Courtney Calestini
April 26th, 2017
Business and the Arts
Hyundai Card Design Library: Case Study into Arts Involvement and Culture
Introduction
The Hyundai Card Design Library is an elusive exhibition hidden on the fringe of Imperial and nouveau culture conjunction. Upon first impressions, one would not find the establishment if they were not necessarily searching for it. The building does not boast tall or extravagant features that beg to be noticed by hopeful patrons. In fact, it is quite the opposite, it presents cohesion. “The library nests in the spot where the core spirit of Korea’s cultural tradition and ‘the beauty of a slow tempo’ is embedded,” a Hyundai Card spokesman said.” Why would a company as large and influential as Hyundai make such a niche investment into the foree of literature and design ethics?
Basis for Design and Literary Genre
To provide some context, here are the notable statistics for content within the library. There are roughly 11,000 books. 7,000 of which can only be found at this location for South Korea’s consumption. Whereas 2,600 of which are classified to be out of print or incredibly rare upon recovery. In turn, all of the books are treated with exclusive and high regard. Visitors of the library must wear specific gloves as they peruse the pages of each work. All of the content of these books are completely devoted to a medium or have an overarching emphasis on design, and their varying principles. This could range from Modern User Interface Design, Architecture, Photography, Organic and Classical Illustration. Thus, the user experience alone, already reinforces a sense of exclusivity, novelty and most importantly a modification of the culture around it.
What inspires this change within their company culture and transversally the environment around the exhibition
A large question that we anticipated while exploring the site was, “Why?” Transversally we had to analyze the area around the us, what was embodied by the structure, location, curation, the type of patron, plus how we felt during our time. One unique feature of the library was the implementation of literature as the dominant medium for conveying information. When we look the tangible element to reading, a lot of modern innovation has streamlined, condensed or eradicated the need for reading a “book.” However, we found a strong connection between the aspect of pride, preservation and culture. Hypothetically speaking, written media is the accumulation of knowledge and perspective on a designated topic or practice. The physical emphasis creates a sense of accessibility for the consumption of the audience. In connection, to Anguk and Gyeongbokgung, Korean culture is the center of pride and recognition for the area. Thus, the use of books and their carefully curated inventory boasts the message that Culture is dynamic, pervasive and never “dead.”
Furthermore, the architecture also resonates with that credo boasted by the brand. The building illustrates the likeness to that of a feudal castle or compound. Upon arrival it is completely wrapped within itself. The heart or center within the complex is hollowed out and when someone is on the opposing side, they can only see within the complex. Notably, the external element is mitigated, creating the feeling of intimacy, privacy and the sensuality of being alone. Retrospectively, the symbolism of the internal is to strengthen what is organic to the “home,” instead of having ready facilitation between the home and the external burden that lay outside. Innately, there is a sense of protection of its roots and solidarity.
Another example within the Design Library itself is the House structure. It is long, narrow and contours that guide the patron inside. It is very open on one side. Whereas the rear of the house is only matched by a small, slivered, window.To which the Organic Design section can only peer through. While the other neighboring included outside of the architecture is industrial design.
They also select monthly modern artists who fit their aesthetic principles. Significantly their influence over public installations. For an example Christo and Jeanne Claude are exceptionally well-known for their “wrapping” projects. Most of their works involve large scale displays in notable landmarks around the world. (Ie; Ibaraki Umbrellas/ Wrapped Reichstag Castle.) Symbolically speaking they are influential not because of their faces or social persona, instead it is the experience and minimalism they create with contouring these places. redefinition of classical culture and molds it into something of their own, which emphatically reinforces Hyundai’s credo.
Black and White
Comparatively, when viewing The Hyundai Card Design Library against The Hyundai Card Vinyl and Plastics Library, to the two represent complete duality of one another. The Vinyl and Plastics Library is housed in a large, black and industrialized theatre. The windows invite the eyes of outsiders and facilitate a complete view of the external. The placement of the site is in Itaewon, which is a well known hub for foreign influence and tourism. Whereas the Design Library is exclusive and almost forms coherence with the feudal elements fragmented with the area. The aesthetic choice to use a predominance of white also reads as purity, simplicity and the absence of “color.” We immediately began to question why were Hyundai’s references to themselves exclusively isolated in the front of the exhibition.
Brand Differentiation and Constructive Analysis
Namely one book that we picked up that Hyundai uses as their brand credo is titled “Pride,” the book itself speaks about the benefits of working for them and how they can enrich your career life. Two others were coined “Design without Words.” To which the entire book was specific and aesthetically stated to convey that the Hyundai Card meant luxury and idealization. When broaching the lifestyle of the working class it gave us the impression of National Geographic. Something completely curated to moderately relate and resemble daily “life.” To which we broke down the main factors in their strategy for Hyundai Card, exclusivity, stakeholder engagement and a modified brand culture.
As prefaced with our experience and the general process with admission to all of the Hyundai Card Libraries, there is an innate motivation with creating a designated group separate from traditional public affiliation. There is no ticket or even entry fee, someone can pay. Instead, Hyundai Card elicits “User Benefits,” as its main prerogative for subscribing to their brand. Transversally, this transitions a common consumer into a long term investor or stakeholder by contractually agreeing to sign up for this Credit Card. Thus, this stages these exhibitions as a novel concept to “outsiders,” but encourages normality in the stakeholders. In turn, the stakeholder is seduced to exist within Hyundai Card’s modified brand culture. This creates a selectively chosen demographic which will revisit, reiterate and progressively spread the synthesized idealizations Hyundai Card perpetuates. Thus, their subscribed aesthetic, modification of traditional culture and permanence with implicated stakeholder investment leads to an ultimately amassing following in their field.