space 201411
Post on 17-Sep-2015
212 Views
Preview:
DESCRIPTION
TRANSCRIPT
-
1966 11, ,
. 1994 7,
1997 SPACE
. 2001 3, VMSPACE.COM 2008 A&HCI .
2014, SPACE .
SPACE(A&HCI) . editorial@spacem.org(02.396.3359) . . , , . , .
-
NOVEMBER 2014NO. 564
NEWS
ANNOUNCEMENT 32
004
022
REPORT , 2014 _ 025
FRAME :
| _
|
|
|
| _
030
032
036
040
044
048
FEATURE :
| _
| A3 _
& ++
| _
| _
, , ,
054
056
062
066
070
PROJECT - / _
CRITIQUE - ITM / _,
O+A - / _ ,
078
086
092
SERIES ver.2: , _
IMAGINEERTALK : _
EXHIBITION _
098
108
114
CONTENTS
onnJJJ
nanan
-
NEWS
ANNOUNCEMENT The 32nd Space Prize for International
Students of Architectural Design
FEATUREBalancingBetweenExperiments and Systems:
Public Rental Apartment
Article | Trends in Korean Rented Housing and Spatial
Characteristics_ Kang Inho
Project | Seoul Gangnam District A3 BL Housing_
Riken Yamamoto & Field Shop + Choi Moongyu + Ga.A Architects
Project | Shinjeong Urban Village_ PARKiz Architects
Roundtable | The Present Situation and Future Prospects for
Public Rental Housing_ Park Inseok, Park Insoo, Youm Chirlho,
Lee Minah
REPORTExpansion & Conflict, The 13th Docomomo International
Conference Seoul_ Park Gyehyun
PROJECTTHEATRE DE STOEP UNStudio / interview_ Shim Youngkyu
CRITIQUEINNOIZ Office Building ITM Yoo ehwa Architects /
writing_ Kim Eunmi, Laurent Pereira
O+A Building Architects Group RAUM /
writing_ Han Seounguk, Park Sungjin
FRAMEANewChurchArchitecture thatLayers theSecular
with theSpiritual: AtelierKOMA
Essay | From Efficient Development to a Flexible Recovery_
Lee Eunseok
Porject | Osan Church
Porject | Erum Church
Porject | Joyful Church
Dialogue | Building a Buffer Space: Where the City and the
Church Meet_ Lee EunseokYoo Hyunjoon
SERIESThe Critical Biography on the Modern Korean Architecture ver.2:
Politics and Capital Reflecting on Architecture_ Park Kilyong
IMAGINEERTALK Simon Boudvin: Excavating the Materials of Our Times_
Ro Seongja
EXHIBITION His niche_ Cho Man-soo
004
022
054
056
062
066
070
025
078
086
092
030
032
036
040
044
048
098
108
114
Jan Paul M
ioulet
78
-
Image provided by Gallery Hyundai
Sim
on Boudvin
108
114
564
Publisher & Editor Hwang YongchulAdvisory Committee Peter Cook
Peter Eisenman Isozaki Arata Robert Ivy Oh Kwangsu
Acting Editor-in-ChiefPark Sungjin (modori@spacem.org)Editor Shim Youngkyu (s091@spacem.org)
Jane Misun Shim (jane@spacem.org) Park Gyehyun (gyehyun@spacem.org) Ro Seongja (sj.ro@spacem.org) Yoon Solhee (solhee@spacem.org)
Designer Choi Seungtae (keysersoze@nate.com)Lee Noeul (noeul@spacem.org)
Photographer Yoon Joonhwan (baramm76@hanmail.net) Shin Kyungsub (shinkyungsub@gmail.com) Efran Mndez (info@archframe.net)
English Language Editor Natalie Ferris (nlferris25@ googlemail.com)
Translator Kim Seokwon (seokwon.kim@hotmail.com) Leah Moonyoung Park (leahpark0315@gmail.com) Kwon Taejune (tjunekwon@gmail.com) Bae Sangbeom (petero123@nate.com)
Korean Language Proofreader Ha Myungran (totoami@naver.com)Ad ManagerKim Hanwook (khw@spacem.org)
Kim Jinboo (citizennews@naver.com) Park Sangjun (pj6060@naver.com)
Marketing ManagerHur wan (hurwan0412@hanmail.net) Han Kyunghwa (hanban@spacem.org)
Board of Directors Hwang Yongchul Lee Sangleem
Printing Samsung Moonhwa Printing Co., Ltd.Paper Supplying Dongbang Paper Co., Ltd
49 11 ( 564) 2014 10 25 1966 9 6 803 18,000()CNB 120-830 52-20( 353-109)SPACE magazine, 52-20 Yeonhui-ro, Seodaemun-gu, Seoul, Korea 120-830 Tel: 82-2-396-3359 Fax: 82-2-396-7331URL: http://www.spacemagazine.org E-mail: editorial@spacem.org
. .
Contents Copyright2014 All rights reserved by SPACE magazine.
Listed in Thomson Reuters (A&HCI) and Korea Citation Index
Cover: Yoon Joonhwan (front) / Namgoong Sun (back)
-
4 NEWS
: 2014 Aimlessly Exploring A City: Seoul Architecture Festival 2014
10 1
2014 .
4
.
17 (DDP) ,
.
18 , 300
11 .
(SPACE() 2014 8
), 10 9 4
,
, 8
,
.
.
2010
.
.
DDP
. .
. , ,
,
, , .
.
.
.
11 23 .
.
. 600
7 13 .
13 14 (
)
. 20, 22,23 .
( )
15
.
.
.
.
(11
5~9) (10
21~26), (10 17~20), (10
24~26), (10 2~25), (11
7~12) .
The Seoul Architecture Festival took place from
Oct. 1 under the theme Sympathy for the
Architecture of the City. Adding two new
programmes, an open office space and the Culvert
tour, the length of the event exceeded the
previous years by four times. The festival was
most widely noted for the exhibition Seoul,
Towards a Meta City which took place at the
Dongdaemun Design Plaza (DDP) from Oct. 17.
The exhibition revealed the works of 18 curators
and approximately 300 students, resulting in 11
projects. The exhibition was essentially a
compilation of notable architecture exhibitions of
2014, such as Damback-soswae-nodeul held by
SAF Summer School (see news of Sep. 2014,
SPACE), The Han: a River in the Make the results of
School of Architecture for Children during 4 days
from Oct. 9 2014, and the expert research section
included Imagining the River Hans Structures,
Seoul Architecture Awards Exhibition, Seoul,
Towards a Meta-City exhibition held in Aug. 2014
in Berlin, and the Madrid public architecture
exhibition.
Meanwhile, the Seoul Architecture Festival, which
started in 2010, will eventually evolve into the
Seoul International Architecture Biennale,
beginning with a Pre-biennale next year. Seung
H-Sang, as the Seoul City Architect, declared at the
opening, The Seoul International Architecture
Biennale will be conducted to organize various
sporadic and temporary architecture events. The
curator Kim Youngjoon said that many
experiments were carried out to tailor the needs of
the exhibition towards the DDP as an exhibition
site, particularly regarding the DDPs irregular wall
structure. Yet, there are also regrets. Little
uniformity is present at the exhibition due to their
being no overarching concept to streamline the
various events. The works span from public places
like Nodeul Island, Mapo Oil Reserve Base, Seun
Sangga, the Han river idleness area, apartments,
houses, and kiosks. While the event does provide
the opportunity to encourage citizens interest in
public architecture, the unkempt atmosphere of
the event exposed the limited time in which it was
prepared. The highly anticipated kiosk exhibition
was not on display at the opening as it was
incomplete. Therefore, the city will need to
prepare an event that is not just an annual event,
but an event with a new perspective. The
exhibition will continue until Nov. 23.
The Culvert tour is one of the most noteworthy
programs this year. Originally built during the
Joseon Dynasty, people can see the layers of time
that have accrued by looking at the Culvert, which
was appointed a cultural asset of the city of Seoul,
as of Jul. 13. Ahn Changmo (professor of Graduate
School of Architecture, Kyonggi University) who
carried out the programme, commented that the
programme was an opportunity to discover
flexible organization by expanding from the basic
understanding of the citys surface.
The architectural culture tour, which started out as
the tour for Samcheongdong by Mihn Hyunjun
(principal of mp_Art Architects), now consists of
fifteen different courses, each lead by an
architect. Compared to last year, where the tour
was focused on buildings, it is now more centered
on villages. An architecture academy took place
with a title From Construction to Architecture. The
open office, which attracted many students, let
participants observe inside of an architects office.
The 2014 KIA Convention & Exhibition will take
place in other cities in Korea: Nov. 5-9 in Gwangju,
Oct. 2126 in Busan, Oct. 1720 in Daejeon, Oct.
2426 in Gyeongbuk, Oct. 225 in Chungbuk, Nov.
712 in Incheon.
The Seoul, Towards a Meta City exhibition is composed of installations like architecture models, videos, and panels.
Images courtesy of the Seoul Design Foundation
-
6 NEWS
: 2014Peering into the Architecture of Seoul: OpenHouse Seoul 2014
.
. ,
,
100
.
? .
,
.
.
23
.
. 13
19 .
Buildings that incite the curiosity of the onlooker,
but are forbidden to enter. A new opportunity has
risen to explore the interior of these buildings. The
OpenHouse Seoul 2014, celebrating its first
edition this year, has given access to the public 18
buildings and 10 architecture design studios
around Seoul.
Open House first began in London, growing as an
international event, as it spread to New York,
Dublin, and Rome. It is an opportunity for the
general public to visit corporate or privately owned
.
.
18
10 .
, ,
.
.
.
5 . 2000,
, , 1990
2000
8
. 20
.
17 (SPACE() 2007
4 )
.
.
1950~70, .
, ,
,
,
.
( )
.
masterpieces of architecture, or the design
studios of the architects that built them. While
Seoul has also had its own version of Open Studio
hosted by the Seoul Metropolitan Government and
the Korean Institute of Architects to visit the office
spaces of architects, this is the first event hosted
by OpenHouse Seoul, where notable works of
architecture have been added to the list.
The programmes have been split into five
sections. First, 2000s: The Emergence of
Diversity is a guided tour through the works of
eight architects who completed their studies
abroad from the late 1990s to early 2000s, and
opened up office in Korea. These architects
include the likes of Kim Seunghoy, Kim Hun, and
Byoung Cho. The architects accompanied the tour,
with 20 participants. BE.TWIXT (see Architect
section of SPACE, Apr. 2007 issue) held on Oct. 17,
included the general public as well as architecture
students. The visit provided a chance to see how
the programme and spatial composition of the
site, as well as actual use of the building had
changed after being introduced in the media.
Another programme exclusive to Seoul was
1950s to 1970s: Meeting the Early Apartments.
This was a tour to visit the present day state of
apartments around the Han river, including in
Hangang Mansion, Ichon Apartment and the
Yeouido Sibeom Apartment, as well as apartments
distributed around Cheonggyecheon, including
Dongdaemun Apartment, Samil Apartment and
Seun Sangga. The organizer, Hwang Jieun,
(professor of University of Seoul) said
Precautions were taken due to the fact that the
tours would be taken into the spaces of private
lives. While the interior of these houses could not
be seen, it was possible for the visitors to imagine
the past indirectly. The participants dispersed to
silently tour the public space, and were surprised
to encounter rooftop coal chimneys and
traditional Kimchi storage ceramic pots. The tour
Another Approach to Holiness, Religious
Architecture provided visits to Kyongdong
Church, and Yakhyun Church, while Revival of
Korean Modern Architecture allowed people to
visit examples of remodeled modern architecture
such as the Kkummaru of the Childrens Grand
Park, as well as the century old Seoul moderns
sewage system. The last programme, Open
Studio, solved the publics curiosity about the
working space of architects. Each of the
architecture shows distinct features. BCHO
Architects Associates composed with wood and
stone, and the Curtain Hall has a rounded green
curtain covering. The event could have improved if
it followed suit of other countries, where simple
exhibitions are provided and the offices are open
to the public all day long in the form of a festival,
rather than listening to the presentations for a
predetermined two hour visit.
The Open House Worldwide is currently composed
of 23 cities all over the world. Seoul carried out this
years festival in the form of a pre-open, and is
planning on hosting its first official edition next
year, after review and modification. The event was
held from Oct. 1319.
Open Studio, solved the publics curiosity about the working space of architects. BCHO Architects Associates composed with wood and stone, and slate displayed the distinct features of the architect and his working space, with a rounded green curtain covering the Curtain Hall office.
Images courtesy of OpenHouse Seoul
-
Faubourg watch in rose gold set with diamonds
02 544 7722
Hermes.com
-
NEWS8
: A Communication between Boundaries: Doors: Boundaries of Communication
(SPACE() 2013 8 )
.
10 8
19
, ,
.
, ,
.
.
() 2005 3
. ()
.
.
(2005),
(2008),
(2011)
.
.
,
,
3
.
.
.
() 2.
.
. (
)
. ,
() ,
( ) .
.
.
.
.
10
21 31 .
()
11 12 .
Arumjigi (see critique of SPACE, Aug. 2013 issue)
located in Tongui-dong which is designed with the
exposed mass concrete of stylobate with a
modern design and a traditional Korean house
placed on top of it, has a new traditional Korean
house collage work displayed, which reinterprets
a portion of the door in Changdeokgung Palace.
This is a work of the exhibition Doors: Boundaries
of Communication which opened on Oct. 8. The
Traditional Culture Research Institute Onjium
selected Imun (Two Doors), Wooden Door, and
Hedge Door from the Donggwoldo which holds the
scenery of the 19th century Changdeokgung
Palace and Changgyeonggung Palace, and
recreate them with different materials and forms
to created a new interpretation. There are also
other modern doors that use materials such as
fabric, stainless steel, and steel plates. The
exhibition reminds us of the fundamental aspects
of doors and explores its possibilities as a mode of
communication in a new form.
The Arumjigi Culture Keepers Foundation has been
planning exhibitions that reinterpret the
traditional designs along various themes such as
clothing, cuisine, and housing in a modern style
every three years since 2005. This years
exhibition theme is the door: as an architectural
factor in its own role and emphasizes the
fundamental meaning of doors.
The exhibition is divided into three sections: the
Doors by Architects which participated by
architects, Forgotten Boundaries Discovered in
Dongwoldo which reinterprets traditional doors, and
The Third Doors which introduce designers works.
Doors by Architects introduces works where the
characteristics of doors are explored as a
boundary line. The audience opens the doors and
steps inside, and it makes them think about
passing the boundaries each time. For example,
Choi Wooks (principal of One O One architects)
door has two doorknobs. The opening direction,
and the scenery one meets after opening the door
is different for the two knobs. The audience
experiences the limitations of action and
restriction of a view depending on which doorknob
they hold. Choi Moongyus (professor of Yonsei
University) door has different front and back
design, and this is the result of emphasizing the
characteristics of doors in that they divide space
and creating a boundary in different realms. There
are also other doors such as Byoung Chos (BCHO
Architects Associates) door which is designed
with common materials such as plywood and steel
plates, and Na Unchung Yoo Soraes (NAMELESS
Architecture) door which recreates the traditional
Korean doors covering called changho.
Forgotten Boundaries Discovered in Dongwoldo
have works that combine the materials and design
of the past and the present. It tracks down the
doors that have lost their sense of existence and
brings out their functions as according to
historical records. The selected doors maintain
their functions, but some parts of design have
been changed. The shingle on the Hedge Door is
made of zinc and a bamboo used to made Wooden
Fence is replaced with steel pipes, making the
doors strong and sturdy.
The exhibition not only expresses the shielding
function of doors, but also expands the function of
doors in a medium that communicates with the user
and the scenery beyond it. The architecture lecture
which was planned as a exhibition programme
takes place every Tuesday and Friday from Oct.
2131. The Arumjigi Culture Keepers Foundation
and the World Culture Open co-managed the
exhibition and the exhibition will be open until Nov.
12.
Traditional Culture Research Institute Onjium, Imun (Drape door+Wooden door), wood, silk roof tile
Choi Moongyus door, Stainless steel, black mirror, urethane paint on iron plate
Choi Wooks door, Fabric, wood, steel, paint
Images courtesy of Arum
jigi Cultural Keepers Foundation
-
NEWS10
: 10by200A Different Way to View Young Architects: 10 by 200
10by200
.
. 10by200
.
. 10 1
. 5
5 (,
, , ,
) 200
.
.
.
,
.
, .
,
.
.
.
.
.
.
.
.
. 10 31, 11 7, 14, 21, 28
ECC .
.
10 by 200 is an architecture lecture series hosted
by the Korea Architects Institute (KIA). The KIAs
existing lectures invited star architects and
featured their success stories, with which students
had trouble relating to their own circumstances.
Instead 10 by 200 gives an opportunity for young
architects to introduce their projects.
The format is different from the traditional lectures.
It consists of a series of ten lectures, each with
presentations and a Q&A time. During Q&A, five
panels who are currently working in the
architecture field and 200 students from five
schools (Ewha Womans University, Kwangwoon
University, Chung-Ang University, University of
Seoul, and Inha University) took turns and asked
questions. This is a dialogue between the old
generation and the new about the emerging
generation. It is a critique, but also a review.
The atmosphere of the lectures is more open
compared to more traditional lectures. Real stories
from the architectural scene are told. JYA-
RCHITECTS told the story about how they started
their office outside of the border of architecture;
about clients who didnt know design fees, and also
about specific budgets of certain projects.
Archiworkshop talked about what good
architecture is, about real problem solutions and
how their thoughts have changed through the
years. The lecture was wrapped up with practical
advice for the students.
There are certain shortcomings to the event. Some
panels would ask irrelevant questions just for the
sake of asking questions instead of giving a
productive review, and some questions from the
students were too random. The quality of the
lecture varies too much depending on the lecturer.
Also, the standards of selecting lecturers are vague.
Are you aware that you yourself are a young
architect, who is different to the older generation?
One panel asked SHIN architects, and they said Of
course. However, these young architects also
need a chance to organize their thoughts. The host
said that they will record and preserve all lectures
and dialogues. These records will not only be mere
records, but a tool to define a new age. The rest of
the lecture will take place on Oct. 31 and Nov. 7, 14,
21, and 28 at the ECC in Ewha Womens University.
It is open to the public.
The lecture focused on having a conversation between archi-tects and students.
Image courtesy of Korean Architects Institute
:
The Value of a Small Space: Minimal House, Finding the Idleness Place
.
, ,
.
, , .
1+1=
. ( )
1 . ,
1 .
.
. , , ,
. .
OBBA
. 5m2 House 15
.
, 1 .
, 2 , ,
.
.
(
) .
,
. 30 3
. 1, 2
. 31.
The third edition of the Minimal House series,
Minimal House, Finding the Idleness Place, is on
display at the architecture gallery. Considering
the meaning of the title Idle Place, which means a
vacant space that has gone out of use, the
exhibition made the most out of the corners, the
small courtyard, and the rooftop, all miniscule
spaces. As the gallery itself was once subject to
demolition as it lay behind a street building, the
space and place of the exhibition greatly matches
with the theme and subtheme of the exhibition.
1+1= ' by around architects is in the corner room with a low ceiling. Park Changhyun (principal of
around architects) studies multiple housing for
single person housing. The individual spaces are
minimized for sleeping and washing, while the rest
of the space is utilized as a common area,
suggesting a friendly atmosphere of one person
residents to form families. Yiwayim architects
exhibited a small house of a remodeling project of
a small hanok that is currently being used for
residence and studio. Here, the minimal is
celebrated as deriving from what we feel in our
everyday lives. The more private the space, such
as the garden, corridor, kitchen and bedroom, the
level of the floor varies, to maximize the small
values that can be felt in each small space. A
concept model was also exhibited on the roof.
OBBA featured the detailed plans for a small
house, which is currently undergoing
construction. 50m2 House is a house that can only
capacitate the absolutely necessary within its
small fifteen pyeong. To cut costs, the basement
was omitted, and only a variable wall was installed
on the first floor. The bedroom for sleep, and the
living room are separated on the first floor, while a
terrace, living room and kitchen compose the
second floor. A model of this project was placed in
the small courtyard of the gallery.
Small house model by Yiwayim architects
Lee Jaem
yeong
-
NEWS12
: The Special Scenes: Decisive Moment
1
.
.
,
.
1970
.
.
. 5m
.
.
17
.
1
1977~1992 15
.
.
.
. .
,
.
,
.
(1977 4 22~29),
, , ,
.
,
, , .
,
.
7
, ,
(SPACE() 2014 9
) 8
. 11
29
.
Lee Kunyong, a Korean performance artist, cuts
out the pianists clothes into thin lines and drags
them out of the stage. The formless sound of the
piano is expressed in a concrete form. The audience
touch the clothes visualising bandage treating
wounds, encountering the Space Theatre, the
1970s origin of interdisciplinary arts, beyond time.
The artist puts his possessions on display in line
followed by his own body. The 5m line reminds the
audience of memories in the artists life, inducing
sympathy of the audience for his life. This was the
opening performance of the exhibition Decisive
Moment, the last programme of The Space Theatre
Contemporary Project by Korea National
Contemporary Dance Company on Oct. 17.
This exhibition is an archive exhibition to revive
fifteen years of memory of The Space Theatre in
the Space Group Building from 1977 to 1992. The
title of the exhibition implies influential events
and historical moments in the documented
memory of performance art, using the format of
exhibition.
The exhibition, searching for the present meaning
through the history of the theatre, consists of
three elements; physical archives of past records,
living archives, and communication between
artists who remember the theatre and the
exhibition curators.
The historical archive is a collection of materials
from the Art Council Korea Archive Seminar Hall
collections, the Kim Swoo Geun Foundation, as
well as personal possessions of artists who had
once performed at the Space Theatre. The event
provided opportunities to revisit the opening
performance of the Space Theatre, The Night of
Traditional Arts and The Night of Modern Musics
(Apr. 2229, 1977), and the opening play Love
Story in the Box, as well as photos and audio
recordings of artists like Kang Junhyuk from their
performances of the changmoogeuk by Gong
Ok-ijn, Samul nori, and the New Wave Theatre
Festival.
Living Archive in particular, does not present the
materials as if they are fossils, but add to the
resources with new interpretations in the form of
performance, video and installations. This was
carried out by Le Sacre du Printemps by Lee
Minkyung and Joo dos Santos Martins, and Jesus
Christ Superstar by Hong Sungmin, while Nam
Hwayeon reinterpreted the work The Flows of
Heart by Choi Seonghee.
This exhibition serves as a continuation of the
performance Oblique Space in July 2425 (see
news of SPACE, Sep. 2014 issue) that featured the
performances of the Space Theatres main artists
Lee Jung Hee, Nam Jeong Hoh, and Ahn Shin-Hee,
and the research performance of young
choreographers Still Be Choreography in Aug. 31.
The exhibition will continue at the Arts Council
Archive Seminar Hall of the Seoul Arts Center until
Nov. 29.
Installation view: Archive of the Space Theatre exhibitionOpening performance: Lee Kunyong, revival of the 1978 Performance art, Pantomime and Pigs walk, 2014
Korea National Contem
porary Dance Company
-
NEWS14
: Sculpting Space with Sound: Site Whanki_Wave
.
. & ,
, .
1 3 ,
.
,
.
1 River Dream
.
2 ,
.
.
.
3
. 3
.
Above and below right: Robin Minard, Silent Music, about 600 piezo loudspeakers, cable, 4-channel audio, Whanki Museum, 2014 / Below left: Robin Minard, Silence(Blue),Blue opaque film, Fluorescent lamp, 2-channel audio, white felt, Whanki Museum, 2014
.
, .
Outside in Blue(2010)
Sounding D .
15
15 ,
.
.
1 Silent
Music(2014)
.
. 20
,
.
.
,
.
.
,
.
,
,
. 12 31 .
Site Whanki_Wave is an annual exhibition that
dedicates diverse genres of art to complement the
space of the museum. This year, artists Caitlind
Brown & Wayne Garrett, Bae Jungwan, Kimchi &
Chips participated. Among them, the Canadian
artist, Robin Minards sound installations filled the
museum from bottom to top, with diverse
experiments with how sound can meet with space.
Minard said that sound greatly influences how we
perceive space, and that even in the gothic
cathedrals, one can instantly perceive the grand
mass of the space through the reverberations of
sound, rather than the pictures or lighting on the
interior. On the first floor, he installed River Dream,
that displays a video of a river along a high
rectangular space. The sounds of the water and
the forest are emitted from two speakers, both
facing walls, so that the sound reverberates off
the walls, at different angles, hitting the other side
to provide more plentiful sounds. As visitors
depart from the room, the sound fades away into
the enclosed space. Here, sound is used to
ornament the formal characteristics of a space, as
well as a method of navigation.
On the third floor, one can encounter a white noise-
like vacuum at the top of the stairs. After emptying
the entirety of the third floor, an eerie blue light
makes the spatial boundaries and borders
ambiguous. The room becomes a space for peace
and meditation, and as the day shifts into the
night, the faint noise grows with the light. The work
is a new version of Outside in Blue (2010),
reinterpreting it to fit the space. This work was first
featured in the Sounding D, German-wide project.
Here, 15 sounds from 15 cities were recorded, and
the audience could either listen to these sounds
online, on a moving train, or in a stationary space.
The sound map plays with the concept of
experiencing multiple layers of space through
sound, while physically being in one place.
On the other hand, the final work Silent Music
(2014), displayed on the first floor, plays with
countless low-fi speakers, to make a plentiful
noise. The artist explained how 500 piezo buzzers
are used to make a hi-fi space. The project, which
marks two decades since its conception, has been
previously exhibited world-wide. The symmetrical
shape of the lobby of the Whanki Museum was
reflected in the form of the work. In the same way
that molecules come together to compose one
material, here, miniscule sounds gather to make a
plentiful sound that infiltrates a large space.
The digital works of Kimchi and Chips were also
displayed alongside the works of Robin Minard. If
spatial approaches to architecture have
previously been dominated by the history of the
site, or geometrical order, this exhibition used
digital and sound art, in order to provide a more
multi-sensory approach to the space. Sound is
different from vision, in that sounds can mix and
combine together, often becoming inaudible and
muffled. Yet, hearing is one of the most primal
instincts of human beings, and thus it can be a
valuable tool in the perception of space. The
exhibition closes on Dec. 31.
Images courtesy of W
hanki Museum
/ Prim
e Media
Shin M
ihe
Prim
e Media
-
NEWS16
: Visiting a Playground Created by an Artist: Life is Always a Mirror
.
2~3,3(2002),
(2009)(2012)
.
.,
,,
.
.
.
.
.
.
,
.
,
.
.,
,
.
,
Manahatas Dance (2009), and Temper Clay
(2012). The gallery is designed like a playground
someone created or an experience center. Wood,
glass, cloth, vinyl, among others are displayed as
if they were drawn with a compass, cut with
scissors, folding coloured paper and stuck using
glue, through the thorough calculations of the
artist. The audience experience space that work in
different angles through the spy mirrors that are
set up throughout the gallery, encountering
sounds and drawing.
Kims movies have no recognizable narrative and
are therefore difficult to understand. He even uses
Korean and English subtitles that do not match
what is on screen, to lead to further confusion. As
the flow of thoughts becomes blurred, the
audience actually becomes more in tuned with the
videos visual intensity and the rhythm of the
sound. Through collaborative work with the sound
artist David Michael DiGregorio, a music that
intertwines with words and sentences has been
created. The words We will harness the sun and
the winds and the soil to fuel our cars and run our
factories from Obamas inaugural speech, or
repetitive sounds of counting numbers, makes
the listener into a child who hums a song that they
have stuck in their head. Flipping through from
beginning to end the The Sound of Our Birds
textbook and a book to guess the chirping sounds
actually being played, the illegible musical notes
and the sheer length of the book adds to ones
confusion. This confusion is like the aimless
playtime that once enjoyed as a child.
In an abstruse flow of thought, the audiences
exhibition view: Kim Sunghwan, A-DA-DA, 16mm/Video, 20min, 2002 screen shot: Kim Sunghwan, Temper Clay, Video, 24min, 2012
,
.
.
.
.
,
,
, .
,
.
.
.
,
.
.
,
. 11 30 .
Kim Sunghwan, a media artist who once studied
architecture. For two months he has been working
on the 2nd and 3rd floors of the Art Sonje Center
located in Sogyeok-dong, Jongno-gu creating a
unique environment for three of his
representative works, A-DA-DA (2002),
bodies acknowledge and observe the space
according to their instincts. In a narrow and long
dark tunnel, ones figure is reflected through the
spy mirror and a candle light beyond it, and the
shadows of people walking past the outside of the
gallery seen through the wall covered in tinfoil
reflected in a unique angle. As you step inside by
lowering your head under a piece of cloth, or as
you step through the floors pattern cut sharply in
an acute angle, you see yourself reflected in the
mirror and feel as if youre in a treasure hunt in a
forest. There are clues of the hidden video
throughout the gallery. The shadow of the lighting
that is made by cutting a blue film in the shape of a
coiled up snake has the same angle as the rolled
paper that appears in A-DA-DA. Beside Manhatas
Dance, there is a fluttering piece of cloth
resembling the theme of the movie; immigrant
women who worked at a Shirtwaist Factory in
Manhattan that jumped off a rooftop while
covering themselves in shirts during a fire.
However, as you view the exhibition which reveals
no answers, the character who covers herself in
t-shirts and hops around, or the detailed
calculations that the artist puts into the space
start to be deemed as a light rhythm, silly fashion,
or a simple pattern. While the artist provides a
riddle in his playground, he never forces you to
solve it. He creates a comfortable environment in
which the audience can simply enjoy themselves
and run riot.
The prior exhibition of the Art Sonje Center was Rhii
Jewyos Night Studio, and it too had a single artist
plan out various thoughts in a given space, also
expressing it through a playground-like
environment. However, the difference is that Rhii
Jewyos target was the individuals house, which
is threatened by the external world, and Kim
Sunghwan uses the space as a welcoming to the
audience to view his works, displayed in the
gallery. It is an exhibition where you can directly
feel the space planned out by the artist. This
makes what can be considered as only an obtuse
that becomes a more friendly and enjoyable
experience, allowing for a spatial kind of
storytelling. The exhibition is open until Nov. 30.
Images Courtesy of the artist / W
ilkinson Gallery
-
18 NEWS
Maison Herms Dosan Park Reopened
9 30
.
3 1 .
3
. 274m2
. 1
.
.
.
.
.
(SPACE()
2014 10 )
S. . 4.07m
.
.
.
-
.
.
2012
(Module H)
.
. ,
.
(DDP)
.
2006
(RDAI, Rena Dumas Architecture
Interieu) .
. 9 , , ,
. 1928 4
6 .
1,174m2
. 2011
9m
.
.
The Maison Herms Dosan Park finished its
remodeling process and reopened on Sep. 30. The
largest change is the exhibition area, which has
been moved from the 3rd floor to the basement.
The exhibition area where the Herms Art Awards
were held was on the 3rd floor. The area of the
space was 274m2 and it faced an exterior glass
wall, so for video exhibitions the space was divided
and curtains were set up. Through remodeling the
exhibition area, it moved to the basement floor.
Now that it is located in the basement floor, the
exhibition area has become similar to a
contemporary white cube and it became more
suitable for exhibitions. A unique factor of the new
exhibition area would be the atrium located at the
centre. The atrium is opened out from the
basement floor to the top of the building and
brings in light from the outside. The atrium also
serves as an exhibition area, and it makes the
space feel like an outdoor exhibit. Currently, it is
displaying A Travers which is the work of Elisabeth
S. Clark who participated in Condensation (see
new of SPACE, Oct. 2014 issue). The white circular
ring of the diameter 4.07m fills up the entire
atrium. Beside it is a small cafe that provides a
natural connection between the exhibition and
the exterior space. Also, another wall was blocked
in contrast to create a space almost like a
darkroom. Here, Les Pagodes de la Lune, which is
created by gold and silver-plating, by the sculptor
Oh Youkyeong, and the Presque innocente
created by crystal sculptor Marie-Anne
Franquevilled are displayed while reflecting these
illuminations.
The gift shop on the upper floor has also changed,
also in terms of the interior. The Module H, which
was created by Shigeru Ban and Herms during
the 2012 Milano International Furniture Fair, has
been set up. The square module is three
dimensionally displayed to act as a wall. This wall
can be utilized as a partition, or a rack that is useful
during exhibitions. Also the embedded tracks have
continuous lighting set up to create a unique vibe
and Enzo Mari who has opened an exhibition in
DDP created a table for the space.
The Maison Herms Dosan Park opened in 2006
and was designed by RDAI, Rena Dumas
Architecture Interieure, which handles all of
Herms architecture. Maison is similar to a
flagship store but as a place where you can
experience the brand itself, every building and its
interior designs are unique. On September,
Maisons opened in Shanghai, following Paris, New
York, Tokyo, and Seoul. It was created after six
years of renovation to a four floor brick mansion,
which was built in 1928. It has been used as a
school and a police station in the past and with an
area of 1,1742m2 is a modern cultural asset.
Maison in Paris set up the Ratan hut, which is 9m
tall in 2011, and Japan made a wooden lattice on
the front of the building and combined it with
glass. The Maison Dosan Parks most unique
feature is the glass with the golden stripes silk
screen. As such the remodeling focuses on the
change in interior programme and the set up of
insertion type structure.
Maison Herms is displaying A Travers which is the work of Elisabeth S. Clark in the atrium. The white circular ring of the diameter 4.07m fills up the entire atrium.
Image courtesy of Herm
s Korea
-
, The Chapel has been Selected as the Building of the Year in the World Architecture Festival
21
(the Chapel) 2014
(WAF) .
.
, ,
. 10
.
.
.
.
2014 WAF 10 1 3
.
( )
21 (BIG)
. WAF
,
.
, , ,
31
. 2,000
(
+ ),
( ), (
)
( ),
(4 ),
( )
.
WAF ,
2008 7 .
, ,
. 11 4 6
.
The Chapel, which is designed by the Vietnamese
architecture office a21studio, won the 2014 World
Architecture Festival (WAF) Building of the Year
Award.
The Chapel is a building located on the outskirts of
Ho Chi Minh city, and it breathed new life into the
region which was lacking in community facilities. It
is especially a place for young locals with
conferences, weddings, and exhibitions being
held, and also serves as a cafe. The building
received much attention for it reused the structure
and materials from a building that had been
located at the site for a decade. The central
structure was kept to reduce the construction
process and the iron frame and metal sheets were
reused for the design. However the existing
structure did not have enough stability, so a tree
shaped pillar was set up, while white walls and
colourful glass were added. It is a simple and
economic project, but the structural reinforcement
and colors are what strengthened the aesthetic
aspects of the building.
The 2014 WAF was held in Singapore from Oct.13.
Yoo Hyunjun (Hyunjoon Yoo Architects), who
reached the finals this year stated, WAF is the only
architecture festival with a wide spectrum where
a21studio defeats the likes of BIG and Vo Trong
Nghia Architects, and architecture from Africa, the
Middle East, and Iran are introduced. The awards
were divided into 31 different sections such as
Civic and Community, Commercial Mixed-Use,
Culture, House, and the candidates are divided into
finished projects and blueprints. Over 2000
architects participated in this years WAF with
Korean architect offices such as the Ecorium
(SAMOO Architects & Engineers + Grimshaw
Architects), Buk Seoul Museum of Art, SeMA
(SAMOO Architects & Engineers), Ssangdalri House
(Hyunjoon Yoo Architects), and Korean projects
such as Dongdaemun Design Plaza (Zaha Hadid
Architects), Crashing Waves (Tongyeong Concert
Hall, Form4 Architecture), Branksome Hall Asia
Campus (MKPL Designs Pte Ltd) were nominated.
WAF is an annual event held by the Architectural
Review; it began in 2008 and this years marks the
the 7th annual festival. As for the festival
programme, there are seminars, lectures, and
student contests. Next year, it will be held from
Nov. 46. The Chapel won the 2014 World Architecture Festival Building of the Year Award.
Image courtesy of a21studio
-
SPACE PROTOCOL
1966SPACE()A&HCI
.
120SPACE30
200,3040
.SPACE
37.
SPACE
.
,(Feature)
.
(Frame),
(Report)
.(Project)(Critique)
,
.
(Imagineer)
,.
,
SPACE.
.
SPACE
editorial@spacem.org.
.
1.(10,1,000
)
2.(,)
3.(,,,,,)
4.(A4 1)
5.
1.6,000()
2.10
3.
2~41
.,
2,3.
SPACE
.1
,.
SPACE.
.
SPACE-
.SPACE
.
SPACE
.,,
.
.
SPACE.
SPACE,.
.
49SPACE.
SPACE
(customer@spacem.org).T_02.396.3359
SPACE.
SPACE,
.
-
SPACE(),
.SPACE
.
,SPACE.
SPACE1,2~3,
..
As aninternational monthlyarchitecture journal,SPACEstrives each month to feature works of architecture, plentiful in their uniqueness;
from the individuality of contemporary Korean architecture to the current innovative shifts ininternationalcontemporary architecture. In this
spirit, alldomestic andinternationalworks of architecture submitted toSPACEas feature proposals will undergo theSPACEpeer review system,
in order to uphold a more diverse, professional and fair system of judgment when selecting featured works. TheSPACEPeer Review Pool is
composed of architects and critics, representative of the currentKorean architecture scene, with reviews qualitatively and quantitatively
verified.Eachmonth, all submitted works will undergoablind test by two to three individual reviewers,
with the strict prohibitionof disclosure of anyother information than that of the actual work of architecture.
We cordially request your valued interest and support, and your active participation in submitting prospective featured works, in our endeavour
to secure a more varied point of view andtransparent selectionprocess.
SPACE Peer Review
NOTICE
()
()
()
()
()
()
( )
()
SPACE Peer Reviewer Pool (Korean alphabetical order)
()
()
()
()
()
()
()
()
()
()
()
(O.C.A)
()
()
()
()
Kwak Heesoo (IDMM Architects)
Kim Kwanghyun (Seoul National University)
Kim Byungyoon (Daejeon University)
Kim Jaekwan (Moohoi Architecture Studio)
Kim Jongho (Design Studio)
Kim Junsung (Konkuk University)
Kim Chanjoong (The_System Lab)
Kim Taeman (HAEAHN architecture)
Kim Taecheol (Dong-A University)
Kim Hyun (Korea University)
Tomii Masanori (Hanyang University)
Moon Hoon (Moonbalsso)
Park Insoo (PARKiz Architects)
Bae Byungkil (Architect Bae Byung-Kil)
Son Jin (ison architects)
Woo Seunghyun (Hongik University)
Lee Minah (hyupdongone)
Lee Eunseok (Kyung Hee University)
Lee Chungkee (University of Seoul)
Lim Jaeyong (Office of Contemporary Architecture)
Cho Namho (Soltos Architects)
Cho Minsuk (Mass Studies)
Joh Sung-Yong (SungKyun Architecture institute)
Chun Euiyoung (Kyonggi University)
-
25
9 19 29 . 2004 10 . , . , , . SPACE() ( ) , . | ( ) |
The Docomomo International Conference was held from the 19th to 29th of September in Seoul. The long awaited event finally took place, ten years after Korea joined the Docomomo
in 2004. The fact that this is the first Docomomo conference to be held in Asia means that the centre of discussion on the preservation and application of sites of modern cultural
heritage is shifting from Europe and America to Asia. It was also an opportunity not only for people in the architectural field but also for ordinary citizens to learn about and
participate in the discussion concerning modern architectural heritage. This was held alongside events such as an international student workshop, a Korean modern architecture
site tour, and the exhibition at the National Museum of Contemporary Art. SPACE will look in depth at the meaning of Docomomo Korea (chairman Kim Taewoo) as the host city, and
also the changes to the domestic and international architectural field as a consequence of the event. reported by Park Gyehyun | photography by Yoon Joonhwan (unless otherwise indicated) | materials provided by Docomomo Korea
,2014
Expansion & Conflict,The 13th Docomomo International Conference Seoul
REPORT
-
26 REPORT
1:
2
. 2012 .
. 2010
.
.
.
.
. 25 27
. ,
, , 120
. , ,
,
, .
. 26
14 ( ), ( ),
( ), ( )
, , , . Roof and
the Land: Kim Chung Up and Le Corbusier
.
.
.
3 21 ,
6 . 27 17
, , ,
. 26 11
-
.
.
2:
19 23
. , , , ,
6
.
.
. 7
.
.
, .
.
( )
.
.
,
.
( )
.
.
. ,
.
3:
.
24
20 2,000
.
,
.
5 .
,
, 1, 2 .
.
.
,
19 23 . , , .The workshop was held on the 19th to the 23rd, under the theme Sewoon Arcade. From left, a scene of the field trip, a workshop and a presentation.
Kim
Seokyoung
Kim
Seokyoung
-
27
.
.
.
.
.
.
(SPACE() 3)
.
,
.
.
.
.
:
.
1988
.6
3. 3.
().
5, 6 ()7
. () 2016
.
1.,,
.
2..
3.().
4..
5. ()
.
6.,().
7.
.
. , , , ,
,
.
. (
)
. , , , ,
.
,
.
,
2014
.( ) 25 .Kimm Jongsoung(chairman of the organizing committee, Docomomo Korea) at the keynote speech of the Conference on the 25th of November.
.Docomomo Korea co-hosted the exhibition Rebirth of Place: Expansion & Conflict of the Korean Modern Architecture with the National Museum of Modern Contemporary Art, in lieu with the international conference.
-
28
due to the countercharge of the merchants and the Cultural
Heritage Administration. New proposals have arisen to insert a
pedestrian walk road. Park Mincheol (vice chairman,
Docomomo Korea) said, We wanted to talk about a new oppor-
tunity about looking at this mega structure through this work-
shop. In reality, many people in Korea thinks of the mega struc-
ture as blocking and crossing the city, and that the building and
its businesses are lifeless. However, many students from all
over the world has visited and paid attention to the lives of the
merchants through the workshop. In the domestic competition,
the project time organism, which looks at Sewoon Arcade as an
organism and connects the buildings with the streets of Euljiro,
was selected as the winner. Ideas that came from international
cooperation and cross-generational discussions may have an
impact on domestic policies and city development, suggesting
a new direction.
Expansion 3: Aiming for an Expansion of
Architectural Culture
Docomomo Korea co-hosted an exhibition Rebirth of Place:
Expansion & Conflict of the Korean Modern Architecture with
the National Museum of Modern Contemporary Art(MMCA),
along with the international conference. The opening ceremony
was an opportunity for Docomomo members to come and see
over 2,000 pieces of archives from 20 modern Korean architec-
ture projects. However, the most important effect has been that
the the local population can also come and see the displays of
major works of modern Korean architecture, which has been
dismantled or forgotten in most cases, through various medi-
ums including photographs, movies, models, and plans.
The exhibition is organized into five sub-categories. The first
and second sub-categories are buildings that are extinct, such
as Jeju National University and the former National Museum of
Korea, and buildings that are maintaining the exterior faade to
preserve the streetscape such as Dong-A Daily News building,
former Seoul Station, and the Supreme Court. The old original
photos of these buildings are provided by the City History
Compilation Committee of Seoul, allowing the younger genera-
tions to see the harmony of the building and the old city. The
video clip about the renovation progress of the Space Group
Building shows one of the most passionate topics of Korean
contemporary architecture. The third sub-category consisted of
renovation examples such as Seoul Country Clubhouse,
Expansion 1: Thinking about Modern Architecture in Asia
Docomomo International Conferences, which is hosted by dif-
ferent cities every two years, reflects the character of the host-
ing city. Docomomo Helsinki 2012 was held under the theme
The Survival of the Modern: From Coffee Cup to General Plan,
covering modern design beyond architecture, to include interi-
or design, furniture design and tool design. Docomomo Mexico
City 2010 had the theme Living in the Urban Modernity, looking
at the life in Mexico City, which was built under modern con-
cepts. Viewed from this perspective, the theme for Seoul 2014,
which is Expansion & Conflict, can be considered as the main
keyword for modern Asian architecture. This theme is a com-
prehensive expression of the history and growth of modern
Asian architecture, still deemed a mystery for Westerners. This
event has expanded the discussion of modern architecture,
which was only limited to Europe and America to Asia, also
questioning the theories which are based on the Western world.
A platform to support this discussion was also prepared. In the
section of the International Conference, Asian Modernity was
composed as one of the categories of discussion. The existing
categories include education and theory, preservation and (re)
use, city and the landscape, and technology. Presentations and
discussions took place about the growth and development of
cities and architecture in Seoul, India, Sri Lanka, Pakistan, and
Istanbul, places not well known before. Also, a special opportu-
nity to hold a session just about Korean architects was given.
Korean architects Kim Jungsoo, Kim Swoo Geun, Kim Chung Up,
and Nah Sangjin were introduced by Kim Sungwoo (president,
N.E.E.D architects), Jeong Inha (professor, Hanyang
University), Yi Euisung (executive, Docomomo International
Committee), and Choon Choi (professor, Seoul National
University) during session 14 on the 26th. Yi Euisung asserted
most particularly aided by his thesis titled Roof and the Land:
Kim Chung Up and Le Corbusier, which considers whether the
architectural language of Kim Chung Up was formed while he
worked in the office of Le Corbusier or by the form and space of
the traditional Korean architecture. He questioned the common
notion that modern Korean architecture came from the lan-
guage of a European and American architecture. He raised
much sympathy through the comparison of the form and line
of the roof in the French Embassy to the image of the lines in
the columns and eaves of the Korean traditional architecture.
During the Q&A session, he received positive comments such
as This thesis contains a new perspective and We would like
REPORT
to see these projects in person.
The Conference took place over three days with 21 sessions,
among which six sessions were dedicated to Asian modernity.
Session 17, which took place on the 27th, was conducted by
Seo Myungsu, Kim Jonghun, Lee Yeonkyung, and Hideo Tomita,
who opened with a discussion about modernism in Korea and
Seoul during the Japanese colonial period. Session 11, which
took place on the 26th, featured Sangeeta Bagga talking about
the expansion and conflict found in Le Corbusiers Chandigarh
with the title The meaning of Chandigarh: An example of Asian
modernity. These arguments all revealed that Asian modern-
ism is different from the general history of modern architecture
in the Western world.
Expansion 2: The Need for International Cooperation
and Exchange
The workshop was held on the 19th to the 23rd, under the
theme Sewoon Arcade. Each team was comprised of six stu-
dents from Korea, Japan, Australia, Germany, and Egypt, who
made up a team and worked under a Korean architect and a
tutor in the office of a Korean architect. Lee Jiyoung, a partici-
pating student said, It is usually hard to find opportunities to
work with foreign students. The programme was seen as a
good chance to make up the educational curriculum in archi-
tecture, which is falling behind the architecture market, by
much more active international exchange.
Students made projects through this new format. Team 7 made
a video clip of the interview of a Sewoon Arcade merchant as
their final project. What made this project possible is that the
team included students who could conduct Korean interviews,
and another who could edit video. Besides the traditional plans
and models, new forms like this project such as a documentary
and edited images using antique maps were presented. This is
where the advantage of international cooperation and
exchange was revealed. Ana Tostoes (Chair, Docomomo
International) explained that The workshop was the result of
an energy to gather work that dealt with the ideas of students
from different parts of the world. She added, It was an opportu-
nity where new and interesting ideas were presented, rebuild-
ing Sewoon Arcade as a timeless structure.
The preservation and application of Sewoon Arcade is a big task
for the city of Seoul. There have been suggestions about tearing
down or forming a park, but there hasnt been much progress
-
29
3. Promote the conservation and (re)use of buildings
and sites of the Modern Movement.
4. Oppose destruction and disfigurement of significant
works.
5. Foster and disseminate the development of appro-
priate techniques and methods of conservation and
adaptive (re)use.
6. Attract funding for documentation conservation and
(re)use
7. Explore and develop new ideas for the future of a
sustainable built environment based on the past
experiences of the Modern Movement.
The fact that many Asian countries have now asked to become
a member of Docomomo is also noteworthy. Kuwait, Taiwan,
and Thailand became new members, and Egypt, Hong Kong,
and Macao also confirmed their intention to join Docomomo.
Starting with the Seoul conference, many Asian countries will
join the discussion of Docomomo. Kim Taewoo (Chairman,
Docomomo Korea) remarked We decided to form an architec-
tural community centered in Korea. Japan, China, Hong Kong
and Macao has confirmed, and we will continue to confirm with
others. Just like how modern architecture has collided with the
traditional architectural culture and the city, there might be
problems caused by hosting an international event. However, it
is more than that; the significance of this event is that it has
lead the participation of Asian countries, informed about the
reality of modern Asian architecture, and was an opportunity to
strengthen the domestic architectural culture through publica-
tions and exhibitions.
architects, who have studied overseas and also have experi-
ence within society, is tremendous. An environment that can
contain new social issues should be prepared for them. In this
aspect, architectural exhibitions will promote the understand-
ing of preservation of modern architecture projects, along with
fostering building owners with a greater insight.
Expansionwithin Conflict: The Announcement of the
Eindhoven-Seoul Statement2014
Docomomo Korea, with no experience of hosting an internation-
al event, showed some weakness in its operations. In spite of
that, one good conclusion to be drawn from this conference is
that the Eindhoven Statement, which was made in 1988 with
the founding of Docomomo International, has been modified
through this event. One article has been added to the existing 6
artides, among which three were modified. 3. Promote the con-
servation and (re)use of buildings and sites of the Modern
Movement, is the new article. The word (re)use is added to
article 5 and 6, and the word sustainable was added to article
7. The issue of (re)use will be discussed in detail in the Lisbon
2016 conference as its theme.
1. Bring the significance of the architecture of the
Modern Movement to the attention of the public, the
authorities, the professionals and the educational
community.
2. Identify and promote the surveying of the works of
the Modern Movement.
Kkummaru at Seoul Childrens Grand Park, and Kimchungup
Museum. The fourth sub-category deals with renovated resi-
dential projects of notable figures, showing shifts of power
through buildings. The last sub-category includes the Sewoon
Arcade, the theme for the workshop; showing the Korean archi-
tecture of today, which is forming its own city and architectural
aesthetics through mega structures and high-rise buildings.
In the same period, MMCA Gwacheon hosted an exhibition The
Harmony between Technology and Art: Architect Kimm
Jongsoung. This is the third exhibition of the architecture
series, following the exhibition of Chung Guyon and Itami Jun.
This shows that architecture exhibitions have settled into an
independent genre domestically with the growth of interest
about modern architecture. If the first exhibition intended to
show as much as possible, the second intended to show what
and how (SPACE, March issue, Imagineer section) This third
exhibition considered what and how the audience will feel
about the subject. The interior photograph of the building, which
has a similar scale to the real size, fills up the walls of the exhi-
bition hall and lets the audience experience the space as if they
are visiting the actual building. Also, a structural model of the
Takenaka space truss, which was introduced in the National
Weight Lifting Stadium of Korea, lets the audience feel the char-
acter of the architect, who emphasized the technological side of
architecture. This will be an opportunity to feel architecture in
the context of art and find the beauty and the social issue
inside it. In the past, architecture has been judged only by its
physical value. Kimm Jongsoung said, Modern Korean archi-
tecture is now ruminating modernism, and has entered the age
of reclaiming. He also said, The potential for new generation
24 28, 29 .The members of Docomomo had a chance to see and understand Korean architecture by the Doco Tours held on the 24th, 28th and 29th.
Choi Kyubok
Choi Kyubok
-
FRAME30
A New Church Architecture that Layers the Secular with the Spiritual
-
? . . . 1996 KOMA 80 . 4 , . . 57 2 . . . . 3 . | | | ( )
What kind of cityscape does Korean church architecture contribute to? Just like the
miraculous economic growth of the nation, churches recorded exponential growth in
Korean cities. When a new town is established and apartment complexes are built, the
church is one of the first establishments to occupy the area. Some of those churches
stand alone, not at all associated with the surrounding environment.
Lee Eunseok has designed over 80 small and large scale churches in Korea since he
started work at Atelier KOMA, his architecture firm. According to Puritan Purism values,
he has created four new types of churches that exclude excessive ornamentation.
Now, he tries to break free from his former style, making new attempts.
Osan Church in Busan embraces the apartment-surrounded scenery by establishing
a courtyard, which was designed according to economic restrictions and the rule of
simplicity. Joyful Church in Gwangju creates a new landscape in the number 57
highway, which is filled with discount outlet mall signs, by adding two white boxes.
The Joyful Church creates a new city space by connecting two sites that have large
elevation difference. Erum Church in Suji stands on the beginning of a massive
apartment complex like a milestone. Standing on a triangular site, a terrace is
designed into the center of the building, where there is a big elevation difference on
each side, making a rich interior space. We will observe these three recent projects,
and seek how the spiritual church space meets the secular city. edited by Shim Younkyu | designed by Choi Seungtae | materials provided by Atelier KOMA | photographed by Yoon
Joonhwan (unless otherwise indicated)
31
Namgoong Sun
-
FRAME Essay32
Lee Eunseok
From Efficient Development to Flexible Recovery
. .In this disconnected and cut-out land, architecture becomes a bridge that connects the gap, or a stepping stone to overcome its obstacles. Architecture acts like a stitch to the damaged land.
-
,
. .
,
.
.
.
,
,
. ,
. , , ,
, . ,
, ,
,
.
.
.
,
.
.
, .
,
.
, .
,
.
.
.
.
.
.
33
. , ,
.
.
. ,
, .
. ,
.
.
.
.
. , , , ,
.
.
. .
.
,
.
(), ( ), ()
70%
.
,
.
.
,
, .
. .
.
.
-
FRAME Essay34
Since the dawn of the industrial age, buildings were only considered to be
real architecture when it had fulfilled its function. Moreover, its form was
also decided by its function. Practicality, the pursuit of function, was the
ultimate goal. As long as practicality was achieved, other values were
considered secondary. The simple art of purism, however, is inadequate to
capture all aspects of plural, individual, and flexible aspects of abundant
human life. The search for human desire, which cannot be fulfilled with
practical efficiency, sometimes leads us into a situation where were
absorbed in unusual and indefinite forms, that even ignore the structural
order.
Therefore, spatial work must focus on respecting traditional rationalism,
which is the basis for architectural practicality, while also suggesting a way
by which we may adapt to the free and various life of human beings. For me,
progress is made through enhancement rather than revolution, and the
recovery of damaged things rather than deconstruction. It will probably lead
to the search for a space that embraces concepts of meta-basis, overlapping,
and intermediation, contrasting from determination, fixation, and separation.
This is an effort to make hybrid abundance within the order of mutual
communication rather than distinguishing, such as between architecture
and the city, halls and lobbies, interior and exterior, and streets and yards. It
is also an attitude that expands from the interior centered and efficient-
priority point of view to a flexible interior/exterior space that aims to recover
humanity.
Creating a Space that Captures Dynamic Programmes
Practicality has been respected as the value with highest in architecture.
Now, I hope to create spaces that are opened towards various programmes,
and not limited to a single purpose. A space with flexibility, which can
embrace any programmes, can be achieved by making a dim contour around
the space instead of filling it with solid chunks of functions. Open space, with
its attempt to hold various events, has freedom. This space, determined by
walls, colonnades, or rooftops, is commonly called a protected exterior. This
space is considered as an interior space, but also may consist scents from
outside, plants, and wind. It may seem like an exterior space, but it is
protected from the noise, rain, and strong sunlight. With its openness and
large scale, this open space is effective for hosting various performances.
The lives of the modern man are too complex, hybrid, and changeable to be
held with spaces designed from classical architectural habits that are
decisive and distinct. Providing adaptable flexible spaces for dynamic
programmes as crucial for the architecture of our time. The fact that these
spaces still have some intension of the architects differs itself from the
Universal Space established by Mies van der Rohe.
-
35
1 . , 1995 LA 2000 1 . 1996 , , , , , , . , .
Lee Eunseok received a B.A. in Architecture from Hongik University, a Licence of Architecte D.P.L.G. from Ecole dArchitecture Paris-Belleville and Ph D. in History of Art from University of
Paris I. He won the Millennium Gate competition of Korea in 2000. He is now associate profes-
sor at Kyunghee university. He established KOMA (the Korea Office of Modern Architecture) in
1996. His major projects include TapJung Cafe, MokYang Church, KyungSan Church, SaWeol
Church, Dream School, Venus Kindergarten and he is the author of How to Succeed in Church
Construction.
Creating a Minimal, Harmonious City Space
Even before the Industrial Revolution the city developed around a
marketplace, in which people gathered to exchange goods, and a church, in
which people gathered to search for God. A good city was defined by a well
functioning public domain, where people gathered. Active public spaces,
such as the streets, plazas, and parks can enrich the city, but, the situation in
Korean cities, with its concentration on efficient development, is displaying
extreme chaos and selfishness. Nowadays, Koreans rather maintain
pleasant conditions in their own residence, shops, and work places, while, we
can still witnessing extremely unkempt situations beyond the doors of
private spaces. The poor condition of the spaces in this city is beyond
abhorrent. Streets are saturated and chaotic, sidewalks are disconnected
and dangerous, and the facades are designed in a disorderly manner. This
also includes church buildings. Such selfishness, commercial greed, and low-
grade design is even present in Korean church architecture. At this point in
time, you would expect that at least projects driven by the institution of
religion would present values that aim to create a clean and pleasant city. In
church architecture, interest towards the public should be the utmost
priority. If its public space is too open it loses its peaceful privacy, and if it is
too closed it will turn a church into a monastery. Therefore, the church should
pursue and acquire an appropriate and harmonious spatial concept, which
would have a public angle. Elements such as wide staircases, slopes, piloti
spaces, yards, flower gardens, and parking spaces are basic to the
architecture inside the city. The shared basis between the city and the
church should be arranged through architecture. The church should have an
ethical attitude and the will to provide an abundant pleasant space for the
public. This clearly matches the biblical perspective. Church architecture
should provide green areas and resting areas that reveals peace, besides its
main structures. If the church focuses its facilities only for its private use, it
will not be a church but a mere social place; giving up the responsibility to
create a pleasant city will mean that the church is lacking of its basic
Christian spirit.
Concerns about Recovering Damaged Slopes
It is a priority concern to heal and recover the sloped land that is cut out
(Osan Church), damaged (Joyful Church), or abandoned (Erum Church). That
is, if you are an architect in Korea, where 70% or more of its territories are
made up of slopes. Everyone who works in the field of architecture and
construction, whether you are a civil engineer, landscape architect, or an
architect, should be concerned about slopes that are damaged as a result of
thoughtless development. It is essential for the generation, who will manage
the mountain terrains and cities in the future, to have great interest in slope
preservation and territorial recovery. Therefore, the method to at least
microscopically utilize the elevation difference of the site was a great
concern and an important assignment for the architect, as I faced the
abandoned sites with three different types of damages in the cities of
Gwangju, Yongin, and Busan.
In this disconnected and cut-out land, architecture becomes a bridge that
connects the gap, or a stepping stone to overcome its obstacles. Architecture
acts like a stitch to the damaged land. The work is meaningful, like digging up
ore from an abandoned mine. To the architects who will design in this
beautiful land, the attempt to recover the damaged land should not be a
burden, but an inevitable pleasure.
-
36 FRAME Project
. ,
. 7 . .
, .
. , , .
.
. .
. . .
.
.
. 2
, .
The site is located on the corner under the roadside between Haeundae and Songjeong. The L shaped building encloses an open
space inside, and the wall blocks the noise from the busy streets. Seven scattered columns form a unique relaxing yard. This
protected space is precious for the citizens, especially for the children and the elderly.
Osan Church is like a small city itself. Features such as a sloped hall that connects to the exterior, an appropriately protected yard,
and the surrounding flower garden are the condensed elements of the city. Therefore, the church architecture gives the basis to
share the culture of the city and the church. Providing a public yard is an attempt to actively offer the space to the neighbors. This
space, which is not too closed nor opened, offers high accessibility to the public. The sloped hall serves as a corridor, stairs, and a
hallway. It is opened towards the yard, making it the centre of the church and also a wonderful observatory. After sunset, this space
serves as a lighthouse that brightens the neighborhood. Acquiring spatial dynamics by the relationship between the holiness of the
church and the publicness of the open yard, opens up the possibility to hold various programmes.
The site was a flat land under a retaining wall, located under a typical Busan slope roadside. The road, which is two stories higher than
the site ground is on the south side, pushing out the building to the north edge of the site to let sunlight into the yard. Two entrances
that lets people enter from two different levels and the soft slope connecting two levels became the solution to the elevation
difference. The building effectively filled the land that was caved in, and recovered the wounded land. written by Lee Eunseok
: () : , , , () :
779 11 : : 2,253m2 : 1,114.03m2 : 7,229.2m2 :
6, 2 : 27.4m ( : 39.4m) : 85 : 49.45% : 189.16% :
: : : :
: :
Architect: Lee Eunseok (Kyunghee Univ.) Design team: Jeon Changbae, Kim Yunghyun, Sin Juseob, Jeong
Junyung (Atelier KOMA) Location: 779 Jung-dong, Haeundae-gu, Busan, Korea Programme: church Site
area: 2253m2 Building area: 1,114.03m2 Gross floor area: 7,229.2m2 Building scope: B2, 6F Height: 27.4m
(tower: 39.4m) Parking: 85 Building to land ratio: 49.45% Floor area ratio: 189.16% Structure: reinforced
concrete Exterior finishing: exposed concrete Structural engineer: Sen structural engineers Construction:
Daedonga construction Mechanical engineer: Joosung Engineering lnc Electrical engineer: Hangil
Engineering Client: Osan Church
Osan Church
-
37
-
38
1F plan
1 1
3
7
555
88
2444
FRAME Project
Section
.The site is located on the corner under the roadside between Haeundae and Songjeong.
2 .Two entrances let the people enter from two different levels and the soft slope connecting the two levels becomes the solution to the elevation difference.
1. small group room
2. baby room
3. chapel
4. lactation room
5. office
6. emergency room
7. studio
8. storage
9. counting room
10. nursery room
11. studio
12. lobby
13. prepare room
14. education room
15. lounge
16. shower room
17. boiler room
18. kitchen
19. restaurant
20. hall
21. parking
22. laboratory
23. president room
24. meeting room
25. terrace
26. electrical room
27. dynamo room
28. prayer room
20
20
20
20
20
20
20
202627
28
25
24
25
23
14 14 14 14
12
22 22 22
2 4
21
21 8
4F plan
15
1617
18 19
14 14 14 14
14
3F plan
9 1012
113
13
0 5 10 20m
0 5 10 20m
-
39
. .The sloped hall serves as a corridor, stairs, and a hallway. It is opened towards the yard, making it the centre of the church and also a wonderful observatory.
, . The L shaped building encloses an open space inside, and the wall on the slope blocks the noises from the busy streets.
3D diagram
-
40 FRAME Project
-
41
Erum Church
.
.
. 3
. . .
, .
. .
,
. .
. .
.
The church is embedded on the steep street-side in the busy district of Suji-gu, Yongin-si. The large concrete panel blocks protect
the main sanctuary and the educational facilities from the dust and noise in the busy road. A big window is placed on the center of
the facade towards the city in order for neighbourhood watch programs to operate. Located between two roads, which have the
elevation difference of three stories, one flexible space penetrates the entire volume of the church. This space is the entrance and
the main lobby of the church. It is also an open cafe, and a multi-purpose parking lot. This space attempts a visual and an actual
connection with the city.
The function of the city is condensed in Erum Church. The function of the street is enriched into the cross tower, placed vertically. A
street should have a target point and its own scenery, and the stairs in the tower simply serve this function by having a target point
and the scenery towards the outside. The long-high lobby in front of the main sanctuary serves the purpose of an indoor plaza.
This newly constructed church, with the hope that the will in heaven be done on earth, is located on an abandoned sloped site,
which was in the gap between a major highway and an overpass. The land regained life through the placement of the church. The
vertical effect of looking up at the staircase from the lower street and the horizontal spatial sense from the curved rear wall seems
to be serving the mission of the church towards the heavens, and the neighbours through architecture. written by Lee Eunseok
: () : , , , , , , ()
: 83-9 6 : : 1,651m2 : 990.34m2
: 8,164.23m2 : 4, 5 : 36.4m : 68 : 59.98% : 178.29%
: , : : : () :
: :
Architect: Lee Eunseok (Kyunghee Univ.) Design team: Jeon Changbae, Hwang Jeonghyun, Kim Yunghyun, Sin
Juseob, Lee Yujin, Jeong Junyung, Kim Dohee (Atelier KOMA) Location: 83-9 Sanghyeon-dong, Suji-gu, Yongin-
si, Gyeonggi-do, Korea Programme: church Site area: 1,651m Building area: 990.34m Gross floor area:
8,164.23m Building scope: B5, 4F Height: 36.4m Parking: 68 Building to land ratio: 59.98% Floor area ratio:
178.29% Structure: reinforced concrete Exterior finishing: exposed concrete Structural engineer: Eun struc-
tural engineers Construction: Gangsan construction Mechanical engineer: Joosung Engineering lnc Electrical
engineer: Hangil Engineering Client: Erum Church photographed by Namgoong Sun
-
42
.The vertical effect of looking up at the staircase from the lower street and the horizontal spatial sense from the curved rear wall seems to serve the mission of the church towards the heavens, and the neighbours through architecture.
.A big window is placed on the center of the facade towards the city for neighbourhood watch programs to operate.
FRAME Project
1. electrical room
2. water tank
3. parking
4. tea making room
5. education room
6. cafe
7. hall
8. family hall
9. toilet
10. chapel
11. balcony
Section
11
10
7
9 8
7 6
55
5 5 4
3
3
2 1
0 5 10 20m
-
43
.The large concrete panel blocks protect the main sanctuary and the educational facilities from the dust and noise in the busy road.
.The long-high lobby in front of the main sanctuary serves the purpose of an indoor plaza.
1. parking
2. play room
3. cafe
4. hall
5. waiting room
6. utility room
7. education room
8. family hall
9. deck
10. chapel
11. kitchen
12. restaurant
13. tea making room1F plan
B1 plan
3F plan
2F plan
1
24
3
10
4
711
13
4
7
56 7
4
78
9
4
12
13
4
0 5 10 20m
-
44 FRAME Project
.
. .
.
.
, .
, .
, .
. .
,
.
.
Joyful Church is located on the top of a hill in Gwangju-si, Gyeonggi-do, which is a typical example of a Korean city sprawling with
development. The ground is divided into two lots with different eleva
top related