Pushing the limits of space

Tan: “We use architecture and interior design to create one-of-a-kind spatial experiences that tell stories and leave an emotional impact. I want people to be moved by the environments they are in,”

AT a time when consumers are increasingly discerning and have access to a world of choices, brands across sectors have become more intent than ever to set themselves apart. Driven by a growing demand for experience- led offerings, many are placing a higher priority on retail design to enhance customer engagement and build loyalty.

From interactive retail stores to museum-like food and beverage (F&B) outlets, businesses are investing in novel and memorable environments that are extensions of their brand identities. And when it comes to experiential, exploratory commercial spaces, few do it quite like design firm Spacemen.

Specialising in crafting brand architecture, the award-winning studio’s design philosophy involves taking brand ideologies and turning them into immersive, narrative-driven spaces.

“We use architecture and interior design to create one-of-a-kind spatial experiences that tell stories and leave an emotional impact. I want people to be moved by the environments they are in,” says Edward Tan, founder of Spacemen. “We treat every project and space like a blank canvas used to create inspirational storytelling journeys.”

One project where this philosophy is demonstrated is the design for Bar.Kar, a restaurant concept in Kuala Lumpur centred on the art of wood-fire open flame cooking. Diners enter through a maze-like pathway surrounded by walls of stacked firewood, which give way to a cavernous dining space characterised by terracotta stucco walls, mesh ceiling installations and red travertine.

“The client requested that this primitive mode of cooking be inherent to the design. They wanted something very stripped down with everything connected to fire, evoking prehistoric times where food was cooked over fire in caves,” Tan shares.

A real indoor fireplace would have been impractical due to the tropical Malaysian climate and safety concerns given its mixed-business tower location. Instead, the designer broke down the restaurant’s concept of an open fire into essential components, expressing them through the different facets of the space.

“My solution was to use the visual language of the cave, wood and fire as a series of layers by deconstructing the notion of fire into architectural elements.”

For instance, red travertine represents heat, dominating gold mesh sculptures take the form of fire, and the cave-like interior’s colour recalls ancient earthen cooking pots. Even the wood-lined corridor at the start of the experiential journey symbolises a trek through the jungle, where firewood is sourced.

“For the whole experience, we want guests to not only visually engage but also touch and feel the textures and materials,” he adds.

Enchantment and intrigue

Founded in 2014, Spacemen has offices in Shanghai and Kuala Lumpur.

Tan, who has a background in architecture, set up the firm in Shanghai after more than three years working at an interior design company in the Chinese city. Upon returning to Malaysia due to the pandemic, he esta-blished Spacemen’s second office in Kuala Lumpur in 2021.

It was during its early years that the studio’s unique design language was honed and deve-loped, Tan says. “We try to target distinctive emotions for each space, which I think makes us stand out, along with our minimalist-maximalist approach to design.”

This minimalist-maximalist philosophy, he explains, is exemplified through a combination of minimalism in terms of materials types and maximalism in terms of its application.

“We want people to be immersed in the space, and we try to pare things down, practice reduction of what’s unnecessary, and focus on the key factors.”

An example of this is seen in the design of Icha Chateau, a bistro in a 19th century heritage building in Shanghai. Within its dining area, 35,000m of hanging gold chains form an undulating sculpture across the space, creating an entrancing atmosphere.

“It’s minimalist in terms of materiality as there are only four materials: terrazzo tiles, white marble, mirrors and chains,” he says. “But the application of the layered chains and the sculpted forms is how we execute our maximalist approach.”

The rolling silhouette of the chain canopy takes after the contours of tea plantations, a reference to the brand’s identity as a tea house. In addition to providing an immersive experience for customers, the project showcases how architecture and interior design can be utilised to tell a brand’s story.

Other designs by Spacemen have been crafted with the aim of piquing the interest of potential new customers. At Braun Buffel’s concept store at IOI City Mall Putrajaya, an abstract moss- covered “tree” stands as a sci-fi inspired centrepiece of the space, emerging from the floor and extending to the ceiling.

“They wanted to open up the brand to different audiences from their existing one, and to draw people in with the design concept,” Tan says. “I played around with the idea of a ‘mysterious’ installation. Is it real? Is it moss? Is it a tree? Curiosity was the emotion we wanted to inspire.”

Storytelling through spaceToday, retail brands are looking to step up the shopping experience with unique concepts that encourage interaction and sharing on social networks. The Coach Airways boutique in Melaka, occupying a Boeing 747 jumbo jet, is a noteworthy example.

Working together with Coach, Spacemen developed the outlet as an ode to the glamorous golden age of aviation in the 1970s. The retail space is supplemented by four experiential cabins which blend elements like retro-style airplane seats with futuristic flooring, allowing visitors ample opportunity for photo taking and interactive exploration.

“We sought to conceptualise it from a cinematic point of view. There’s a focus on symmetry around the plane and the colours give off a Wes Anderson vibe.”

Rooted in storytelling, the firm’s designs are often crafted as immersive journeys that unfold as visitors progress through a space. At skincare and fragrance retailer Trove’s newest outpost, Trove Haven Spa, the concept of a rejuvenating sanctuary in the desert is translated into a rippled ceiling reminiscent of wind-sculpted sand dunes, which gradually lead to splashes of oasis-like blues.

As they make their way into the treatment rooms, customers are enveloped in rich blue surroundings, with curtained corridors, basins, bathtubs, carpets and rooms all taking on the azure hue.

“From the barren desert sands with neutral colours, they then go into something completely different,” he shares. “It blends the simplicity of the desert with the rejuvenating essence of water, offering a peaceful retreat.”

Meanwhile, Trove’s retail store in Pavilion Damansara Heights features a design that highlights a narrative theme of searching for buried treasure. On the walls, curved lines on rammed earth and coarse stucco give the impression of finger marks from digging through soil, while also functionally serving as display nooks.The store’s piece de resistance is a circular stainless-steel structure with an anodised rainbow finish, housing the “treasure” – a curated range of niche perfumes – waiting to be unearthed.

“It was designed to allow customers to fully immerse themselves, experiment and discover their perfect scent,” he explains.

Creating spaces that plunge visitors into an unfamiliar and awe-inspiring environment, what Tan calls “transportive architecture”, is key to many of Spacemen’s designs.

“When you step into the space, you feel like you don’t know where you are – you could be anywhere in the world,” he notes.

“I believe that if the concept is strong enough, it can exist on its own as a place where people can be immersed and get lost in.”