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Shinseoul, Myeongdong - Hoehyeon, Seoul, South Korea


“The paradox of freedom is that it is only defined by the boundaries it aims to overcome. In a context derived from hierarchies and functionality, the interruption created by abstract nonconformity reinstates the balance of a healthy society, in which regulation and freedom cannot exist without one another.”

Shinseoul, The Public Layers of Seoul, Cheungvogl








Shinseoul, Myeongdong - Hoehyeon, Seoul, South Korea


The City of Seoul is reactivating and expanding the existing underground system to connect the city center, extending the network of subway stations and underground areas reaching from Seoul Station, Hoehyeon, Myeong-dong and City Hall to Dongdaemun. The Seoul Metropolitan Government has identified ten strategic sites within the extensive redevelopment project and invited architects from Korea and abroad, who are renown for the most recent influential contributions to urban design and architecture in Seoul, including Kwangsoo Kim (Studio K Works), Taekbin Kim (Escape) and Yong-Soon Chang (Hongik University), Kyong-Chan Cho (Terminal 7 Architects), SoA, Cheungvogl, Dominique Perrault, Kees Christiaanse (KCAP), Winy Maas (MVRDV) and  modostudio to research, design and develop site specific strategies and future extension plans. The City of Seoul plans to apply their visions to the governmental urban space improvement policies in the future. 

Within the development, Cheungvogl is selected to reactivate and expand the central site of the Hoehyeon underground system adjacent to Shinsegae Department Store, its connection to Hoehyeon Station and Myeong-dong and its extend to City Hall, Seoul Station and Seoullo 7017.








Yeoui-Naru Ferry Terminal and Masterplan, Yeoui-Naru, Seoul, South Korea


Cheungvogl wins the international competition for the Yeoui-Naru Ferry Terminal and Masterplan, Yeoui-Naru, Seoul, South Korea. The project is anticipated to be completed in 2019.


Ryue Nishizawa, Office of Ryue Nishizawa / SANAA (Sejima and Nishizawa and Associates)
Alejandro Zaera-Polo, AZPML
Professor Choi Moongyu, Yonsei University
Professor Choi JeongKwon, Gachon University
Professor Park SunWoo, Korea National University of Arts
Professor Shim Jaehyeon, Sejong University 








Yeoui-Naru Ferry Terminal and Masterplan, Yeoui-Naru, Seoul, South Korea


Poetic Pragmatism

The vast beauty with an emphasis on monochrome and flatness is distinctively characteristic to the Han River embankment, forming a major attraction to locals and international tourists visiting Seoul. It is one of the main images related to the city and of enormous relevance to its identity. The new cultural and transportation development on the south side of Han River between Mapo and Wonhyo Bridge aims to maintain this unique character of the site and to implement social, cultural and infrastructural improvements within the aesthetic and environmental context, setting an example for Seoul’s sustainable and holistic future development.

The Yeoui-Naru Ferry Terminal forms a thin 450 meters long line, following the river flow. The slight bends of the terminal and the marina facilities are the result of optimization for vessel manoeuvring, while creating a definite path on the otherwise undefined water surface. The terminal emphasizes the experience of walking on the Han River.

The entire Yeoui-Naru Ferry Terminal and marina facility is sheltered by a continuous roof, creating a quality which is currently lacking on the vast embankment and leading to many visitors bringing along tents or picnicking under the bridges, especially in summer time to seek shelter from the sun. The subtly bent and gently waving roof structures create shelter as they frame the views of the river and the city in alternating opening and closing gestures. The undulating roof surface creates varying light qualities. The lightness harmoniously corresponds with the flow of river and creates a poetic interpretation of Yeoui-Naru symbolic identity.








Taghaus, bei Duesseldorf, Germany








Taghaus, bei Duesseldorf, Germany








Taghaus, bei Duesseldorf, Germany





Material Time

In our work the materiality of architecture is thought to be a mediator between human, environment, time and mind, to eventually overcome materiality.

In a natural environment, the employment of architectural materials is evidently related to local resources, landscape and topography, creating a relationship between inside and outside, individual, community and the surrounding nature. In the urban context, the relationship between natural environment, recourses and human life appear rather abstract and even unrelated. This abstraction can lead to the perception of the build environment and architecture as cold, isolating and inhuman, with material becoming a physical and psychological separator of all factors and parameters.

In Cheungvogl’s work, we are interested in the consideration of humanitarian values. Material becomes subject to psychological and emotional dematerialization, bringing humans to the centre point of design thinking rather than ornamental materiality. In this way we see material as the supporter and transporter and not only for the means of architecture itself. As architecture evolves around human life and is built upon human needs in correlation with its environment, architectural material is essentially a mediator between humans, environment and nature. In dense city context, architectural material gradually becomes a replacement of the natural environment and a mediator between individuals and their needs in a public communal space. Materiality in architecture is equally connected to anthropology as it is reliant on environmental sciences.

The material which overcomes the notion of separation naturally by its specific characteristics is glass. Its hard surface and physical attributes stand in stark contrast to its transparent and translucent appearance and quality, perceiving it a rather soft and sensual material. Its ability to draw natural light within enclosed spaces and the visual connection it provides between inside and outside allows us to employ our most favourite material, which is Time.

From “Material Time” by Cheungvogl, first published in Brick, Brick! What do you want to be?, DAMDI Publishing Co., South Korea, 2018.  








Au Pont Rouge, Saint Petersburg, Russia


Cheungvogl wins inaugural FRAME Award 2018, Jury Prize for Best Multi-Brand Store of the Year, Au Pont Rouge, Saint Petersburg, Russia.

Matteo Bressanin, Chairman, Nespresso Global Retail Channel Manager
Michele Fuhs, BMW Head of Premium Retail Experience
Pieter Kool, Design Strategist and Creative Director
India Mahdavi, India Mahdavi Architecture and Design, Founder
Jo Nagasaka, Schemata Architects, Founder
Floriane de Saint-Pierre, Floriane de Saint Pierre & Associés, President and Founder







Au Pont Rouge, Saint Petersburg, Russia






20 designers and brands that define our tomorrow, FRAME Magazine 20th Anniversary Edition

Super-Typologies - In conversation with Evan Jehl for Frame, Judy Cheung and Christoph Vogl, founding partners of Cheungvogl, describe how their work overcomes traditional categorizations by re-interpreting definitions and typologies to create contemporary socially relevant architecture.

20 designers and brands that define our tomorrow, Frame, 116, 20th Anniversary Edition, Frame Publishers, May/June 2017.







The Robotic System at Au Pont Rouge, Saint Petersburg, Russia


Retail Revolution - How to get physical in a digital age.

Jonathan Openshaw in conversation with Judy Cheung and Christoph Vogl, founding partners of Cheungvogl:

Retail Revolution – How to get physical in a digital age, Frame 115, Frame Publishers, Netherlands, March/April 2017.







Selfie Room, Au Pont Rouge, Saint Petersburg, Russia



Inner Space

Tim McKeough in conversation with Cheungvogl on Au Pont Rouge and the Robotic System for Azure Magazine, November/December 2016:

Inner Space, Au Pont Rouge, Saint Petersburg, Azure Magazine, Azure Publishing, Toronto, Canada, November / December 2016.







Au Pont Rouge, Saint Petersburg, Russia


Cheungvogl has created an open exhibition retail space around a robotic system within the restoration of the 110 year old iconic department store, Au Pont Rouge in Saint Petersburg, Russia.  

Completed in 1907, Au Pont Rouge located along the Red Bridge on River Moika was built in the tradition of great European department stores such as Galeries Lafayette in Paris or Selfridges in London. Following the revolution in 1919, the building was renamed and converted into Volodarsky Sewing Factory and in the 1930s, the original cupola was demolished. In 2011, the cupola was reconstructed and the building underwent functional and architectural transformations to restore Au Pont Rouge to its original state as a world class department store in Saint Petersburg.










The unsequencing of spatial arrangements by elimination of dedicated circulation zones and spatial hierarchies creates opportunity for interpretation of path, function and hierarchies.










The unsequenced space.










The traditional definition of spatial arrangements and hierarchies is present in the historic atrium at the center of Au Pont Rouge.










The intervention mediates between historic structure and context without interrupting the relationship between inside and outside with the addition of further spatial definition.










Dissolvement of materiality.










Dissolvement of spatial definition.









Zhou Gallery, Dalian, China


As time defines history and events turn into memories, time itself again stands in the way to recall both as the constantly changing subjectiveness of presence determines the perspective of view onto the past. The gallery is designed to take the visitor, the exhibited art of the private collection and the occasional cultural and communal events out of the context of the presence to create a moment of individual reception,  reflection and interaction with the long lasting history of China without any influence of singular materiality of temporary circumstances, creating the opportunity of a silent encounter with various objects and art pieces, documenting the long way of thousands years of Chinese history, leading to the day, which is today.








Zhou Gallery, Dalian, China


The materiality of the physical context is left in the dark, whereas the objects stand artificially lit from above, mimicking the rays of light on a day somewhere in history that will not end, suggesting an individual timeless focus onto their appearance and unexplained aim of creation. Other than in conservative exhibitions, the purpose is not to showcase a set of art pieces and put these into the order of a catalogue, but to travel through time on a dark path, guided by the light, shining from chamber to chamber. The visitor is left alone with his individual reception and interpretation of cultural, religious, social or political expression and intention of the exhibits. 5000 years of history are taken out of the temporary reception and interpretation of political and economic currency to enable a personnel encounter with the heritage, which led to the present day.








Aesop Installation, I.T Hysan One, Hong Kong


Lo-res. The installation is a collage of particles, forming a cluster, which from close are spatially undefinable. The act of deconstruction and re-assembly of the architecture is the physical equivalent to digitally lowering the resolution/definition.








Aesop Installation, I.T Hysan One, Hong Kong


Dissolvement of architecture.








MBL, Chengdu, China









Chengdu O, Chengdu, China









Shinjuku Gardens, Tokyo, Japan








Shinjuku Gardens, Tokyo, Japan








Shinjuku Gardens, Tokyo, Japan


Shinjuku Gardens, a car park structure, is an urban intervention, which aims to create a ground for nature to co-exist within the dense city context. Alternative to only allowing a sliver of landscape to establish within the urban grain of Shinjuku, like a singular wild grass growing between cracked asphalt, the project considers the macrocosm of nature and how wild flowers can be used to fill the facades as blank canvases with changing colours all year round. The façades and roof-top will become a naturally grown biotope.








Aesop Signature Store, Taikoo Shing, Hong Kong


Dissolvement of spatial and functional hierarchies.   








New Aarch, School of Architecture, Aarhus, Denmark








New Aarch, School of Architecture, Aarhus, Denmark









KAT-Ohno, Tokyo, Japan, Invited Competition, 1st Prize

Plato defined 'symposium' as a 'philosophical dialogue, dealing with love and the vision of absolute beauty'.

KAT-Ohno is a place where architecture is reduced. Less. So more can happen.

Less mass.

One big volume with 900sqm of empty space. The volume of air is lifted up above the ground, creating a permeable open sheltered space for the public on the ground floor. This shaded auditorium becomes an outdoor meeting room, creating potentials for creative and communicative togetherness during lunch breaks, in between meetings or exhibitions. It simplifies the connections between people and places. It cultivates the inclusion of individuals to share food, drinks, thoughts and conversations. Breaking the invisible walls between men to embrace diversity in humanity.

Less visible.

The primary volume is a neutral white space, which is visually disconnected from the outside to avoid any unwanted visual obstructions or changing quality of natural light. The white rooms act as backdrops for a variety of events such as presentations, exhibitions, film screenings etc. to become the focus. Here, architecture seamlessly integrates into the environment to enable endless possibilities to happen; collecting opinions and engaging thoughts within these unobstructed white rooms.

Less defined.

Simple structural grid allows movable walls to act as divisions between rooms, enabling more flexibility to play with smaller volumes inside the big white room. Flexibility of forms and configurations can easily be unfolded to accommodate both formal or playful scenarios. This ever-changing quality and the potential to 'renew, revive and rebirth' is what makes KAT-Ohno a living architecture.








KAT-Ohno, Tokyo, Japan, Invited Competition, 1st Prize










SAC, Seoul Art Complex, Pyeongchang-dong, Seoul, South Korea

Definition of the community space: Public domain and public realm.

Within public buildings circulation areas form and define a true community space. All other specified and destined areas, rooms and spaces are exclusive to the ones taking part in the activities in there at the time. The circulation area can be seen as the only adaptive, open and integrating space to welcome guests and visitors throughout any time, if the use is defined beyond the mere practical definition. Circulation zones can offer space for individuals and groups to spend time regardless of activities, services and events offered and held in those specified rooms. They can further extend the specified areas into a truly open and public realm, creating an interactive and multifunctional hybrid between "inside" and "outside".

By its re-definition, circulation zones become the community space. Specified areas become pockets inside it, undefined extending into the public realm and/or merging with other zones.

The circulation area is the least defined and unspecific space in a building. Therefore it can transform to the most important place inside a building, as it can host any physical or digital exchange in any form as it is not designed to one specific need or use, so it does not exclude any form of use. The circulation area in its definition translates best to the use of mobile information technology, as it is an in-between space, neither nor. The circulation area holds the potential to become the central spine of any public, institutional or commercial building, whereas more defined spaces could form silent capsules and retreats around it, designed for specific needs, like private Chatrooms.

The "empty" space in-between two other spaces in now filled with content.

The public stair/ramp is the hybrid between a public space and public furniture. Public stairs can transform to meeting places, eating places, exhibition spaces, speaker corners, auditoriums, mobile offices, e-commerce trading place, Chatroom, entertainment area, living room. We should move as much area as possible out from the specified spaces into the circulation zones to make our buildings more adaptable, more unspecific, more efficient and by doing so, more communal. Public spaces historically represent exchange. Circulation areas are the most public spaces in any building.

Vertical circulation = short link. Vertical circulation is equivalent to the online short link, the fastest connection between two points. The path is not visible, only defined by entry and exit point.







MOCABU, Mountain of Contemporary Art Busan, Busan, South Korea


Cheungvogl wins 2nd Prize in Busan Mulmangol Bunker Regeneration International Competition.

The bunker, constructed as military operation facility in 1968 had been left unused and was registered as a structure for storage purposes in March 2016. An international competition, hosted by the Busan International Architectural Culture Festival and promoted by Kyungdong, Construction Co. Ltd., was held to seek an innovative architectural idea and strategic concept to regenerate the existing bunker facility and to create a new addition, which will activate regional social and economic development in Busan.







MOCABU, Mountain of Contemporary Art Busan, Busan, South Korea


Cheungvogl’s proposal MOCABU - Mountain of Contemporary Art Busan, awarded second prize in the competition, emphasis a large-scale art installation space, penetrating the mountain and making the former hidden bunker system visible to the city. An additional 250 meter high, needle thin tower, housing an automated parking system and an observation deck creates a symbolic landmark in the mountain above Busan.







MOCABU, Mountain of Contemporary Art Busan, Busan, South Korea


MOCABU invites visitors to experience a large scale one-of-a-kind annual art installation conceived by an internationally renowned artist within the installation space in Hwangnyeongsan Mountain. Each year an acclaimed artist or group of artists will be invited to transform the installation space and reinterpret the perception of the space and the city, creating a world class destination and major international tourist attraction.

The 3,500 square metres clear span installation space is a volume of 170 m length x 20 m width x 20 m height, created to form an extension to the existing bunker system. The space penetrates the mountain from east to west and opens up to views above the city and the neighbouring mountains. 

Adjacent to the installation space, an 800 square metres artist residence and studio workshop enables artists to work and live on site during the production period of the art piece.







MOCABU, Mountain of Contemporary Art Busan, Busan, South Korea


Model of the existing bunker system and the new extension.

The existing bunker system connecting the new additions is largely maintained in its original layout for visitors to experience the former bunker atmosphere. The narrow gridded tunnel system will be restored and transformed into additional exhibition spaces for contemporary visual arts.

The history of the bunker and the recent and current process of the project is documented in the book The Bunker, Busan Mulmangol Bunker Regeneration, published by BICF/Kyungdong, Busan, South Korea, 2016.










IT Campus Office, Shenzhen, China










IT Campus Office, Shenzhen, China









IT Campus Office, Shenzhen, China









IT Campus Office, Shenzhen, China


The IT Campus Office is a two storey transparent building that engages within the field on the peripheral of the financial center of Shenzhen, China.

The open floor plan as an extension of the campus allows for flexible space planning and extensible arrangement, which encourages more interdisciplinary contact as well as between individuals of different hierarchies. A space without wall, screen, corridor and vertical separation provides flexibility for configuring varies team sizes and efficiency across collaborative working practices; its transparency can spur conversations and increase synergies and creativity between teams.

The trajectory of the path is guided by environmental graphic design, with topography which acts as a navigation system along a grid reference similar to a grid street plan in modern cities. The design plans for serendipity to happen naturally in which incidental encounters in the workplace may lead to new insights or collaborations as part of a creative, transparent and communicative work environment.








W, Pok Fu Lam, Hong Kong








W, Pok Fu Lam, Hong Kong










Site, Ciudad Del Mar, Manta, Ecuador










Torre Avenida do Coronel de Mesquita, Macau SAR, China









The Public Layer, Des Voeux Road, Hong Kong


The Public Layer, Hong Kong is an insertion of an elevated horizontal public plane that runs in parallel of Des Voeux Road. Co-existing amongst the vertically oriented commercial district, the public layer aims to maximize the quality of public spaces. The ground level connects street level pedestrians, automobile and public transports. The architecture straddles over the existing tram stations, which integrates a barrier free pedestrian zone with an extension to cultural and retail spaces, which include galleries, cafes, retail, public seating areas and roof gardens above ground. The roof level forms green parks of varying scales, which enhances the air quality within the densely populated urban context.









Gosan Library, Daegu, South Korea









Gosan Library, Daegu, South Korea









Gosan Library, Daegu, South Korea













List of works













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