actual content through filming, rehearsing, recording, and producing. The Fan Interface on the lower levels becomes

구성된다. 상층의�레이블�오피스는�콘텐츠의�방향을�설정하고, 중층의�프로덕션�클러스터는 완성된�콘텐츠가�팬과�도시를�만나는�공개�영역으로, 청계천에서 B� 선큰, 1F 아트리움,

�‒�F 팬�플랫폼으로�이어지는�경험의�시퀀스를�만든다. 위에서�내려오는�콘텐츠의�흐름과 아래에서�올라오는�도시·팬의�흐름이�만나는�지점이�이�건물의�인터페이스이다.

The label offices on the upper levels define the direction of the content, while the production cluster in the middle levels transforms the public zone where completed content meets fans and the city. It creates an experiential sequence that connects Cheonggyecheon to the B� sunken space, the �F atrium, and the fan platforms on Levels �‒�.

The interface of this building emerges where the downward flow of content meets the upward flow of the city and its fans.

SEQUENCE DIAGRAM

SECTIONAL PROGRAM DIAGRAM

ROOF GARDEN CAFETERIA

LABEL OFFICE

FITNESS ZONE

SOUND

PERFORM -ANCE

VISUAL

ARTIST LOUNGE

FANDOM PLATFORM

ATRIUM

CHEONGGYECHEON ARRIVAL

PARKING PARKING PARKING

FAN INTERFACE (B1F - 4F) Fan Interface는�완성된�콘텐츠가�팬과�도시를�만나는�저층부의�공개�영역이다. 청계천에서�이어지는�흐름은

B� Arrival Court로�진입하고, 1F Atrium을�거쳐 2‒4F Fandom Platform으로�확장된다. 이�구간에는�팝업스토어, MD샵,

전시, 카페가�수직적으로�배치되어�단순한�상업공간이�아니라�하나의�팬�경험�시퀀스를�형성한다. Fan Interface는�외부의 도시�흐름과�내부의�콘텐츠�흐름이�처음으로�만나는�건물의�공개적�접점이다.

The Fan Interface is the public zone on the lower levels where completed content meets fans and the city.

The flow from Cheonggyecheon enters through the B� Arrival Court, passes through the �F Atrium,

and expands upward into the **Fandom Platform** on Levels �‒�. Within this zone, the pop-up store, MD shop, exhibition space, and cafe are vertically arranged, forming not just a commercial area, but a continuous fan

experience sequence. The **Fan Interface** becomes the building’s public point of contact, where the external flow of the city and the internal flow of content first meet.

FANDOM PLATFORM

ATRIUM

CHEONGGYECHEON ARRIVAL

2026. 06. 08.

0

1

3

6

10m

Professor 권병용 강진희

교

THE PRODUCTION (6F - 12F) The Production은�여러�레이블이�공유하는�중층부의�제작�인프라이다. 상층에서�기획된�콘텐츠는�이곳에서�퍼포먼스,

사운드, 비주얼�제작�과정을�거치며�실제�콘텐츠로�전환된다. 6‒12F에는 PERFORMANCE, SOUND, VISUAL 클러스터가

수직적으로�배치되고, 각�제작공간은�독립된�큐브처럼�엮여�서로�다른�크기와�층고의�작업�환경을�만든다. The Production은

개별�레이블을�지원하면서도�건물�전체를�하나의�콘텐츠�생산�장치로�작동하게�하는�핵심�영역이다.

The Production is the shared production infrastructure located in the middle levels of the building. Content

planned in the upper levels is transformed here into actual content through processes of performance, sound,

and visual production.From Levels �‒��, the PERFORMANCE, SOUND, and VISUAL clusters are vertically arranged.

Each production space is organized like an independent cube, creating working environments with different sizes and ceiling heights. The Production supports the individual labels while allowing the entire building to operate as a single content-producing apparatus.

SOUND

PERFORM -ANCE

VISUAL

THE LABELS (14F - 19F) The Labels는�콘텐츠의�방향과�전략이�설정되는�상층부의�업무�영역이다. 각�레이블�오피스는�독립된�층으로�배치되어

고유한�운영�체계를�유지하면서도, 중층부의�공용�프로덕션�인프라와�연결된다. 이곳에서�기획된�콘텐츠는 The Production을 거쳐�실제�제작물로�전환되고, 저층부의 Fan Interface에서�팬과�도시를�만난다. The Labels는�건물�전체의�콘텐츠�흐름을 시작시키는�기획과�운영의�영역이다.

The Labels is the upper-level office zone where the direction and strategy of content are established. Each

label office occupies an independent floor, maintaining its own operational system while remaining connected to the shared production infrastructure in the middle levels. Content planned here is transformed into actual

productions through The Production, and eventually meets fans and the city through the Fan Interface on the

lower levels. The Labels is the planning and operational zone that initiates the overall flow of content throughout the building.

LABEL OFFICE

ROOF GARDEN CAFETERIA

WELFARE (5F / 13F / 20F / RF) Welfare는�아티스트와�직원의�회복, 휴식, 교류를�위한�지원�영역이다. 5F Artist Lounge는�공개영역과�제작영역�사이에서

FITNESS ZONE

아티스트의�진입과�대기를�담당하고, 13F Fitness Zone은�제작과�업무�사이의�신체적�회복�공간으로�배치된다.

��F Cafeteria와 Rooftop Garden은�건물�상부에서�레이블�간�교류와�휴식을�제공하며, 콘텐츠�생산�과정�사이에�필요한 비공식적�만남과�재충전을�가능하게�한다.

Welfare is a support zone for recovery, rest, and interaction among artists and staff.

The �F Artist Lounge handles artist arrival and waiting between the public zone and the production zone, while the ��F Fitness Zone is positioned as a space for physical recovery between production and office work.

The ��F Cafeteria and Rooftop Garden provide spaces for relaxation and interaction among different labels

at the upper levels of the building, enabling informal encounters and recharging moments within the content production process.

ARTIST LOUNGE

PARKING PLANS 지하주차장은�총 137대를�수용하도록�계획하였다. 전체�주차대수는�일반�주차 131대와�장애인�주차 6대로�구성된다.

지하 1층은�청계천과�연결되는�공개�진입�공간을�확보하기�위해�주차�규모를�줄여�총 10대만�배치하였으며, 일반�주차 8대와

장애인�주차 2대를�포함한다. 지하 2층과�지하 3층은�각각 45대씩�계획하여�일반�주차 43대와�장애인�주차 2대를�배치하였다. 최하층인�지하 4층은�기계실, 전기실�등�주요�설비실을�함께�수용하기�때문에�총 37대의�일반�주차�공간으로�구성하였다.

The underground parking is planned to accommodate a total of ��� vehicles. The total parking capacity

consists of ��� standard parking spaces and � accessible parking spaces. On B�, the parking area is reduced

in order to secure a public entrance space connected to Cheonggyecheon, with only �� parking spaces provided: � standard spaces and � accessible spaces. B� and B� are each planned with �� parking spaces, consisting of �� standard spaces and � accessible spaces on each level. The lowest level, B�, also accommodates major service

rooms such as the mechanical room and electrical room, and is therefore composed of �� standard parking spaces.

PARKING PARKING PARKING

PLANS X1

X2 8,400

X3 8,400

X4 8,400

X5 8,400

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UP UP

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ST

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8,400

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주차대수 37대 (일반 37대)

Y1

8,400

Y2

8,400

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8,400

EPS

1. HALL 2. MACHINE ROOM 3. ELECTRIC ROOM 곽건호 C235022

지하 4층 평면도

Drawing Title 지하 4층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2 8,400

X3 8,400

X4 8,400

X5 8,400

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UP DN

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주차대수 45대 (일반 43대 / 장애인 2대)

Y1

8,400

Y2

8,400

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8,400

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곽건호 C235022

지하 3층 평면도

Drawing Title 지하 3층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2 8,400

X3 8,400

X4 8,400

X5 8,400

DN

DN

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UP

UP DN

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주차대수 45대 (일반 43대 / 장애인 2대)

Y1

8,400

Y2

8,400

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8,400

EPS

곽건호 C235022

지하 2층 평면도

Drawing Title 지하 2층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2 8,400

X3 8,400

X4 8,400

X5 8,400

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UP DN

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8,400

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주차대수 10대 (일반 8대 / 장애인 2대)

4 2 DN

3 5

UP

상부 OPEN

6

Y1

8,400

UP

3 1. ARTIST DROP-OFF 2. TOILET 3. CAFE & RESTAURANT 4. LOUNGE 5. EVENT HALL 6. STORAGE 곽건호 C235022

지하 1층 평면도

Drawing Title 지하 1층 평면도

N 청계천 보행로

청계천 보

행로

01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2 8,400

X3 8,400

X4 8,400

삼일대로15길 5M

DN

챠랑진입

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3

2 AD

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4 부출입구

삼일대로 27M

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부출입구

MEDIA WALL

Y3

상부 OPEN

8,400

5

DN

DN

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하부 OPEN

종로14길 8M

UP

1. ARTIST & STAFF HALL 2. TOILET 3. LOUNGE 4. INFORMATION DESK 5. EVENT ATRIUM 6. VISITOR HALL

건축한계선 대지경계선

주출입구

곽건호 C235022

1층 평면도

Drawing Title 1층 평면도

청계천로 5.5M

청계천 보

행로

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

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X4 8,400

Y5

8,400

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UP

ST

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8,400

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4 5 4

1. ARTIST & STAFF HALL 2. TOILET 3. LOUNGE 4. POP-UP STORE 5. VISITER HALL 곽건호 C235022

2층 평면도

Drawing Title 2층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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X4 8,400

Y5

8,400

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UP

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UP

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8,400

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5 4

1. ARTIST & STAFF HALL 2. TOILET 3. LOUNGE 4. MERCHANDISE SHOP 5. VISITOR HALL 곽건호 C235022

3층 평면도

Drawing Title 3층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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X4 8,400

Y5

8,400

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1. ARTIST & STAFF HALL 2. TOILET 3. LOUNGE 4. BRAND EXHIBITION 5. VISITOR HALL 6. CAFE & LIBRARY 7. TERRACE

곽건호 C235022

4층 평면도

Drawing Title 4층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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8,400

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1. HALL 2. TOILET 3. ARTIST LOUNGE

곽건호 C235022

5층 평면도

Drawing Title 5층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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8,400

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상부 OPEN

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상부 OPEN

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1. HALL 2. TOILET 3. CONTENT STUDIO 4. PREVIEW ROOM 5. LOUNGE 6. TERRACE 곽건호 C235022

6층 평면도

Drawing Title 6층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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8,400

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1. HALL 2. TOILET 3. DRESSING ROOM 4. LOUNGE 5. TERRACE 곽건호 C235022

7층 평면도

Drawing Title 7층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

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Y5

8,400

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UP

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8,400

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1 TPS

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상/하부 OPEN

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상부 OPEN

1. HALL 2. TOILET 3. CHOREOGRAPHY RM(L) 4. CHOREOGRAPHY RM(S) 5. LOUNGE 곽건호 C235022

8층 평면도

Drawing Title 8층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

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X3 8,400

X4 8,400

Y5

8,400

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UP

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상부 OPEN

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1. HALL 2. TOILET 3. CHOREOGRAPHY RM(L) 4. TERRACE

곽건호 C235022

9층 평면도

Drawing Title 9층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3 8,400

X4 8,400

Y5

8,400

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UP

ST

ST

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UP

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Y4

8,400

ST

2

1 TPS

AD

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8,400

EPS

5

6

Y3

4 하부 OPEN

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상/하부 OPEN

6

1. HALL 2. TOILET 3. CHOREOGRAPHY RM(S) 4. CHOREOGRAPHY RM(L) 5. LOUNGE 6. TERRACE 곽건호 C235022

10층 평면도

Drawing Title 10층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3 8,400

X4 8,400

Y5

8,400

DN

UP

ST

ST

ST

UP

DN

Y4

8,400

ST

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1 TPS

AD

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8,400

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4

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3

상/하부 OPEN

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8,400

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5

1. HALL 2. TOILET 3. RECORDING ROOM(L) 4. RECORDING ROOM(S) 5. LOUNGE

곽건호 C235022

11층 평면도

Drawing Title 11층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3

X4

8,400

8,400

Y5

8,400

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UP

ST

ST

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8,400

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1 TPS

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8,400

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4

1. HALL 2. TOILET 3. LOUNGE 4. PRODUCING ROOM 곽건호 C235022

12층 평면도

Drawing Title 12층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3 8,400

X4 8,400

Y5

8,400

DN

UP

ST

ST

ST

UP

DN

Y4

8,400

ST

2

1 TPS

AD

PS

Y3

8,400

EPS

3

Y2

8,400

4

1. HALL 2. TOILET 3. SHOWER & LOCKER 4. FITNESS ZONE

곽건호 C235022

13층 평면도

Drawing Title 13층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

오피스�기준층�평면도(14F-��F)

TYPICAL OFFICE FLOOR(��F-��F)

X1

X2

X3 8,400

X4 8,400

Y5

8,400

DN

UP

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ST

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5

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8,400

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TPS

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1

1. HALL 2. TOILET 3. FOCUS ZONE 4. MEETING ROOM 5. LOUNGE

곽건호 C235022

14층 평면도

Drawing Title 14층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3 8,400

X4 8,400

Y5

8,400

DN

UP

ST

ST

ST

UP

DN

Y4

8,400

ST

2

1 TPS

AD

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Y3

8,400

EPS

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8,400

3

1. HALL 2. TOILET 3. CAFETERIA 곽건호 C235022

20층 평면도

Drawing Title 20층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

X1

X2

X3 8,400

X4 8,400

Y5

8,400

DN

ST

ST

DN

ST

Y4

8,400

ST

1 TPS

AD

PS

Y3

8,400

EPS

Y2

8,400

2

1. HALL 2. ROOFTOP GARDEN

곽건호 C235022

지붕층 평면도

Drawing Title 지붕층 평면도

N 01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

B'

X1

X2

X3

8,400

8,400

X4 8,400

X5

Y1

8,400

Y2 8,400

PF

Y3

Y4

8,400

8,400

Y5 8,400

PF

A

FL + 88,000

A`

FL + 88,000

1

RF

1

RF

FL + 83,000

B

FL + 83,000

2

20F

2

20F

FL + 79,000

FL + 79,000

3

19F

3

19F

FL + 75,000

FL + 75,000

3

18F

3

18F

FL + 71,000

FL + 71,000

3

17F

3

17F

FL + 67,000

FL + 67,000

3

16F

3

16F

FL + 63,000

FL + 63,000

3

15F

3

15F

FL + 59,000

FL + 59,000

3

14F

3

14F

FL + 55,000

FL + 55,000

4

13F

4

13F

FL + 51,000

FL + 51,000

12F

5

5

5

5

5

12F

FL + 47,000

FL + 47,000

6

6

11F

6

11F

FL + 43,000

FL + 43,000

7

10F

10F

8

FL + 39,000

7

FL + 39,000

9F

9F

8

FL + 35,000

FL + 35,000

7

8F

8

8F

FL + 31,000

FL + 31,000

7F

9

7F

9

FL + 27,000

FL + 27,000

10

6F

FL + 23,000

11

5F

FL + 19,000

13

14

2F FL + 7,000

15

1F

1. ROOFTOP GARDEN 2. CAFETERIA 3. LABEL OFFICE 4. FITNESS ZONE 5. PRODUCING ROOM 6. RECORDING ROOM 7. CHOREOGRAPHY ROOM(S) 8. CHOREOGRAPHY ROOM(L) 9. CONTENT STUDIO 10. CONTENT PREVIEW ROOM 11. ARTIST LOUNGE 12. BRAND EXHIBITION / CAFE 13. MERCHANDISE SHOP 14. POP-UP STORE 15. EVENT ARTRIUM 16. PARKING

FL + 15,000

3F FL + 11,000

대지경계선

대지경계선

대지경계선

3F

12

4F

대지경계선

12

4F

FL + 11,000

11

5F

FL + 19,000

FL + 15,000

10

6F

FL + 23,000

13

14

2F FL + 7,000

15 1F

GL + 0

1. ROOFTOP GARDEN 2. CAFETERIA 3. LABEL OFFICE 4. FITNESS ZONE 5. PRODUCING ROOM 6. RECORDING ROOM 7. CHOREOGRAPHY ROOM(L) 8. CHOREOGRAPHY ROOM(S) 9. DRESSING ROOM 10. PRODUCTION LOUNGE 11. ARTIST LOUNGE 12. BRAND EXHIBITION / CAFE 13. MERCHANDISE SHOP 14. POP-UP STORE 15. EVENT ARTRIUM 16. PARKING

GL + 0

청계천

15

B1F FL - 4,000

FL - 4,000

16

B2F

FL - 7,500

16

16

B3F

FL - 11,000

FL - 11,000

16

B4F

16

B2F

FL - 7,500

B3F

15

B1F

16

B4F

FL - 15,500

FL - 15,500 곽건호 C235022

A - A' 단면도

Drawing Title A - A' 단면도

01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

곽건호 C235022

B - B' 단면도

Drawing Title B - B' 단면도

01

5

10

20m

Date 2026. 06. 08.

Scale A3 1 / 300

Professor 권병용 강진희

교수님

닫힌�오피스의�덩어리를�풀어내어, 도시와�대중에게�가볍게�읽히는�엔터테인먼트�사옥. 음악은�대중과�함께하지만, 음악을�기획하고�제작하는�공간은�종종�도시로부터�닫힌�덩어리가

된다. 이�프로젝트는�엔터테인먼트�사옥이�단순한�업무공간을�넘어, 콘텐츠가�만들어지고�팬과 만나며�도시로�확장되는�인터페이스가�될�수�있는지를�탐구한다.

청계천�일대는�과거�작은�작업장과�상가, 유통�공간이�밀집했던�도시의�생산�공간이었다.

그러나�그�내부의�노동과�생산�과정은�도시로부터�쉽게�드러나지�않는�닫힌�공간이기도�했다. 이�프로젝트는�이러한�역사적�층위�위에, 오늘날의�음악, 이미지, 퍼포먼스, 팬�경험을 생산하는�열린�도심형�콘텐츠�공장을�제안한다.

프로그램은�콘텐츠가�기획되고, 제작되고, 팬에게�공개되는�과정을�따라�수직적으로�구성된다. 상층의�레이블�오피스는�콘텐츠의�방향과�전략이�설정되는�영역이고, 중층의�프로덕션

By loosening the mass of the closed office, this project proposes an entertainment headquarters that reads lightly to the city and the public.

Music exists together with the public, yet the spaces where music is planned and

produced often become closed masses separated from the city. This project explores whether an entertainment headquarters can become an interface where content is produced, meets its fans, and extends into the city.

The Cheonggyecheon area was once an urban production ground, filled with small workshops, shops, and distribution spaces. Built upon these historical layers, this

project proposes an open urban content factory that produces today’s music, images, performances, and fan experiences.

클러스터는�촬영, 연습, 녹음, 프로듀싱�등�서로�다른�제작�과정이�독립된�큐브로�엮이며�실제

The program is vertically organized through the process of planning, producing, and

공개�영역으로, 청계천에서�이어지는�지하 1층�선큰, 1층�아트리움, 2~4층의�팝업스토어, MD샵,

of the content, while the production cluster in the middle levels transforms it into

콘텐츠로�변환되는�영역이다. 저층부의 Fan Interface는�완성된�콘텐츠가�팬과�도시를�만나는

전시, 카페가�하나의�팬�경험�시퀀스를�만든다. 외부에서�들어오는�도시와�팬의�흐름은�아래에서 위로�올라오고, 상층에서�기획된�콘텐츠는�프로덕션�클러스터를�거쳐�저층으로�내려온다. 이 두�흐름이�만나는�지점이�이�건물의�인터페이스이다.

이러한�닫힌�생산�공간을�가볍게�열기�위해, 이�프로젝트는�빛을�단순히�공간을�밝히는�요소가 아니라�무엇이�먼저�드러나고�무엇이�뒤에�남는지를�조절하는�매개로�본다. 가벼운�건축은

얇고�투명한�재료에서�오는�것이�아니라, 건물이�하나의�꽉�찬�덩어리로�즉시�읽히지�않도록 만드는�방식에서�시작된다.

따라서�파사드를�건물�위에�덧붙이는�외피로�보지�않았다. 오히려�별도의�외피를�덧씌우면 건물의�경계는�다시�하나의�닫힌�면으로�확정된다고�보았다. 대신�외피를�걷어냈을�때

revealing content. The label offices on the upper levels set the direction and strategy actual content through filming, rehearsing, recording, and producing. The Fan

Interface on the lower levels becomes the public zone where completed content meets fans and the city, forming a sequence from Cheonggyecheon to the B� sunken space,

the �F atrium, and the fan platforms on Levels � to �. The interface emerges where the upward flow of the city and fans meets the downward flow of content.

To open this closed space of production lightly, the project understands light not

simply as illumination, but as a medium that controls what is revealed first and what remains behind. Light architecture does not come merely from thin or transparent materials, but from preventing the building from being read as one solid mass.

마지막까지�남는�구조적�요소인�수평�슬라브를�전면화하고, 유리면과�실제�업무·제작�공간은

For this reason, the facade is not treated as an added outer skin. Instead, the horizontal

도시에서�얇은�선처럼�읽히도록�했다. 곡면�처리된�끝단은�슬라브의�물리적�두께를�숨기기보다,

them. The curved slab edges allow the thick plates to be read from the city as thin lines,

그�뒤로�물러나게�했다. 이때�슬라브의�끝단은�곡면으로�말아�올려, 두꺼운�판이�아니라

빛과�그림자에�따라�경계가�가늘어지고�사라지는�듯한�인상을�만들며�건물의�무게를�덜어낸다. 돌출된�슬라브는�먼저�읽히는�외곽선이�되고, 그�뒤의�후퇴한�실체는�그림자와�깊이�속에서

지연되어�드러난다. 이를�통해�건물은�닫힌�고체가�아니라�비어�있는�듯�가볍게�읽히는, 청계천 위의�새로운�콘텐츠�팩토리가�된다.

slabs are foregrounded, while the glass surface and interior spaces are set back behind creating a boundary that becomes lighter through light and shadow. The projecting slabs are read first, while the recessed volume behind them is revealed with delay.

Through this, the building becomes a light and porous content factory along Cheonggyecheon.

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