“Though it appears to be a forest, the whole is one” - this line from Rachel Sussman’s “The Language of Trees” captures the essence of PANDO. Derived from the Latin meaning “I spread,” PANDO is also the name of a remarkable aspen grove in North America. While consisting of 47,000 trees, this grove is a single living organism that propagates vegetatively from one root system. Known as one of the largest living organisms on Earth, this extraordinary entity became the catalyst for exploring the concept of ‘territory’ - the interconnection between space and environment - beyond conventional notions of arboreal form.
When first visiting a site, I intentionally avoid researching anything beyond the address, preferring to immerse myself in its atmosphere over time. This approach serves two purposes: first, to preserve my initial impressions as an outsider before developing a deeper connection with the place, and second because these first impressions often coalesce into a unified language that becomes the foundational root supporting the space.
That day was no different. My first impressions evoked familiar yet leisurely imagery: a well-ordered city, the refreshing presence of a lake park, a horizontal building integrated with the park, and the still-quiet atmosphere of the commercial area. Upon entering the site, the panoramic view of the beautiful lake unfolded before me, stirring emotions as dramatic as Chopin’s “Winter Wind” - a moment of pure, unprejudiced joy that transformed my perspective entirely. I found myself viewing the space with newfound clarity, thinking, “This will become an urban sanctuary, a lakeside haven offering beautiful views.” This realization prompted me to reconsider my ‘perspective’ on beauty and the ‘territory’ between space and the environment.
As these enigmatic concepts of spatial connection, expansion, and psychological territory swirled in my mind, I recalled ‘PANDO’ from my reading. This extraordinary organism, mentioned in the introduction, sparked my imagination: though the space appears physically separate from the lake, they are connected like a single organism sharing the same roots. The relationships between lake and building, building and space, space from the lake, and lake from space shift dynamically with the viewer’s movement and perspective. The building seems to embrace the lake as its guardian, while at night, viewed from the lake, it appears mysteriously distant, as if defying causality. Inside, the perspective creates an illusion that draws the lake closer, making it feel connected to the space, while the interior columns and ceiling elements evoke the image of a single tree embracing both the space and the lake.
These narratives materialize into psychological storytelling through the guided circulation patterns and shifting perspectives of those who experience the space. The brown-toned entrance, distinct from its surroundings, draws focus inward, and as visitors enter this contemplative threshold, they encounter distant views unfolding before them. The columns on either side and the extended counter subtly compress the viewpoint, creating an unconscious flow through the space. At the point where this compression is released, the space dramatically expands through varying ceiling heights, with a vertical column serving as the spatial anchor.
Fabric elements radiating from the column’s center appear to reach toward the lake, extending the psychological boundaries of the space while harmoniously embracing the interior when viewed from the seating areas. For seats near the entrance that lack the lake view, we created an intimate atmosphere through distinct materials and tones, maintaining the space’s psychological density. The lighting system allows for adjustable illumination in each zone, accommodating the venue’s dual identity as a daytime brunch restaurant and evening bistro. The furniture and pendant lights were custom-designed to match the spatial scale. Every element features ordered yet fluid lines that maintain flow, and we carefully minimized linear elements in the materials to preserve the sense of space.
Where does the sensation of ‘beauty’ begin? It starts with being moved emotionally. Looking back, I was unconsciously and unreservedly moved by the view of this human-made lake. Even in artificially created spaces, the values and considerations a designer brings to the space can offer visitors completely different experiences. Like the thoughtful contemplation and stories embedded in this space, I hope these waves of beauty will gradually ripple outward to touch all who come to inhabit these moments.
