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# 30-pyeong range
# Natural
# Siheung Cafés interiors
#  30-pyeong range 찻집
#  프랜차이즈 티숍
#  패브릭 천장

Siheung 38-pyeong Franchise Tea Shop Interior Type B

A 54-seat tea shop with a fabric ceiling, display niches and apricot banquettes

Ham Young-ju Designer 프로필 사진
Ham Young-ju Designer
Cafés: interior design, construction and cost estimates
Siheung 38-pyeong Franchise Tea Shop Interior Type B Cover image

Hello, I’m Ham Youngju, a designer at Goodterior :)

Type B began with a question: could the familiar teahouse feel brighter and softer? We retained wood and paper lighting, but gave cream walls and apricot banquettes a more prominent role.

Broad fabric panels cover the seating area, while small glazed tiles face the counter. Woven chairs and light wood tables bring different textures to a closely related palette. Although Type B shares the same plan as Type A, the interior has a distinctly different feel.

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Floor plan

The layout retains the same 15 tables and 54 seats as Type A. The kitchen and seating locations stay the same, with different ceiling, wall and furniture designs.

Like Type A, this layout has 15 tables and 54 seats. Long banquettes line the windows and walls, with tables in the centre. Passages on either side of the central restrooms connect the shop.

Both seating and the ordering counter are visible from the entrance. Preparation and washing sit behind the counter, with herbal decoction equipment and refrigerators in the kitchen. Shelves above the banquette and low window cabinets provide space to display tea products.

Design

Long banquettes sit alongside tables in the centre. Tea products are displayed above the banquette and beneath the windows.
Long banquettes sit alongside tables in the centre. Tea products are displayed above the banquette and beneath the windows.
This view shows the apricot seating, light wood and tiled counter together.
This view shows the apricot seating, light wood and tiled counter together.
The cream sign carries raised brown lettering. Window frames in the same brown family suit the bright seating visible through the glass.
The cream sign carries raised brown lettering. Window frames in the same brown family suit the bright seating visible through the glass.
Apricot banquettes and paper lighting are visible on either side of the glass doors. The bright interior sets the impression at the entrance.
Apricot banquettes and paper lighting are visible on either side of the glass doors. The bright interior sets the impression at the entrance.
Elongated paper pendants near the entrance soften the combination of brown window frames and light wood furniture.
Elongated paper pendants near the entrance soften the combination of brown window frames and light wood furniture.
The tiled counter is visible beyond the seats as visitors enter. Cream upper walls balance the low wood finish and furniture so the interior feels open.
The tiled counter is visible beyond the seats as visitors enter. Cream upper walls balance the low wood finish and furniture so the interior feels open.
Fine wood strips sit above broad pale panels behind the banquette. We kept the treatment calmer at seated eye level rather than filling the entire wall with a dense pattern.
Fine wood strips sit above broad pale panels behind the banquette. We kept the treatment calmer at seated eye level rather than filling the entire wall with a dense pattern.
A ssanghwa tea poster and a moon-jar print hang in the passage between seating areas. Slim oak frames sit against the cream wall.
A ssanghwa tea poster and a moon-jar print hang in the passage between seating areas. Slim oak frames sit against the cream wall.
The counter is faced with honey-coloured glazed tiles. Their varied reflections contrast with the smooth cream walls and draw attention to the ordering point.
The counter is faced with honey-coloured glazed tiles. Their varied reflections contrast with the smooth cream walls and draw attention to the ordering point.
The kitchen contains herbal decoction equipment and commercial beverage appliances. Stainless steel is used for the working surfaces behind the customer-facing counter.
The kitchen contains herbal decoction equipment and commercial beverage appliances. Stainless steel is used for the working surfaces behind the customer-facing counter.
Tile and stainless steel finish the working side of the tray return, while wood faces the seating area. Each side uses a material suited to its role.
Tile and stainless steel finish the working side of the tray return, while wood faces the seating area. Each side uses a material suited to its role.
White tile provides an easy-to-wipe surface behind the sink. The wall above is finished in the same cream as the seating area.
White tile provides an easy-to-wipe surface behind the sink. The wall above is finished in the same cream as the seating area.
We kept decoration away from the staff entrance, where the wood finish of the seating area meets the white kitchen wall.
We kept decoration away from the staff entrance, where the wood finish of the seating area meets the white kitchen wall.
The windowless wall behind the banquette combines pale hanji-pattern panels and fine oak strips. An apricot backrest brings warmth to the base of the long wall.
The windowless wall behind the banquette combines pale hanji-pattern panels and fine oak strips. An apricot backrest brings warmth to the base of the long wall.
The wood finish continues at the same height beneath the tea posters. Less decoration than on the banquette wall gives the artwork room to stand out.
The wood finish continues at the same height beneath the tea posters. Less decoration than on the banquette wall gives the artwork room to stand out.
The wall seating has niches with rounded corners. Lit shelves display tea packaging, allowing the products themselves to decorate the wall.
The wall seating has niches with rounded corners. Lit shelves display tea packaging, allowing the products themselves to decorate the wall.
A broad cream surface sits beside the niches. Decoration becomes lighter towards the windows so the view outside can be enjoyed alongside the interior.
A broad cream surface sits beside the niches. Decoration becomes lighter towards the windows so the view outside can be enjoyed alongside the interior.
Broad fabric panels hang in shallow folds above the window seating. Indirect light reaches above the fabric, with space for air conditioning in the middle.
Broad fabric panels hang in shallow folds above the window seating. Indirect light reaches above the fabric, with space for air conditioning in the middle.
Packaged tea and refreshments are displayed on low window cabinets. Keeping tall units away from the glazing preserves the view outside.
Packaged tea and refreshments are displayed on low window cabinets. Keeping tall units away from the glazing preserves the view outside.
The compact washroom uses pale tile and an oak vanity, with separate lighting beside the mirror.
The compact washroom uses pale tile and an oak vanity, with separate lighting beside the mirror.
The restroom approach uses the same cream and oak as the seating area. Small icons are placed on the doors.
The restroom approach uses the same cream and oak as the seating area. Small icons are placed on the doors.
The narrow corner has no extra decorative framing; the wood finish simply aligns with the adjoining wall.
The narrow corner has no extra decorative framing; the wood finish simply aligns with the adjoining wall.
Apricot banquettes, the tiled counter and broad ceiling fabric share this view. Wood, woven material and fabric bring texture to the pale palette.
Apricot banquettes, the tiled counter and broad ceiling fabric share this view. Wood, woven material and fabric bring texture to the pale palette.

Notes

For Type B, we considered how to retain Dongyang Tea’s character with less wood. Paper lights, fine oak strips and woven chairs preserve the familiarity of a teahouse without extensive dark panelling. Apricot seating and small glazed tiles introduce a palette distinct from Type A.

The ceiling is a major part of this option. Rather than using a few small fabric decorations, broad panels cover the seating area. Indirect lighting along the edges keeps the space above the fabric from becoming dark, with air conditioning and paper lights planned alongside it.

The sign fascia matches the cream interior walls, with brown window frames. Seating and lights remain visible from the street, continuing the bright first impression once visitors step inside.

Thank you for reading. I’m Ham Youngju at Goodterior. Please feel free to get in touch with any questions :)