N: via. spent many years in the Sheung Wan neighborhood. What was your main motivation for moving, and what drew you to this particular location?

F: Indeed – not only did we spend a greater part of the past decade in Sheung Wan, we loved the area and have built so many relationships over the years, like with Hoi On Café and the family behind it. It was a bit emotional having to leave. Nonetheless, not by way of expansion, but by way of maturity, we grew out of that space. We had been scouting for a new location for a while and had several criteria in mind: a greater square footage for the team, and aside from individual work desks, we were keen to incorporate more flexible and fluid spaces that allow for both solo and collaborative work. It would be great if the building – even from the outside – carries a certain character that aligns with our design approach. I also have a thing for outdoor spaces, so a terrace would be ideal. When we came upon this 2-story space in Contempo Place, it reminded me so much of New York’s Chelsea district. Everything just clicked and we knew this would be the perfect space for us.

N: The pandemic has been with us for the 3rd year now, and has greatly impacted on the way we work, especially for design and architecture firms. What role do you think a studio space plays in contributing to a team’s creative efforts?

F: The pandemic was a big consideration when we were contemplating the move. While technology has made remote work possible, the nature of our industry still requires a lot of in-person communication and exchange. People like to see and touch materials, and imagine a design through physical samples, models and dialogue. So much creativity and communication can happen over a quick lunch, a cup of coffee or hanging out on the terrace. To me, these experiences of a grounded reality are all important components of the creative process, and the studio, whilst fitted with all the latest technology, should also incorporate spaces conducive to chance meetings, casual conversations, or any kind of social exchange. That’s why we’ve dedicated so much open space for common areas and creative zones with different kinds of seating; there is a mixture of openness, privacy and team-oriented environment.

N: The new studio’s design seems to be an aesthetic departure from what we’ve seen in via.’s recent works. Is it intentional, or a natural evolution?

F: Really? I think the reductionist restraint in House of Madison, the spatial progression and use of color in projects like Atrium House are qualities that have been conveyed through different forms here. I was very involved in the design of this new space. I’ve always felt the life of a designer has an element of self-discovery. As Miles Davis once said, “you have to play a long time to be able to play like yourself.” I see our work as a constant evolution in finding a voice, and the design of the new studio is no exception. There’s a bit more distilling and a greater emphasis on materiality here, but overall I feel we’ve been quite consistent in terms of the base notes of our design language and our approach to space.

N: Does this signal a different design direction for the studio?

F: I wouldn’t characterize the studio’s design as being a guiding aesthetic for all of our projects. Rather, I see it as a clean background to spark new ideas and possibilities; a platform for us to come together as a team, and a space that allows us to engage with new and existing creative partners.

N: What are some highlights of the new studio space?

F: There are a couple of things that make the space unique. First is the use of materials. We’ve made use of travertine slabs that are 60mm thick and 2m long to create a beautiful bar counter, and 28mm-thick Scandinavian timber planks to build our staircase. Galvanized steel, textured paint, upholstered shelves, and the milled solid wood door handles are just a few other examples of how we’ve aimed to demonstrate diverse possibilities with materials; we hope this would serve as a source of inspiration for our designers. The second is our curated furniture collection, which includes design products and custom pieces by via. The idea is to give our designers and visitors an authentic experience of the craftsmanship, comfort and practicality of these designs – qualities we also aim for in every project we work on. Third is the idea of the studio as a gallery. More than half of the upper floor is dedicated to a multi-purpose gallery, retail and functional space for one k edition – the artistic and product development heart of via.

N: Can you tell us more about the gallery and shop? Why was it important for you to have this space inside the new studio?

F: The concept of the one k edition gallery + shop really sprung from the idea of a hybrid workplace. I think the pandemic has really sped up the blending of lifestyles in many ways. We wanted to create a space where our teams can extend their artistic interests and capabilities outside of our project work, and a platform where we can welcome other creative ideas into the studio. In this space, we have on display some of the studio’s art collection as well as furniture we’ve designed through the years. Currently, we’re staging an exhibition featuring eight Hong Kong artists’ reinterpretation of our signature projects. Other than the exhibition space, there is a separate section showcasing one k edition products – from “nao”, the concrete candle and incense tray we unveiled in 2020, to our popular face masks ”niú” and ”hŭ”, and our two monographs (“first five” and “via.voyage”) which document our trajectory as a design practice.

N: What are some special furniture pieces you’ve included?

F: Our café space on the lower level houses original pieces of dining furniture and banquette seats from the iconic cha chaan teng, Hoi On Café, generously donated to us by its previous owners. We are touched that via. is chosen to be one of the custodians of these pieces, which date back more than half a century; it feels like we’ve taken an important facet of Sheung Wan’s history with us into this new space. We’ve also gathered other one-of-a-kind pieces: a custom sofa upholstered in “Atom”, from the Kvadrat/Raf Simons collection, a 4m-long teak trunk table, Karimoku Case Study dining chairs by Norm Architects for the meeting room, and Allermuir barstools in blush by Benjamin Hubert, to match with the 2-meter travertine bar.

N: As we approach the second quarter of 2022, could you tell us what via. is working on? What can we expect from the studio this year and beyond?

F: Over the past few years, we’ve made a strategic move to broaden the types of projects the studio takes on. We’ve begun working with quasi-government bodies for example, including the Airport Authority, for which we’ve just completed refurbishments for the common areas of their headquarters, non-profits like the World Wide Fund, where we’re designing the Peter Scott Field Studies Center in Mai Po. In the property sphere, we continue to select unique, niche commissions where the developers’ aspirations align with ours. On the other hand, our expanding portfolio of house architecture and interiors include both private and commercial clients, some of which will be finished in the second half of 2022. The studio’s pipeline also includes projects outside of Hong Kong – from Macau, Changsha and Nanjing, to Jakarta and other Southeast Asian locations. I believe we have the infrastructure of a maturing practice, but the energy and passion of a boutique creative studio. via. has been very fortunate to have clients who understand and appreciate our strengths, and I feel we’re at a good place to create more exciting projects for the years to come. // END

Words : Nicole Koo
Photos : Kenneth Chao, Tan Hai Han