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I LOVE ARCHITECTURE FROM NOTHING TO SOMETHING


I LOVE ARCHITECTURE HERE, THERE AND EVERYWHERE, THERE IS NOTHING. SOMETHING CAN CAUSE THE FORM. ART CAN BE CAUSED BY THE FORM WITH STIMULI. ARCHITECTURE SHOULD BE CAUSED BY THE FORM WITH FUNCTION. CITY EXIST AS SYMBOLISYS OF ART AND ARCHITECTURE. HISTORY IS REMEMBERED AS EVENTS OF CITY. WITHOUT SYMBOLISYS, HISTORY IS BEING DAILY LIFE. DAILY LIFE CAN BE SOMETHING WITH NOTHING TO DO,


from nothing to something


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subject

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verbs

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urban research nuance exhibition public monument breathe

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subject

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Jaepil Choi ∙ 崔 在弼

1981

Born in Seoul, South Korea.

2007

Graduated from Dankook University, Department of Architecture. Bachelor of architectural design.

2007-2009

Worked at ATEC Architects & Associates. Seoul.

2010-2011

Worked at SAMUSOHYOJADONG Architects & Associates. Seoul.

2012.09 -

Tokyo University of the Arts, research student.

award 2007

Shinkenchiku international residential competition 2007, 2nd place of winners.

journey experience 2004

Austrailia, a year.

2005-2010

Japan, a week / every year.

2012

Europe, a month.

contacts

contact.j@me.com / 080 4737 7542

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verbs

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0

City on textureless gravity

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City is working how,

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Relations, boundaries

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Emptiness_between transparent and white

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Present tense

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Being form

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Ability not being a slave of environment

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The concentration of sociality

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Represented city

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Retrogressed process of architecture

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6

Vanishing points of cities


0. City on Textureless Gravity

1. A question to me. What do you think the space is? Maybe texture? Though I see, hear, and touch so many things in my life, I remember it as certain atmosphere and smell of air, not as a form. I want to feel and express something with that texture, and I think that’s why I’m doing architecture. 2. “The world, uniquely, has meanings without ‘symbol’.” Daily life is working in the architecture that respect each personal present tenses. 3. Emotion rules situation. 4. I had thought the process of making situation was a logical architecture. I also had thought the designed situation could be the architecture to change life. 5. But, mind controlling and the music through the ear phone turn emotion, and the physical situation we have made, goes back to initializing faster than the vibration of heart and music. 6. At least our emotion is truth, between the relations of different meanings each other of the fact, the truth, and the reality. Truth rules reality.

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1. City is Working How,

Research on the change of the way of explaining cities. In explaining cities, there is a purpose of it each, and the way to read the cities change depending on the purposes. Architecture is often said as a structure of the city and a tool to explain it. But it tends to fall to the tool of purpose of explanation by limited to certain surfaces or programs. Every structure of each city has its own meaning, and we must be able to read the meaning. I think it has really different meanings how to work and how to use that in the city. It is necessary we pay attention to the way of working.

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wall, Berlin

bath, Japan

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2. Relations, Boundaries

Berlin wall and Korean MDL (the Military Demarcation Line) -Boundaries as lines and areas Boundaries exist in many kinds, and Every boundary has its meaning. It exposes its relations with each other’s existence as well. Therefore, all the boundaries has stories. In all stories, there are a lot of gradations, yet there are two kinds of boundaries in some criteria. Boundary existed as lines and one as areas. To see the two divided nations, we could see the fact of form, clearly. Berlin’s Wall is the wall in itself. We cannot see the behind the wall but we can hear and smell of it. People feel the hardness of the wall and also recognize the existence of other space of a hand’s length behind of it as well. Though wall is a surface drawn by continuos lines, we feel as a space drawn by dotted line in the unconsciousness. It is like a wall between the male baths and the female one with upper part open. They feel shared with steam and noises despite the different doors, genders and spaces. When we regard the boundary as the continuos lines to the dotted lines, the boundary becomes trace getting out of ideology.

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DMZ, Korea

river, Korea

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2. Relations, Boundaries

There are some more stories in the boundary in korea. After world war ii, the simple line based on the latitude 38 degrees has a boundary as a line for ceasefire and also as an area of dmz(demilitarized zone) at the same time. Dmz as a buffer zone becomes one of the most dangerous spaces in the world. It is an empty zone but harder that stone, no gap exists. The ceasefire line is wire entanglements, not walls. They can see everything each other. In fact the invisible is more warlike than the visible even though with eyes in the daytime and with infrared light at night. This boundary as an area has entirely different stories which is not in this side or in that side. In case of berlin, we can see the visible wall in front of it, and at the same time feel about the space behind the wall. Though koreans seldom see the ceasefire line, they always feel the strong boundary. It is like each other’s living opposite part of the river as area which makes boundary between the middle of the river. The huge space makes them see each other, but cannot let any sense touch each other. They cannot but wait till the river gets dry. When confused hotness which is as hot as it makes the river get dry makes the story of boundary get dry, the boundary as an area is getting dim, having a strong trace nobody has ever seen. Trace begins to make a new story. A lot of gradations exist between the boundary as a line and one as an area, and there is a story in every boundary.

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3. Emptiness_between Transparent and White

Tokyo white One of the important issues after modernization is the structure of open space, if the city planning in the past is making infrastructure to make the base of the city and the structure of the city becomes the base of it as the response of the function of the city itself and the density for it. Of course the meaning as the operation of urban function and the density for it does not change a lot. Though there are many kinds of open spaces demanding each function and character, i think the open space of japan is working different from that of korea in spite of the similarity of the east. Japanese gardens are white void that fulled although they are empty. Surely they seems empty spaces. But they don’t feel empty. Trees planted there, laid stones, and flowing water are as constructive as architecture. It is also found that the character of white in japanese gardens is experienced in the space of residence. I see the garden of the house. The flowerpots of it seem to place at random, but have more presence that the trees planted on the ground. Moriyama house shows that its character can be flexibly applied to multiplex residence. There is no device to divide between the road and the site. It seems that no one except foreigners like me ‘invades’ the space. (Actually the attention sign written only in english is placed at the entrance of the outer space.) Flowerpots are furniture, sign, wall and their boundary is forward the relation of the outside. Between the inside and the outside there exists a strong and understanding relationship. The duplicity makes us read the original form of reinterpreted housing and makes it possible to be with former housing form without any sense of difference, in spite of the concern about external open.

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3. Emptiness_between Transparent and White

In comparison with that, the concept of the emptiness of Korea more reaches transparent. Korean yard is not counted for everything. It is just empty and used for classical scholar’s meditation and his wife’s drying peppers and villagers’ gathering at the party. In respect of function expressed by a straw mat that is easy to fold and unfold, emptiness is the degree of transparency and its boundary is more dull or stronger according to the rate. It is the possibility that events may happen and is related to direct actions. The emptiness of white causes the relation at the boundary. And in the emptiness of transparent, the boundary itself becomes the relation. Boundary and relation contain the image of gap between each individuals. The ‘gap’ here is organic matter that has meaning like Japanese gardens, empty but at the same time full. On the other hand, this ‘gap’ is inorganic matter that can contain other meaning depending on the boundary among individuals and relations, unlike Japanese garden which has complete story because it is empty but full at the same time. ‘Emptiness’ working like inkstick’s light and shade makes meaning of the relation and boundary and operates the city. I think about the city between white and transparent.

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past

past tense

present

future

present tense

future tense

how we see the time and tense

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4. Present Tense Present Tense of Reality and Time for Architecture - The Relation of City and Architecture

Present : Past Our present is a part of maintenance included past that we spent just before and future that we have just come. Remembrance : Habit -The distinction from material and remembrance. Remembrance and habit. -When i memorize a poem, what i obtain is a habit. -True remembrance makes me recollect the time when i first read the poem. Past revives in the habits, it is utilized, and operated. But it is not thought as past. Habit is a mechanism, but pure memory is a single form. Society : Times -The memory of memory and sociology is the social level. The grounds to recognize past time as passed things are a social criterion. Realization is that of reason, and action connecting with past. This kind of realization includes memories related with circumstances of the times. It represents my own being, my value, and my present concerns. Gusforf (1912~ ) took an example in his “memoire et personne�, the reason rousseu recollected his poor young days touchingly is because of his success in the evening of his life. That is, consciousness reflects past only through present psychological subject. Architecture - Existence : City - Present Deja vu of a city Deja vu is an illusion that we have seen before, not experienced what we now see in the past. It is camouflaged realization at the point of present. Unless the social present tense turns into absolute present, city plan will disappear like an illusion. I think this absolute present begins from one’s daily life. When a certain thought is embodied, the response that individual feels before the explanation of the concept is honest. History is recognized differently according as an event was treated by when, how, and what purpose. Architecture is the event, and city is the history.

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4. Present Tense Present Tense of Reality and Time for Architecture - The Relation of City and Architecture

Seoul. In fact, it is impossible to compare the city, seoul with cities of europe. Europe has the basis of cities handed down for hundreds of years, architecture, of course, has been rebuilt, above all, they have had ‘cities’. City planning has been re-designed on the basis of existed city. And the records became urban planning studies. They have certain context, so the text used there is also certain. Since the korean war, seoul has lost, or gained physical basis of the city. There remains some trace though lost much. But we see it ‘starting point’, not the point connecting past. At the place reset asphalt and concrete, modern imported as a skin exposes poor basis of seoul. Physical context does not exist. Text as well cannot but get vague in the city of vague context. Because there is no starting point. From what should start? Design is beginning to make a condition. On the thin and thin membrane named condition, we scatter meanings as much as it does not tear. We cannot find starting point from the city reset as starting point. Covered concrete is not past physical object but spirit of seoul. It acts so itself. It also means, however, flexible to reset, which walls, rooms, and yards show. Seeing life as continuing daily tense, i think this flexibility becomes urbanization. Covered history can be processed but daily life cannot be processed.

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being Form of life contact with movement and breath

Body and Gesture (An application handbook for auditors) This lecture’s purpose is for experience that meet yourself and express yourself creatively by your body. The body in this lecture is the body as a union of physical body, emotion and thought. We treat the body as a place occurred and expressed the whole experience from my life, and the dance as that body’s moving and experience of expression. Auditors -those who are concerned about the movement and gesture of the body and dance -who wants to know the principle of movement through his experience-who hopes to understand another dimension of the sound given by body. Curriculum The curriculum of each lesson is composed of opening body’s senses, understanding the principle of operating body, and creative expressing experience depending on them. 1. spine / open sense of spine 2. skin / skin sense: connect outside with inside 3. head / put down the head, expression of head and face 4. center / connect upper body with lower body 5. me and not me1 / relation with gravity 6. me and not me2 / dance with others: passive and active 7. sound/ expanded material : sound and movement 8. talk with sound of my body / flow with body * This lesson is not for healing mind or dance healing. A lot of cells in our body remember his own experiences of life and re-create them in the way of his own recognition. Please apply after considering of the purpose of the lesson, which deals with comprehensive meaning of dance, experiencing of the body as a complex of thoughts.

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5. being Form

Being form of the lightness. Whether a form is made for having light character or to make it form the character itself is the meaning that seems to bring a completely different result. I think about that the character can have the form and the thinking has the texture, are the same meaning. Form form form.

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6. Ability Not being a Slave of Environment

The architecture can be background of life means it must be empty in order to include life. Being empty, I think, does not mean ‘nothing’ but transparent with absorption. The situation trying to put all stories on the architecture is connected with this period that architecture is regarded as outlet of desire. ‘Aboutness’ of architecture and everything will arise when it is not a bowl full of something but a situation all is existing itself. Architecture can be initialize =/= architecture for putting everything Can houses, architecture, all apace and form initialize fast? Rooms may disappear, kitchens deleted, living rooms are changed into libraries, bathrooms become living rooms . But “structure” left each trace clearly exists. Buildings can disappear and gardens may arise. Architecture disappeared from the city, one for recognizing the other things. Does it mean that architecture is getting background disappear? Architecture as a situation? As a environment or as a message? Anyway architecture must be good. Good architecture, comfortable architecture. Life is tired. Architecture applied 100% with life is also tired. Life in the capitalism society is affected and at the same time has limit from capital. While life is getting houses, the situation that money is getting houses may happen. Architecture, surely, must be worth as fortunes. However valuable purpose it has, architecture begins with lots of sacrifice and effort of many people. How can it satisfy everything? What is for everything cannot satisfy everything. I think the meaning of initializing is the environment as a specific situation in detail.

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7. The Concentration of Sociality

社会性の濃度

Our body expands infinitely by the help of scientific technology around us. -Marshall mcluhan Physical body in the beginning x imaginary bodies having texture through various interface What happens and what disappears? City as gathering with interface. Period forcing them to relate object and object. Treated as relationship=sociality. The screen of relationship formed by social networking system, as we often meet, is very thin. It is not communication but one-sided delivery. Our physical ‘body’ expands infinitely by various social devised interfaces. But the power of mental control is getting divided not copied in each body. The more chose, the thinner. I become extremely lonely despite lots of relations, if i cannot control to have proper relationship among so many interfaces, as i struggle in choosing among plenty of ad. Architecture is the origin of the interfaces and at the same time creates the relation and boundary with final aim.

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Relations with Art and Daily Life, Stimulus and Extinction

Can pure art exist in this period? Stimulus in daily life. ‘Stimulus’ includes meaning of extinction. Non- extinct stimuli become ‘daily life’. There are many ways and periods being extinct. According to the period and the combination of the methods, it has a possibility to decide the flow of life. Between the stimulus and daily life, the period and process to create the stimulus-the period and process of extinction Contemporary art are does not work in the way of one-sided give and take delivery any longer. When its function is strengthened as a medium of artistic energy, and the energy made by individuals communicates with others and spread, the work has process of having value. Every individual is a potential artist, and the displayed work is the medium and the stimulus to produce its value, and more over the process may upset the traditional meaning of the visitors and the artist. Various kinds of bodies which I possess tries to feel the memories of classic life to find logic, somewhere actively and somewhere nearly dead-like. Sometime those logics meet together and begin to respond to the physical body in the beginning, when art begins.

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8. Represented City

Icon _ the Age of Symbol

Symbolysis Decoration. What for does it exist? City. How is it remembered? Architecture. Meaning is getting clear and clear. Every design includes symbol. Only the difference of how to do. Art is the extreme of symbol. Expression is the history of symbol. Symbol has become more secretly and skillful in the capitalism from past to present. Tense is a kind of symbol. History is the record of symbol. Architecture is a faithful tool of symbol. Symbol. It is the difference between man and pig, and one of the important structures to operate city. Symbol is a sort of symbol.

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9. Retrogressed Process of Architecture

Landscape based on rentscape Relation between possession and occupation. Semi-basement, the unusual residential environment is the consumer goods to buy sunlight with money. What is the fundamental residential environment in this age? Metabolism Metabolism is an accumulated image from lots of the homeless on the street rather than image of tall buildings and wide roads. We should not forget the feeling that products and surplus products have same value and density. Age of retrogression The quality of life is regressing in comparison with past all over the world. Is there any place where the rate of happy people increases? Though technology develops, it is limited to a few items. Even the items seem to rush toward a point rather than development. As the regression of art is the most serious, its role which stimulates man’s emotion and influences our lives disappear, and it became a morphine, making prosaic emotion moistened a little. The criterion between progress and retrogression We cannot attribute a sense of alienation from architecture to the change of age, if it exists as the background of man’s life. I think architecture looking back on retrogressed area is not comparison with modern simply, apart from considering statistics that the earlier a nation meets modern, the lower index for happiness it has. I think the relationship between the function and role of architecture have not changed as much.

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10. Vanishing Points of Cities

No more nostalgia In the age of globalization, there is no more nostalgia.

Ironically the factor causing nostalgia in global age is the advertisement of global enterprise of his own country. Diasporas feel homesick more when they are exposed in global circumstance rather than they are alone. Can we call this feeling nostalgia?

There is something that is operated with a strong rule in the structure of city, but is disappearing. I think I figure out the recognitive depth of a city by feeling how the missing point operated and disappeared.

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extra


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works

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house being life 3 families + 1 commercial housing house : life boundaries’ scape ∙ a letter the house being background of life ordinary desk

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urban reasearch seoul fantasia ∙ ground is just under your foot or shoes making from ground to place between square and forest daily attitudes

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nuance imagine vecter hands

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exhibition exhibition space planning, Sharjah art.shop ∙ art-museum-city beyond the boundary exhibit selves

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public the pleasant education center neutral ground vertical floor

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monument ∙ architecture and memory memoryscape upcoming past

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HOUSE RULES LIFE LIFE RULES HOUSE

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house being life

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3 families + 1 commercial housing

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house : life

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boundaries’ scape

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∙ a letter

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the house being background of life

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ordinary desk

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being LIFE shinkenchiku international residential competition a house with resale value individual works, 2007 2nd place of winners co-directing with haedeun lee + junhun kim

This project is the work that rethinking of the house’s definition. The house that we’re recognizing is not a physical mass or properties but our ‘life’. The change of life make changing definition of the house, and the traditional definition of the family is expanding to the sociality. The House is with life, of life, and being life. このプロジェクトは、家の定義について再度考えて見た作業である。 私たちが認識している家というのは物理的な塊または財産としての所有物ではなく、私たちの 「生活」である。 生活の変化は、家の概念を変化させ、伝統的な家族の概念は社会性に拡張される。 家の生活を呼んで、生活により、生活になる。

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Theme description : A House with Resale Value

To have the ability for resale is to have a value that will not diminish over time. It is more than satisfactory if value will increase with the passage of time. Leaving aside europe and america, for architecture in asia, and above all in japan, “ increase in years since construction = decrease in value.” Amazingly, in tokyo the average lifespan of a detached house is about twenty years. When sites are bought and sold, if there is a building on a site, the cost of its demolition will be subtracted from the price of the site. For an architect, there is probably no place more appalling. What is the house with the highest “resale value” in history? If the frequency of being referenced is taken to equal resale value, then the villa rotonda (design: andrea palladio) is number one. If we limit ourselves to the 20th century, perhaps it would be le corbusier’s “dom-ino” system. The theme here is to think about the “resale value” of the 21st century house. I want proposals that consider how to obtain some kind of “value” that is effective for resale. In addition, i want proposals that are predicated on their chosen surroundings. If the architecture of the 20th century had a stand-alone “universality” with regard to its surroundings, allowing it to be reproduced anywhere in the world, the question here in the 21st century is how to incorporate the surroundings. In establishing local problems, even in distant parts of the world, it is important to make proposals that evoke sympathy by exceeding mere regionalism. I am interested in the responsiveness of the proposals to the “surroundings”chosen by each entrant. In my own design “space block hanoi model,” the starting point was notions of high-density living packed into an unusually long and slender strip-shaped site division. You may take “surroundings” to mean “ environment,” or to mean “periphery.” The ideas may also begin here. Needless to say, as this is the shinkenchiku residential design competition, with the phrase “resale value” i am not hoping for proposals that simply cater to commercial principles, or are about nothing but durability and sustainability. I want thinking about strategies that have a deeper basis. / Kazuhiro kojima


being LIFE

This House is a story about a person’s ‘Life’. Supposing that the house is a plate to put one’s life on, it should be defined based on the life of the person who lives. However, in between residential and possessive value, we’re just living with recognition of no doubt that defined by others. Every moment of present becomes part of the life. And every moment of the life becomes constructing a house. Even if I am confused between images of the past and the present, my life is still in progress. According to my life, constructing the House in sequence can have the very individual room that feeled unchangable, or the very light garden that feeled floating on the air. That means the house can be no more fixed mass. Because it’s the ‘life’.

この家は現在を生きる一人の「生活」に関する話だ。 連続瞬間瞬間の現在は私の「生活」になって、生活している過程がすなわち「家」が建てられ る瞬間瞬間である。 過去と現在のイメージの中で、私の視点があいまいせてばかり感じられる混沌の今も、私の人 生はまだ「叙事的」である。 叙事的に構築されている家は、そのことは私の「生活」に沿って、死ぬまで変わらないような 自分の部屋を持つこともでき、軽く飛んで通うような庭を持つこともできる。 家はもはや停止して塊になることがないということを意味する。 そのことは私の「生活」だからだ。


0. house rules -The house rules my life, and is ruled by my life. 1. point a person has only one point in the time and space coordinates. - We are living and forming the lifecycle organized by activities in the orbit of a life in progress. 2. boundary activity makes boundary on the time and space coordinates. -The ‘area’ in here means the spatial area and also the area of activities. 3. activity (* 2 boundary) an activity programs a space. a person uses a space;room for an activity. -A activity that organize a lifecycle, rules each a spatial property. 4. a house (* 3 activity) a house : bundle of activities -Supposing that the house is a plate to put one’s life on, the activity that organize our life, the space ruled by the activity and the aggregate of each rooms are being house. 5. organization (* 4 a house * 1 point) fixed organization usually has remainder. re_organization possibly reduces remainder. -It is getting more important that what I choice from the elements in ‘the life’ as the relations and choices of each activities, rather than physical distance of the rooms. 6. room.family (* 3 activity * 2 boundary * 1 point) a room : possiblity for accepting the continuous and multi_layered families. a family : grouping by an activity - Rooms are defined as activities have the potential that be able to share the activities. 7. infrastructure (* 6 room.family) rooms are spreaded on the existing infrastructure include transportation, global positioning system and human network. -The place of this project are not started from based on new condition in city. It is the perspective for finding possibilities of generating new recognitive system, by the redefinition of meaning on the existing spatial infra.


8. collective activities (* 7 infrastructure * 6 room.family * 4 a house) 1_ players are living in the infrastructure. 2_ spreaded activities;room can be collected on demand. 3_ overlapped activities can be shared on demand. (family) 4_ boundaries of life can be overlapped. 9. meta_structure (* 8 collective activities * 4 a house) activities that be collected by one’s demand become a personal life_cycle as it is. each personal life cycle constructs network between spaces;rooms, and the system becomes the house as it is. 10. cloud (* 9 meta_structure * 8 collective activities) the traces of constructed life_cycle are weaved in society. the process for constructing a house is making another layers that mean social network on the existing infrastructure. 11. *10 cloud *9 meta_structure *8 collective activities *7 infrastructure *6 room.family *5 organization *4 a house *3 activity *2 boundary *1 point *0 house rules being life. the system of this fluxable and multilayered house creats redefined social value.

“This proposal describes a house that can been seen in the individual’s life(activities). They presented mostly rules. This proposal was unique because those rules included concepts, such as cloud and metastucture. A thought process that starts from individual level is instinctively moved to the discrete whole. This aspect of the proposal can be seen in the roof landscape.” -Kazuhiro Kojima, Judge-


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3 Familes + 1 Commercial Housing multiplex housing works at samusohyojadong, 2010 completion concept design, planning, administrative procedure

This is a multiplex housing mixed with the client’s parents, residence, rental residences and a commercial space. Is it possible to generate these organizing elements ; users-structure-room-garden-window-space-architecture, from one idea? In this newly developed residential district that exist only the border line of site, I think this question is especially more available. 建築主のご両親家族と賃貸住居と商業賃貸空間がまじている多世帯建物だ。 使用者-構造-部屋-庭-窓-空間-建築の���成要素たちの一連の関係が一つの 型からできることができ るか。 まだ大地境界線しか存在しない宅地開発地区では特にこの質問がもっと有效だと思う。

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questions

1. site In the place where immigators lived before and after moving and the place where they lived and changed coming back, what situation will happen through the difference of time and space? What is the meaning of the second constructed house in the newly developed residential district? What situations can be considered in the newly developed residential district that ‘planned’ but not ‘constructed’ yet? Who can read, feel the context? real estate? What is the variables in the corner site surrounded by roads on three sides?

2. user The client, the lessor of rental residences and lessor of a commercial space. How can these 3users coexist? What kind of communication should be existed and respected, especially with rental residences?

3. residence To separated family, what does their parents’ house mean? How can temporary organization of large family form specially? How large range is family? To grandchildren? How large range is family? To grandchildren? What is public space in the private living space? Space that all areas overlapped a little, strong dense space? What is comfortable space for aged couple?

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1. what is the urban context in newly developed residential district?

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south side

2. Is the community space working in multiplex housing architecture?

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1. maximum volume + 4users

2. 3families + 1commercial

3. law : sloped roof + all rooms to the south side

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north side

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1F Plan

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construction of the room. 201


2F Plan

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scale

courtyard on the 3rd floor


3F Plan

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Section1

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scale of openings

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Section2

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view from the railroad


House : Life hanok (韓屋) renovation project works at samusohyojadong, 2010 completion concept design, planning, construction supervision

This is the renovation project changing Hanok, used as workroom and living space, into single space for living. It was the project that I appreciated to the client, because I could experience the process that the property of matter of Hanok and spatial structure approach to the best situation for the sake of new life. 既存の仕事部屋かたがた住居空間で使われた韓屋を住居の単一空間に変更するリノベーション プロジェクトだ。韓屋の物性と空間的構造が新しい生のために最適化された状況を向けて近付 く過程を経験することができた, 建築主に感謝したプロジェクトだ。

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75


entrance

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roof construction - next house is settled down when blue waterproof tent wraps every roof.

1. We changed structure to structure from the existing Hanok. The property of matter of Hanok and original idea from traditional structure are kept, but I think it helpful to operate functionally segmented whole space as the spatial idea for recognizing to the single space.

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existing condition 2010.05.07.

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Before construction 2010.05.12.

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in progress 2010.05.17.

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brick construction 2010.07.05.

2. 2 boxes There are 2 boxes recognized sensuously. It is spatially the one room structure, but that 2 boxes uniquely existed as rooms are the garden and the toilet. These 2 boxes got different properties are physical masses operated importantly in this house’s whole spatial recognition.

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in progress 2010.05.27.

in progress 2010.06.05.

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3. new sectional change and organization The space generated by different from structure to structure is the element that make recognizing planar whole idea. Besides It should protect privacy from the tall building in site next to here, get the sectional change. The space getting higher for privacy become the idea as the device for attracting light and sky.

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in progress 2010.06.17.

in progress 2010.06.25.

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under construction - courtyard

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under construction - corridor

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completion

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Plan

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completion - courtyard


Section

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day

night

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morning

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Boundaries’ scape rental residence competition individual works, 2013 co-directing with haedeun lee

This is the renovation project changing Hanok, used as workroom and living space, into single space for living. It was the project that I appreciated to the client, because I could experience the process that the property of matter of Hanok and spatial structure approach to the best situation for the sake of new life. 既存の仕事部屋かたがた住居空間で使われた韓屋を住居の単一空間に変更するリノベーション プロジェクトだ。韓屋の物性と空間的構造が新しい生のために最適化された状況を向けて近付 く過程を経験することができた, 建築主に感謝したプロジェクトだ。

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窓は単に内部と外部の間の境界としての開口部だけではなく、風と景色、風景として役割を持 っている。

Landscape, based on Rentscape 住人と訪問者あるいは隣りの間の楽しい境界 + 建物の立面として窓ではなく, 風と景色を得る環境としての窓 。 現代の賃貸住宅では家近くのカフェやイザカヤなどに移動された招待のための客間と茶室の機 能たちが再び舞い戻ることかできたらどうか。 密集された住宅地で、風と景色を窓から得て、 賃貸住宅とまちが会う境界として新しい顔がで きればどうか。 賃貸住宅を通じて招待と訪問,あいさつの機能が 再生されればどうか。

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熟して行く家 家は、生の足場であり、消費財のように認識されてはいけない。 古くなることではなく自然に老けること。 手沢 が自然な家。 ゆずる家。 老けるより熟して行く家。

まちになる まちに賃貸住宅が生ずるということは人が住むために来るという意味だ。 人が来ることは大した事だ。 一人の人生が来るからだ。 人はまちを作って,まち自体になる。

Plan すべての空間は完全に開かれるとか閉まる。 空間は壁と部屋に「区画」されるのではなく,生によって「使用」される。

Life cycle 賃貸住宅に住んでいる 多様な需要者たちのタイプは、一つの特定階層の繰り返しではなく, 多様な人々の集合体としてまるで個人の人生が集まったように多様だ。

Plan Types 1.

生まれ 3人

2.

独立 1人

3.

カップル、新婚夫婦 2人

4.

子供が生まれ 3人

5.

老夫婦 2人

6.

独居老人 1人

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空間的な窓としての外部リビングルーム 家内部と外部の中間領域な外部リビングルームは環境を取る少しは外部的な プライベトな空間 になる。 Viewは 外部リビングルームを通じて会う。 光は外部リビングルームと天窓を通じて入って来る。 風は 外部リビングルームと風窓を通じて吹く。

空間的な窓としての外部リビングルーム 。 外部リビングルームはプライベートな空間になる。

すべての空間は完全に開かれるか閉じられる。 空間は壁と部屋に「区画」されるのではなく,生活によって「使用」される。

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type 2

type 5.

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type 1.

1F Plan - variation 1

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type 2.

type 4.

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type 3.

type 3.

2F Plan - variation 1

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a letter

What kind of house do you want to have? I hope there is a single long table. This table contains almost whole functions and activities for needs of the house. It can be formed the partial openings, but it passes through the whole house with a single flow. There can have functions of a table, dinning, bar, shelf, drawer, storage closet, and station. They are attached on the wall or placed across the center of a room. I hope there are a little lower space and a little higher space. I hope one of the wall is entirely vacant. There is a window in the kitchen, and there is everything in the living room. Rooms are cozy and comfortable everywhere. I can sleep and also stand up at any time. I hope I have absolute topographically sense so that I can control the distance of the world. - client

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the House being Background of Life

生活の背景になる家

residential prototype of duplex housing works at samusohyojadong, 2012 in progress concept design, planning, presentation drawing

I think it universal valuable with many variables that a family of unspecific majority plan the prototype of the house for a long time ever after. Instead of building a house like a bundle, inserted by many restrictions and demands, how about building a house like a background taken out and taken out in order to put the value of life. 不特定多数の一家族がこれから長い時間を暮すようになる家のprototypeを計画するというこ とは多くの変数とともに, 基本的に要求される普遍的な価値があると思う。さまざまな制約と必 要な要求をぎっしり満たして入れる包みみたいな家を作る方式代わり, 生の価値を盛ることがで きるように減らして減らした背景みたいな家になればどうかな。

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the House being Background of Life

生活の背景になる家

Family, 家族 A group consisted of being married or blood related like parents and children. Or life community living with members Life, 生活 Life is an essential activity to do, in order to maintain his life and to live. Besides daily life such as food, clothing and shelter, life is a behavior to find out positive meaning of interaction, including selecting work and leisure, job, private work, and social work. High-efficient house full of things from the given area to attic, of course, is our essential choice. I think it important to choose spacial scale as a little changes in it. The reason to move the direction of entrance toward the road is to make the area of life space open to south yard maximized. Long staircase and void from the living room to attic make us feel deep scale of space, and children’s room open to the living room and steps makes the communication among family enriched and natural. Living space. after packed space in a small house is taken out and organized variously, is small but large shelter. In that house, life is not bored, its look changes along the change of time, and can accept the change of family.

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Want to Take Out of the Massiveness of the Internal Space. 内部空間のぎっしりすることを減らしたい。

I think that the choice of spacial scale is important. Simply, arranging the 1st floor-height 2500, 2nd 2300. The important thing in the internal space is taking our of the massiveness for the small house, and making space scale various. The method is to make 2side of letter L connected vertically from the 1st floor to attic. This part is made using letter 1 staircase and lower part of attic which is useless. I think this gaps of the internal space and the windows made among the gaps will take out the massiveness of it.

ch 2400

ch 2400

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ch 2300

ch 2500


box

LDK

open

1. The direction of entrance move toward the road, and maximize the sides meeting livingroom and yard, so that each area absorb each other. 2. Forming functional layer to the north, establishing the largest area of LDK, having large and deep living space to the south. 3. Forming void shaped L , using long staircase from livingroom to attic, and lower steps of the attic can offer vertically deep spacial emotion.

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Long staircase connected from the livingroom to the attic and void make us feel deep spacial emotion and the children’s room open to the livingroom and the staircase make the communication of the family natural and enriched.

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room

toilet

open stair room

open room

1. Composed of the two rooms and the space used large and deep 2. Children’s room is open two sides to the livingroom and the staircase, so they can identify their family and optionally choose inside or outside.

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They can see ad feel each other through the gap between children’s room on the 2nd floor and the void space.

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ூၦ෮

)>ఋཇ

The attic which maximizes the area of the high part is both the beginning and the end of deep spatial emotion.

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Though the space for fathers is absolutely needed, but the family that they can’t do so increase.

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Ordinary Desk form the things like the ordinary 日常的と言うのの形態化 works at samusohyojadong with miraemulsan, 2010 holded concept design, presentation drawing

Form the things like the ordinary. This is the furniture design project for the architect’s furniture line from H company. Desk is the special device that trace of life exposed delicately and intensively as reached to the skin, and sometimes confidentially. And also very ordinary, part of life. This is a story about the desk working as a faithful servant, sometimes as part of body, sometimes as part of my life. 日常的と言うのの形態化。 H家具会社で建築家の家具ラインのための書斎の家具デザインプロジェクトである。  書斎の机は生の跡が肌に触れるほどにディテールして密度ありげに、そして時には隠密に付け出す 特別な道具である。また,非常に日常的な、生の一部でもある。充実な下人として,時には身体の一 部として、時には私の生の部分で作動する机に対する話だ。

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1. rooms in a room

m, feet, yard, 尺, m2, 坪, 畳 ... The unit of length and area has meanings, and it has close relations to the recognition of life. In a room, a desk is not operated as just functional furniture but as conceptual unit of life. Desk is a important element of life as well as space of a room. It is the way of occupying the space and life and the way of materializing the activity rooms in a room and0.life. a Activity = a Room / Activities = a Desk / a Desk = Rooms / in a Room ?

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analogue devices

900

150x150

90x90

90x90

24”

90x90

60x60

335x240

150x150

420x297

digital devices

1800

60x60

90x90

90x90

90x90 210x297

90x90

90x90

60x60

60x60

7”x9”

60x60

room : 0.5 py

type2. down only type pen, book, note, ...

type1. up&down circulation type keyboard, monitor, mouse, ...

type3. upper fixed type light box, light stand, ...

type4. below fixed type printer, projecter, desktop body, ..

verse. 1

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1800x900

flat

eat

400x250

300x250

335x240

laptop

printer

projecter

7�x9�

light stand

relax with foot on chair

lightbox

d

take off cloth

scanner sleep

listen to music

watch movie

scribble

thi

just sit

general activ relax

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210x297

drawer

chair

document

book

pen

photo

food

post-it board

calender

scanner draw

print

write text

scanner use internet

make schedeule

photo work

drawer

ink

post it memo

read book

vities concentrate

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2. initialize

初期化

I’d like to apply the process of starting something sitting on the desk, continuing, and ending ordinarily to the desk, a kind of space. In general, on the desk the afterimage of many activities, even before beginning activities or after ending, whether you want or not, remains. The space being able to initialized of behavior’s beginning and end may broaden the possibility of selection and behavior can be read concretely. plate - field / drawer - function ?

analogue

digital

texture

optical

furniture

device

touch

see

spatial

temporary

slow

fast

initialize multitasking

eat drink read write shedule classify ...

find report see data listen to music watch movie ...

?

home

working

initialize - home

going to work

multitasking

initialize - home

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4. sequence

1. zero

2. recognize

3. organize elements

4. make environment

5. concentrate

6. initialization

7. zero

8. re-organize elements

9. re-make environment

10. relax

verse. 2

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3. Contours of Function

機能の輪郭

Whenever wanted, it is possible to initialize. It means that it is possible to multitask. In the library, a great many behaviors occur sporadically between production and refreshment, and between concentration and relax. Desk, as a field of convergence of activity, must be operated as a device for beginning and end of behaviors and helping simultaneous happening and progressing.

contours of function 機能の輪郭 She traced the contours of his face with her finger. contours of function 機能の地形 a map showing the topography of the island contours 1. outline (of object) You can refer to the general shape or outline of an object as its contours. - the texture and colour of the skin, the contours of the body - She traced the contours of his face with her finger. 2. contour line A contour on a map is a line joining points of equal height and indicating hills, valleys, and the steepness of slopes. - a contour map showing two hills and this large mountain in the middle.

Contents are working but the function cannot be felled through the volume and texture.

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desk 1800 x 900 x 730

stand 600 x 20

document 220 x 300 x 70

laptop 400 x 250 x 50

stationary 150 x 150 x 100

iphone 100 x 100 x 90

pen 100 x 200 x 50

business 350 x 250 x 100

ipad 200 x 300 x 60

table clock 100 x 100 x 120

projecter 300 x 250 x 150

calender 200 x 150 x 210

scale

function form

verse. 3

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300x250 projecter

light stand 200x50 calender

100x100 table clock

150x150 stationary

100x200 pen 200x300 ipad

220x300 document

100x100 iphone 350x250 business stamp.bankbook.receipt.calculator

400x250 laptop

relax area

pop up sliding drawer

plan_top view

document 220 x 300 x 70

business 350 x 250 x 100

laptop 400 x 250 x 50

iphone ipad 100 x 100 x 90 200 x 300 x 60

section1_front row

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300x250 projecter

pop up sliding drawer

plan_interior view

stationary calender 150 x 150 x 100 table clock pen 200 x 150 x 210 100 x 100 x 120 100 x 200 x 50

projecter 300 x 250 x 150

section2_rear row

verse. 3

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4. Tool

é “ĺ…ˇ

The object as the hand and the foot of the man is the servant of the house. Good servant makes his master free by prudence, and not showing of himself. -Le Corbusier-

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light stand

300x250 projecter

100x100 table clock

200x50 calender

150x150 stationary

100x200 pen 200x300 ipad

220x300 document

350x250 business stamp.bankbook.receipt.calculator

100x100 iphone

relax area

400x250 laptop

plan_bottom view_mr.A’s contours

light stand

300x250 projecter

relax area

100x100 table clock 200x50 calender

100x200 pen 150x150 stationary 200x300 ipad

220x300 d document

350x250 business stamp.bankbook.receipt.calculator mp.bankbook.receipt.calculato

400x250 laptop

1 00x200 100x200 pen

100x100 0 iphone

plan_bottom view_mr.B’s contours

light stand

300x250 projecter

200x50 100x100 ca calender table clockk

150x150 stationary

100x200 pen 100x200 pen

200x300 0 ipad relax area 100x100 iphone

400x250 laptop

220x300 2 document docu ocument

350x250 business amp.bankbook.receipt.cal stamp.bankbook.receipt.calculator

plan_bottom view_mr.J’s contours

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I think the city can never be seen by the negative perspective.

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urban research seoul fantasia ∙ ground is just under your foot or shoes

140

141 143

making from ground to place

165

between square and forest

185

daily attitudes

197


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Seoul fantasia infra-structural alternative space individual works, 2006

The road as one of the important infrastructure in city can be explained by moving and speed. Moving and speed make place and place connect or disconnect. I think the road have physical functions as the river that rocognised at the past times. The speed on the road make us connect or disconnect on the transportation signal system, and sometimes make island on the time based on spatial gaps. This project is a story about the very island. 都市の主要なインフラストラクチャの一つである道路は移動と速度で説明することができる。 移動と速度は、場所と場所を連結させますが、断絶させる。私は道が、過去の川のような物理 的な機能を持っていると思う。道路上の速度は、信号体系とは、システム上で私たちを連結た り断絶させ、時にはそのシステムの 時空間的間隙の上に島を作る。このプロジェクトは、まさ にその島に関する話だ。

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Ground is just under your foot or shoes. / research on the elevated grounds, 2007


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Boundary ĺ˘ƒç•Œ

Between the blocks with optional time flowing and spaces for only flowing, under the ground for faster flowing, there is a little space where another time halts. The boundary of the extreme range at Hannam-dong is the space which is very still and dynamic as well. The boundary which meets with the different two physical conditions is the neuter space incapacitating the two power and makes another boundary by itself. In the boundaries making physical ones of the city, ironically, it means the incapacitation of the physical characteristics of the each territory. What is the place like an island of uncertain boundary by means of boundaries meeting and what will be able to happen?

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site

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Seoul fantasia : Paradox of Physical Boundary ソウルファンタジア :物理的な境界のパラドックス

Hannam-dong, where it is halted pressed by various restrictions and regulations between the mountain Nam and the Han river, the two nature forced remained a few in Seoul, where its pressure is expressed only by the price of real estate, where it is halted since the strangers have driven out the natives to the mountains after the independence, I’d like to halt its territory. Strangers’ blocks interpenetrate previous fabric and possess relatively enormous void space and the it is blocked off by walls. The road of Hannam is the transitional strip connecting the north and south of Seoul, and transfering Namsan the first tunnel, Yaksu-dong, Janchoon-dong, Yitaewon, Oksu-song, KanbyunBukro. At the same time the river separate the east and west of Hannam-dong. [ ‘Block’ has two meanings in the dictionary. When it means space, it points to ‘modernized city section’. But in case of time, block means ‘it can’t flow because of being blocked’. ] -Kim Jinyung

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urban ground

recognitive topography by the urban ground

149


Block and Area ブロックと領域

The condition of the physical boundary becomes dim by re-recognizing naturally slope down than original roads, highway that is the boundary of exterior and interior felt by the bottom of the lifted plate. All makes a territory, tries to stop the situation to keep it, places it on a firm basis thinking it future and dream only to increase. The block of space blocks the ‘time’ directly after it happens, all their own boundaries.. The space with dim boundary, which is blocking now, forms ‘area’ by the distinction of the blocks instead. The area formed by the distinction of the blocks makes us feel fully different level of area and space with the ‘blocks’ only 10m apart, because of the extra space is obtained by ‘division’ of the blocks, the character of the space, by the boundary of the site not by legal walls, and by the ground of only the city. That offers the basis of the conditions that this place must be fantasia. Just stay for 191 seconds.

new contour lines

150


2 users

observation points - red:pedestrian / white:car

151


Infrastructural Alternative Space 下部構造的な代案空間

The alternative space is a stream in the field of art, showing the alternative idea of the display space for various arts which is different from the former commercial system, and political and economic methods of management. The alternative space in architecture, as the alternative idea spoken by established white cube, must be cooperated according to the author’s spacial make-up for the least classification by means of the way of display, and must be designed as the fundamental infrastructure, choosing various stream for viewing. The infrastructure in established system of cities has the function of operating the city, therefore, it locates in naturally public geostrategic situation. The eliminated extra places, no doubt, have potentiality of public geostratigic location. The union of the facility and management makes function. The infrastructure alternative space does not insert the function to recycle. It begins to be operated when the function is to be routinized.

program

152


The system to control cars and people controls the flow and stop of this place. The maintenance or abolition of time and space and its characteristics are determined according to the system.

153


The moment of connecting and disconnecting in time constantly repeats the situation of the island and the parallel situation of the bridge in space. The 454 repetitions a day is recognized as energy to routinize the system.

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157


158


S

N

159


Spaces

South side The flow of south side is the flow for blocked. They are owners, residents, a group of controlling time of this place. Stay is needed in the center of the flow, as flow for stay repeating of return to blocks every day. North side The flow of north side is middle flow from Hannam station to the school. The time of this place is not blocked and the main bodies just pass to the station to go home from the school. The works of the tempo must be displayed to react the signal system not to interrupt the flow. The images are coordinated by the signal cycle.

drive in gallery

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161


Daily Life 旼常

The non-daily space stimulates daily work. The difference of daily and non-daily may happen in many elements, but it is not easy to give shape to the possibility. The factors of speed, scale, and program,etc make the difference of cities and daily life. I think cities and daily life become the one if the difference is felt as good-feeling stimulus.

162


Form follow the relative present tense, so the Ground is formed by the relative sensitivity of the Gravity.


165


making from Ground to Place obuse town workshop tom heneghan lab. individual works, 2012

The city can be explained by the Form, but actually the city is organized by the relationship with the scale of the urban space and the past events. The city as a place to exchange : The object to exchange is not only matters but also language, desire, memory and dreams, and contrastively we can discover the problem in the present. -invisible city _ Italo Calvino 都市は形で説明されていたけど、事実都市は、それよりも、都市の空間と過去の事件との関係 を通じて構成されている。 交換の場としての都市 : 交換することは物質だけでなく、言語、欲望、記憶、夢なども含めて おり、我々はそれによって現在の問題を見つけることができる。 -見えない都市_イタルロカルビノ

166


01. Grounds There are various types of natural grounds. When we make a plaza, we usually break up the existing ground & places, but I don’t want to destroy anything.


Museum Experience Accomodation Farm Restaurant.Cafe Temple Parking lot Hospital Public Facility 169


02. Obuse town 1 Industry 1. Retail Business - 31% 2. Masnufaturing (Agriculture) - 18% 3. Medical Business - 16% 4. Construction - 10% 5. Accomodation, Food service - 8% 2 Open garden : the Way of meeting with residents and tourists Open garden in Obuse is the System that residents and tourists are getting meet irregularly, naturally and very closely. 3 Residents is opened very actively, and to be the resources of tourism by themselves. but they also need secret garden. 4 Box: as the Open garden by town scale, not personal scale. This box is not only the boundary with the town by walled space, but also as the relationship of the way for meeting with residents and tourists. 5 existing farming field / art works exhibition from museums in Obuse / open kitchen detached by the empty house that also detached roof or wall / observation deck / window / door

170


03. Exchange The city can be explained by the Form, but actually the city is organized by the relationship with the scale of the urban space and the past events. The city as a place to exchange : The object to exchange is not only matters but also language, desire, memory and dreams, and contrastively we can discover the problem in the present. -invisible city _ Italo Calvino


60,000 x 60,000 x 1,800 + openings

enclosed garden

enclosed plaza

04. Enclosed Square I thought about square enclosure as a way of making story. The scale of this square is about 15 houses and 1 middle garden, an also it seems like the temple’s scale and fragmented openings and walls. We walked around in here, and found some spaces very similar with it.

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sequence and areas of plaza, in case of temple

05. Plaza of Temple properties of general japanese plaza (extract from 日本の広場) -emphasis on process of activity -symbolic space -internalization of exterior space -changing of texture and device -elasticity of space -temporalizing devices

174


54m x 54m x 1.8m

15houses + 1garden

Temple’s scale

06. Precedent Scale I think the public space of temples show that how the public & internal space is working in small town. Place, texture, organization are different a little each, but existed with similar space sense of area and height.

175


5.4m x 5.4m x 100ea

100 三間角 scale

- 15 houses + 1 garden - about 54m x 54m x 1.8m - 100 三間角 scale (5.4m x 5.4m x 100ea) - temple’s scale of height and fragmented openings and walls

176

Walls


23

24

32

177


07. Grounds : Built up area

# 24 site : commercial / residential area surrounded by museums (obuse museum, glass studio licco, gallery object, ceramic collection) function : plaza for resident + plaza for museums exchange : users (resident / tourist) description : This place is the dense area surrounded by many museums, shops, residences and school. How about here can be the space that share the information and matters of museums? script : This place is located in the dense area surrounded by many museums, shops, residences and school. We think about this space as a small public plaza, but here is both commercial and residential area, so we want to exchange the role of users. Sometimes here is the space for resident people like next of students. And sometimes, here will be the plaza for these 4 museum’s organization and there can be also exhibition space.

# 32 site : residential area function : existing farming field / Open park / community space exchange : Open kitchen of furnitures detached from the empty houses description : This place is in the residential area surrounded vineyard, chestnut field, and houses. There is no place that residents can meet and relax at the outside. How about to make partially enclosed garden by the elements of a room for only residential people? script : This place is located is in the residential area surrounded vineyard, chestnut field, and many houses. We think here is no place that residents can meet and relax at the outside. So, we want to make a place that do not destroy the existing farming field, and put on some furniture like open kitchen detached from the empty houses, and make this space by the room’s elements like window, openings and door.

178


# 24

08. Description # 24, # 32 I want to make the light plaza. There are many public places, but only for tourists, and just sell and buy. The community space in buildings for residents is becoming to the empty houses. I want to make plaza for residents in this small town. recognition of grid - Despite of nothing on the very point of grid, we can recognize it according to the feeling of center with surrounded box.


# 32


# Grounds


# Grounds and Sky


185


Square, between City and Forest smoker’s style competition urban square and the smoking place individual works, 2013 co-directing with haedeun lee

In declined city, the word ‘rehabilitation’ cannot be truly felt like politician’s promises. City generated by coals is disappearing again by coals. But they dream rehabilitation with adding hands to the remained structure. Residence complex is the place where the sociality becomes materialized. Eventually the way of rehabilitation will be the sociality. 衰退した都市で再生イラン単語は政治家の公約のように易しく肌に触れない。石炭によってで きた都市がまた石炭によって消える。残された構造物たちに手長さ加わって再生を夢見る。住 居団地は日常を通じて社会性が具体化される場所だ。再生の手段は結局社会性だと思う。

186


187


公共 - 共存 - 共有

188


1. 広場に対して

191


2. 共存するが共有しないこと

192


193


194


197


Daily Attitudes centralglass international architecture competition a community gathering place individual works, 2009 co-directing with haedeun lee

Community is not caused or working by such as a specific program or geographical node of the city. It works with people and people meet. It is the event between man and man, subject and subject. The ‘Communication’ ; talking with face to face or give and take some parts of me, begins from a little bit more substantial things. From Started immediately after the contact of communication, we started something beyond the program. What is the elements can gather events and places? コミュニティは特定のプログラムや都市の 結節点 みたいな地理的ノードによって発生あるいは 作動しない。それは人と人との出会いによって作動する。それは人と人、主体と主体間の事件 だ. 顔を突き合わせて (face to face) 話すとか私の一部を取り交わす「疎通」と言うのは)もう ちょっと本質的なことから始まる。疎通の接点が始まった直後からわれらはプログラムを越し たどんな何を始めるようになる。事件と、場所を集めることができる要素は何か?

198


Theme description : A Community Gathering Place

The theme of this year’s competition is architecture for a new type of community gathering place. It should be neither a conventional community center of the type commissioned by local governments, nor a completely informal space of the type that appears spontaneously. It should be a place where residents can gather to meet their fellow citizens and enjoy a richly fulfilling sense of community. The modern community center was premised on the idea that local communities are the permanent homes of most of their residents. In that context, the community center was intended to function as the core of the local social network. But this idea didn’t work. As society became more mobile, the falling percentage of permanent residents led to dispersion and diversity. Instead of returning to their neighborhoods, people shifted the focus of their social lives to alumni meetings, coworker gatherings, and interest groups. With the spread of information technology, mobile phones and e-mail became the primary means of communication, resulting in restricted opportunities for face-to-face contact. Recently, however, the average age of the population is increasing and many communities have gained more permanent residents. People are looking for a place to share with the neighbors that they greet on the street every day. This is the birth of a new kind of social order. In contrast to the orderly mechanisms of theory, it is emerging in new and unexpected ways. Is there anything that architecture can do to support these new developments? We would like applicants to approach the theme from the standpoint of contemporary requirements and to propose community gathering places which, while sidestepping distinctions between public and private, will represent solutions to the constraints and opportunities of the local communities where they are located. We expect the proposals to differ in scale, conception, and execution. Some will be for small towns, and others for the residents of urban districts. Some will be for new towns, and other for mature neighborhoods. Different requirements will naturally call for different responses. Unlike community centers designed according to the conventional view of modern society, they will lack a single set of defining characteristics. But we do expect each proposal to be an attractive space in its own right. We would like applicants to propose community gathering spaces that meet the requirements of specific places, scales, and mechanisms, approaching the theme from the standpoint of architectural solutions for the present and the future. /Toyo Ito


Daily Attitudes : Each Personal Present Tenses

1. Each individual perceptions 一人一人は、自己の認識體系の中で生きていって、その人生は “spatial tentes”によって動 作します。

2. Community コミュニケーションとは単なる行為として説明することができない。 一人一人が主体となって お互いに影響を及ぼして、お互いの何かを共有する。 そのことは、一人一人のライフスタイル であり、生活の考え方である。

3. Operating rules and growing up Communityは、特定のプログラムや都市の結節点のtopological nodeが原因で発生されず、 それは動機や手段になるかはあっても、因果関係を持つことはできない。 コミュニケーション は人と人との出会い、主体と主体との間の出来事である。 コミュニティは、具体的な行為で起 こすという固定観念のために見過ごされてきた日常的な事件の...お互いの視線があう行人たち の、襟が擦れる行人たちを潜在的行為者とみなし、それらを既に一つのコミュニティとして考 えるべきである。路地、通り、日常的であり、公共または私的潜在places。

4. Channels 道、道面した執事がの関係、その関係のplaceを考える。

路地とその道に面した家の間には

塀、小さな人道、そしてプライベートな庭がある。 彼らのつながりの中でコミュニティが機能 します。 庭の門を開いて、塀を開放した瞬間、私の個人的庭(庭園)は、道と一つのplaceと なって終了時、再秘密の庭になる。

道のnodeと家のgarden、そしてroofは通行人、居住者

を停止する、より全方位的で自由なchannelが必要である。

そのことを通信の開始のための

interfaceとすることにする。 より多くのinterfaceは、より多くの機会を作成し、channelや channelが動作するとき、その場所はplaceになります。 私たちは挨拶を交わす小さなスペー ス。通り過ぎる通行人を停止する距離の楽士、口が、距離公演小さな庭、灰皿があるごみ箱、 小さなベンチが必要になるだけだ。

5. Agoras 仮にagoraphobiaだけでなく、すべての個人に、social生活方式の濃度と時制は選択可能な条 件でなければならない。 その条件による、社会的領域は、rigidなpublicとprivateの境界を持つ領域ではなく、それぞれ の感覚を刺激するinterfaceの積集合である。

0. Channels 道、ベンチ、椅子、contoured stage、腰に座ることができる低塀、tent、roof、wind-

screen、風車、雲、遊び場、雨滴、影、菜園、フリーマーケット、街灯、標識、看板、精子、 天蓋、犬、小さな階段、スーパーマーケット、郵便ポスト、灰皿...


203


204


205


206


Have I ever got literacy?

209


nuance

210

imagine vecter

211

hands

215


Imagine Vecter studio jooryung kim 2006


212


An image is a thought. And the thought of one person is being the material of the all production.


hands 2008

The image of hands is a notion about myself that even I couldn’t know exactly.


It is the device for eating and wiping off behind, and above all, the original device for generating, or just creation as it is. That is a movement of a moment, a memory and both the beginning and the end of the work.


It is like the rememberence and also like the resistance about me myself living with the mechanical bride, like the sympathy and also like the memory to the hand getting useless.


Anyway, these are the very hands.


perspective

219


exhibition exhibition space planning, sharjah

221

art.shop

237

beyond the boundary

253

∙ art-museum-city

exhibit selves

220

255 271


221


Exhibition Space Planning, Sharjah exhibition space planning for art and culture of the uae-sharjah, gyeonggi museum of modern art works at samusohyojadong, 2011 completion concept design, planning, construction supervision

This is the Exhibition space planning for classic fine arts, calligraphy and contemporary art from Sharjah in U.A.E for the first exhibition in Korea. As cultural exchanges between countries are connecting to politic and economic exchanges, exhibition space introduce a country’s culture should be the field express their energy. UAE-Sharjahの故美術からcalligraphy、現代美術まで初めて韓国に紹介する展示空間計画だ。 国家と国家間文化交流が政治。経済的交流で繋がれることと同じ意味で、一国の文化を紹介す る展示空間はその国のエネルギーを表現する場にならなければならないと思う。

222


展示スペース計画の意図 <UAE-Sharjahの芸術と文化 : 不死鳥の心臓>

すべての空間は美的表現の場になることができる可能性があるが、その事実を現わさないのに その可能性を 現実化シキギだと易しくない。 展示空間計画はともすればそのものが作品になって展示物の観覧を邪魔する要素になるとか、 展示物の飾り的な要素になってしまう 愚を犯すようになる。  空間のデザインが展示物とともに雰囲気自体になることができるか。 一国がどんな一つの様式から導出されたパターンに想像されることができるということはすご い事だ。 シャルザと言う国のエネルギーが雰囲気で伝達することができるか。 様式の単純な再現は飾りになるが、微細な質感によるパターンの限りない繰り返しは様式が雰 囲気になることができる可能性を持つようにする。 質感に表現されたパターンは展示物が設置される壁であり、観覧客の足を導く動線になって、 領域と領域の間の門であり、展示空間自体になる。 雰囲気と展示物が会えば展示空間になって、観覧客は彼‘皆’を観覧する。

225


The Intention of the Exhibition Space Planning for <The Heart of Phoenix : Art and Culture of the UAE-Sharjah>

Although there is a possibility that every space can be a ground for aesthetic expressions, it is not easy to realize its possibility without unveiling that. It might be that the exhibition space design becomes a work of art, only to be a factor to disturb exhibits to be watched, or to be a decorative element of the exhibits. Can space planning be ambience itself along with exhibits? It is just incredible that a country can be imagined by a pattern drawn from one style. Can the energy of the country of Sharjah be transferred by the ambience? Although simple re-creation of a style becomes decoration, countless repetition of a pattern by fine texture makes it possible for the style to be ambience. The pattern expressed by texture is the wall to install exhibits, the circulation to attract visitors’ coming, the opening in between sections, and comes to the exhibition space itself. When ambience meets exhibits, it turns to be the exhibition space and the audience ’sees’ them all.

226


13

7

curtain

4 contemporary arts section2

6

5 Hind Bin Demaithan

3

12

8

Ebtisan Abdulaziz

Khalil Abdul

14

ᕅ෕ᯱ⪮ᅕྜྷ

section (600x4060)

landmark d ar

section info + pattern graphic

11

11

Reem Al Ghaith

4

1

Tarek al-ghoussein-B

8

10

9

16

maps

2

15

curtain

section info + pattern graphic

2

Tarek al-ghoussein-A

mixed section Tarek al-ghoussein-B

5

3

Reem Al Ghaith

7

bedouin -the caravan model(18x22ft)

1

maps

jewels on the table (1550x4060)

9

Hind Mezaina

Lamya Gargash

maps

3

landmark d ar maps on the table (8600x2030)

10

Salem Al Qassimi

6

landmark dmaaar

landmark a

2

contemporary nt arts rt section1

antique arts section2

calligraphy + graphic section info + pattern graphic

4

3

landmark d ar

5

wall text + calligraphy graphic

calligraphy

ccalligraphy

8

books on the table-10ea (r=3000, w=450)

Maitha Demithan

landmark d title + pattern graphic

2 1

Meera Huraiz

section info + pattern graphic

calligraphy

1

in

6

ᕽᩩstamp section (2030x300) 4ea

landmark d ar

7

out

KEYMAP / A2:1/100

227


7 4 contemporary arts section2

6

5 Hind Bin Demaithan

12

8

Ebtisan Abdulaziz

landmark d ar

section info + pattern graphic

11

11

Reem Al Ghaith

4

1

Tarek al-ghoussein-B

8

10

9

16

section info + pattern graphic

2

maps

2

Tarek al-ghoussein-A

mixed section Tarek al-ghoussein-B

5

m Al Ghaith

7

bedouin -the caravan model(18x22ft)

1

maps

jewels on the table (1550x4060)

9

Hind Mezaina

Lamya Gargash

maps

3

landmark d ar maps on the table (8600x2030)

10

Salem Al Qassimi

6 4

contemporary nt arts rt section1

3 wall text + calligraphy graphic

ha Demithan

228

landmark d

antique arts section2

calligraphy + graphic section info + pattern graphic

landmark dmaaar

landmark d ar

5 calligraphy

ccalligraphy books on the table-10ea (r=3000, w=450)

8


study - texture of the wall and arrangement of pieces

study - texture of the wall and arrangement of pieces

231


completion - view from the contemporary section

completion - view from the antique section

232


under construction

under construction

233


difference of thickmess

opening ceremony

234


part of the spreaded texture


237


Art . Shop artshop at gyeonggi museum of modern art works at samusohyojadong, 2011 completion concept design, planning, construction supervision

Art shop is working as one of reproduction of art and public means of consumption, and earnings of the museum as well. It is the last sequence of exhibit, and also satisfies desire for possession of audience. It is the works for the role of museum and its Artshop permeated into the space. アトシャブは美術館の収益源と同時に、芸術の再生産及び消費の大衆的なスーダンの中で一つ で作動する。 観覧のシーケンスの中で終わりを占めて、観覧客の所有欲を満たす役目をしたりする。 美術館の役目と、空間に染みこむアトシャブに対する作業だ。

238


1-1. the Way for Express and Own the Art

芸術を表現して所有する方式

Art has been used as a basic means to express beauty during man’s history and to satisfy man’s desire for possessing. Nowadays the process is the same though the method becomes just ‘modernized’.

239


Museum is the most popular form in seeing possessing art, and we must satisfy condition according to form. Audience are stimulated by artistic inspiration, and still want to possess it. Museum must try to meet the demand with the various modern and popular way.

240


verse. 1

1-2. Following the Emotional Flow

感情線に付いて行く

As emotional flow of audience is very sensitive, it is likely to break or just pass, if Artshop is too independent sale space or a continuing line of exhibition. The space Artshop should follow the emotional flow in the museum, and be melted in the space.

241


verse. 2

1-3. Site / Gesture Site is located in the space called contact point which is between the area of the museum and the point of beginning and end on the exhibition circulation. It is the space which is seen slightly through a gap behind the opening of the lobby when entering the museum and is spread in front of our eyes when coming out of the exit way. Strategy for the space of Artshop in the museum is expressed as three gestures, that is the ceiling of the area, shelves on display product, and varieties of texture.

242


verse. 3

243


inner elevation

244


when exhibition ends,

2-1. Light of the Teared Ceiling

破れた天井の光

We exposed the ceiling between the opening of the lobby and the exit way as smooth curve in order to connect the start point of the exhibition circulation with the endpoint of it. The flow according to the section becomes a device for expressing the territoriality stronger than the graphic for direction guideline on the floor or logo. The section is so important on architecture, as expected.

245


ceiling construction

view from the hall

246


basement construction

view from the entrance

2-2. Line

çˇ&#x161;

In the area of 11m x 17m, we made long bookshelves, 30m long starting from the exit of the exhibition. These long shelves are not only those on display products but also lines joining of dividing the area by diagonal line visually. Starting point start from lower than eye height. It gets higher and higher and meet the wall. It becomes wall itself. And it becomes the starting point again.

247


view from the hall

reception

2-3. Texture

質ć&#x201E;&#x;

Texture is remembered as a certain atmosphere or smell of air or so to me, though I have seen, heard, and touched so many things in my life. Wall finished with the vermiculite is a device that is contrasted with the wooden shelves inside the Artshop and that makes the atmosphere of the space different delicately.

248


inclined top

shelves

stain study

curved stacking

one structure

curved space

249


250

gap and finish of the top

handle

section for the lighting

section

light bottom

light above


Art . Shop Eventually Artshop has the reason of existing from both the museum and the audience, when its function is operated as space for sale. All these devices are â&#x20AC;&#x2DC;projectâ&#x20AC;&#x2122; for the role of the artshop.


253


Beyond the Boundary national museum of contemporary art at Seoul works at atec, 2010 international competition concept design, planning, presentation drawing

This is the work of International Competition for the National Museum of Contemporary Art in Seoul. I think the space included process and result of contemporary art must be the space to realize the possibility on the purpose and materialization of each work. Bukchon, an urban fabric, is the place, which is rare, the ordinary scale is well preserved. As the city coping with this place, this is the story of the way for large-scale site to answer. ソウル 国立現代美術館国際設計競技作業だ。現代美術の過程と 結果を盛る空間は各作品の目的 と具現に対する可能性を現実化させる空間ではなければならないと思う。北村と言う都市組職 は過去の日常的なスケールがよく保存している珍しい場所であり, こちらに対応する可能性の都 市として大型 筆地が 対答する方式に対する話だ。

254


issue : Art - Museum - City

1. Local+Global -Stuffed, so can be existed Bukchon Respect to the local condition ; stuffed, so can be existed, Bukchon. -Global Nostalgia Ironically the factor causing nostalgia in global age is the advertisement of global enterprise of his own country. Diasporas feel homesick more when they are exposed in global circumstance rather than they are alone. Extremity of globalized situation might be reached to the extremity of nostalgia. The truth that local and global as a word of language are not in the opposite direction, means that the more approached to the locality and its globalization, worldwide universality and its localization, we can get free from the words. 2. Hub+Platform -The field where today’s various mass exchange and communicate with the recognition of life, intelligence and information, and generative energy? -hub+platform based on tense Modern art is not operated by one-sided give and take method any longer. Its function is strengthened as artistic energy’s catalyst. When energy produced by individual is communicated and spread, at that time the work has the process of value. Every person is a potential artist. A displayed art is a stimulus as well as a catalyst to produce its value. The process is advanced and can upset the traditional meaning of audience and artists. Each person’s present tense must be understood so that personal potentiality may have texture. Daily’ platform is being made when each person’s present tense is respected and recovered. The boundary of daily life and museum, overlaps and collisions, permeating and spouting, homogenization and differentiation.. Art is, surely, a stimulus that museum, cultual hub, can possess. Stimulus responds with audience, becomes extinct, and can make another stimulus as well. The moment stimulus becomes extinct, art becomes natural daily life. Museum becomes daily platform each present tense makes, between stimulus and daily life, during the period and process of making stimulus.

255


-hub+platform based on space Spacial hub includes convergent accessible condition to the museum as well as divergent accessible way to the society. It needs inter-accessible situation of museum and society, and the access and the route of various physical and emotional recognition. 3. Museum+Lab -Co-existence and balance of traditional display space and modern display space and management system as devices to research. -If traditional display space is represented as white cube, what can be modern display space? While digital network of media is changing our physical senses or the way of communication, how does the space of architecture exist? How media change the program included super-flexible things? Library or museum, once a part of house, became symbol of a nation and came to have meaning of ‘city’ through Civil Revolution. Decentering of media and individualism absorb its function into the house. Former building-type display space, more that half dead, lack strength to cope with reality. How does the symbolic space as the typolozied expression of the memory and space including another flexible of flexible object coexist? -Another viewpoint of modern art There is the ‘consumption’ that common but not disappeared way for contemporary art make work. It is often called ‘pop’, and display space which opens this quality and exists its quality itself is needed. When the quality of display and viewing does not correspond to the way of consumption, the factor, pop, as it is regarded as advantage, can’t be consumed as the way of pop, so it cannot help being appreciated with the same method of traditional artistic work. As the extreme way that the action of ‘eating’ becomes ‘consuming’, M’cdonald’s drive in mac, so the way of art consumption, so-called drive-in gallery can be needed. 256


The contextualized field from relations beyond the boundary becomes context as it is. The large-scale site of Jongro has boundary without communication with surrounding environment, sharing, and response, exists alone without finding out its being in relations of surroundings. Boundary on this site should be recognized of the way of being related, and we suggest this way for recognizing to another large-scale site. Bukchon is a small city that have the delicate but definite fabric. Fabric here shows the new possibility about the way for generating and spending the art. Define the contemporary art to the possibility. It is the expanding possibility by relations with scale and style, displaying and displayed devices, exhibition space and the way of experience, artist and audience. I think the relations of physical context and the programs as a modern gallery at the boundary with a city. Human scale of Bukchon and the artist residence program, access which geso in and outside freely, art which is produced and consumed freely are boundaries here. The expanded two layer continuum from the existed building is invisible structure here. The outside layer directly contacting the city includes 24th Art Street which has artist residence program and free exhibition environment. The inside layer is probable space with various scale of contemporary art and exhibition environment. The divided boundary is a blended continuum mixed with these three layers: exhibition, that is traditional function of museum. new functions like atelier, education, media lab, cafe ...etc,. and spine as the recognitive structure and the public space. It is the continuum blended these 3 layers. How is the art working in our daily life? Here is a small city that putted on the production, consumption and its potential of contemporary art. city, make possible the art of possibility. city, Beyond the Boundary. 257


258


contextualize (display)

traditional exhibition type

+ additional new type

inner

outer

white cube

dispaly

consumption only

producing & consumption

prototype

art studio residence

residence white cube

traditional

additional

mixed

: possibility about the way for generating and spending the art ? 259


contextualize (displayed)

1. Ground

2. exhibits various scale

various environment

to the room

open space

various interface ⍭⪾ áł&#x2018;b á&#x2013;&#x2026;â&#x160;š á &#x2122;༾á¨&#x2022;  ŕź&#x2030;༠á­Ľâ&#x160;šÓšá°&#x2020;á&#x2014;­ É&#x2122;Ĺ&#x201D;Ĺ?᎚Ö&#x2026;â&#x153;&#x2122;Ꮽâ&#x201C;? ŕź&#x2030;༠â&#x20AC;ŤÝĄâ&#x20AC;Źá&#x201D;˘Ĺ?Ĺ?áąś É&#x2122;ŕĽ&#x2026;Ĺ?᎚Ö&#x2026;â&#x153;&#x2122;Ꮽâ&#x201C;? ŕź&#x2030;༠áľ?ṽ᪥â&#x20AC;ŤÝ&#x2022;â&#x20AC;Źŕł É&#x2122;äĹ?᎚Ö&#x2026;â&#x153;&#x2122;Ꮽâ&#x201C;? 

3. sequence : each personal present tenses

various sequence

: contemporary art is the possibility. It is a possibility about scale and style, displaying and displayed devices, exhibition space and the way of experience, artist and audience. : How is the art working in our daily life? 260


contextualize (Bukchon)

) ) ) ) ) ) ) ) ) * * * * * * * * * + + + + + + + + + , , , , , , , , , - - - -   . . . . . .  .. .  / / / / / / / / / 0 0 0 1 0 10 10 10 10 1 10 1 1 2 2 2 2 2 2 3 2 2 3 2 3 3 3 3 3 3 3 4 5 4 4 4 4 5 4 45 5 4 4  5 5 5 5 5 66 6 6 6 6 6 6 6 7 7 7 7 7 7 7 7 8 7

scale

shopping

A town

to

street in between buildings

entertainment

as

the

show windows

cultural art

A mall

Platform

: Bukchon is a small city that have the delicate but definite fabric. Fabric here shows new possibility how art is consumed and possibility of environment. 261


contextualize (system)

262


contextualize (city)

current

ĞᅖǢ

ᇢⅭ

general museum

organization

ĞᅖǢ

site

ᇢⅭ

: Here is a small city that putted on the production, consumption and its potential of contemporary art. : city, make possible the art of possibility. 263


contextualize (program)

program

Traditional function : Exhibition

Additional new function : library, cafe, education, media lab, shopping, seminar room, park, playground, restaurant, art studio, theater, +...

Spine : recognisable axis, common spaces, public area, supervision, corrider, +...

: function = program x facility ?

264


contextualize (possibility) system city

: possibilities? : make the boundary of the programed space, blurring.

Spine ( in / out) Access Exhibition / Education Art factory Open space

265


A.

ART STUDIO_inside type

24hrs 국제 레지던스 프로그램 내부 타입

program : atelier, showcase, open gallerys activity

: 내부의 열린 길을 걸으며 전시 혹은 공방에서 일어나는 일을 다층적으로 자유롭게 감상하다. To watch what’s happening in showcase, open gallery and atelier, walk along the internal street which is open in site. STREET

SHOW CASE

OPEN GALLERY

ATELIER

A”. ART STUDIO_community type

커뮤니티 공간 타입

program : communication - 618.3㎥, 3ea activity

: 관람객과 관람객, 작가와 작가, 관람객과 작가와 서로 소통하다. Visitors and visitors, artist and artist, and visitors and artist communicate with each other.

ATELIER

COMMUNITY

ATELIER

24h ART STREET

B.

PARTIAL OPENED BOX_overground floor type

지하층 타입

program : exhibition - 11,558.4㎥, 6ea activity

: 부분적인 채광과 시선의 열림으로 전시와 관람의 관계가 풍성해지다. Relationship between exhibition and visitors will be abundant through the partial light and opened eye view.

B”. PARTIAL OPENED BOX_parking floor type

주차공간 전시 타입

program : exhibition - 4,427.7㎥, 1ea activity

: 좋은 전시공간은 일상과의 긴밀한 관계에서 시작된다. Good exhibition space is started from close relation with daily life.

SUNKEN

PARKING

A. art studio

OPEN GALLERY

D’. exhibit


tion

A’.

ART STUDIO_outside type

24hrs 국제 레지던스 프로그램 외부 타입

program : atelier, showcase, open gallery activity

: 거리를 지나며 전시 혹은 공방에서 일어나는 일을 관람하다. Enjoy showcases and some happenings when you pass through the street.

A’’’.ART STUDIO_courtyard type

정원 타입

program : atelier, showcase, open gallery, courtyard activity

: 전시관과 공방 사이 작은 정원은 관람행위를 더욱 풍성하게 하다. Small gardens between gallery and atelier makes visitor's actions abundant.

B’.

PARTIAL OPENED BOX_underground floor type

지하층 타입

program : exhibition - 2,626.2㎥, 3ea activity

: 선큰 가든과 시각의 공간을 공유하며 전시장의 크기와 환경의 한계를 확장하다. The exhibition space is extended its limit of scale and environment which shares eye view with sunken garden.

SUNKEN

C.

GLASS BOX_open type

열린 전시 타입

program : exhibition - 1,486.8㎥, 1ea activity

: 완전히 열린 전시공간은 환경과 전시 사이의 경계를 흐리게 하며 극적인 장소를 만들다. Completely open space makes blurred boundary between environment and exhibition and will make dramatic atmosphere.

F. art station_main building


D.

SOLID BOX_single floor type

단층 타입

program : exhibition - 5,407.5㎥, 4ea activity

: 작품 성격에 의한 빛 조절이 가능한 공간들에서 서사적으로 관람하다. Spaces which can adjust light according to character of works help to enjoy artist's works sequentially.

D”. SOLID BOX_theater type

스테이지, 극장 타입

program : motion picture, performance, education - 5,658.1㎥, 2ea activity

: 영상물의 관람, 퍼포먼스, 교육 및 세미나의 활동이 일어나다. Motion pictures, performance, education, and seminars may happen in this space.

E’.

OUTDOOR EXHIBITION_performance type

퍼포먼스 관람 타입

program : performance activity

: 자유롭게 일어나는 퍼포먼스는 예술과의 대화를 유발하다. Performance what happens in freedom brings people to communicate with art.

F.

MAIN LOBBY_art station

전시 정보 디스플레이 타입

program : information display, shopping, amenity activity

: 근대 건축물의 방들이 이야기하는 현대예술의 컨텐츠는 이 곳이 여전히 작동됨을 보여주다. Contents of contemporary art from the rooms of the modern architecture show that here's still working.

G. art station_main building

E. outdoor exhibition

PM PM PM 2:38 2:38 2:38


D’. SOLID BOX_double floor type

복층 타입

program : exhibition - 1,486.8㎥, 1ea activity

: 수직적 높이를 필요로 하는 작품을 다층적으로 감상하다. To watch some large works in various level.

E.

OUTDOOR EXHIBITION_object type

오브제 관람 타입

program : installation, sculpture activity

: 외부 전시를 다양한 층위의 야외전시장에서 관람하다. Outdoor exhibition in various level of various space.

E”.

OUTDOOR EXHIBITION_sunken garden type

선큰 정원 타입

program : exhibition, rest activity

: 까페와 미디어센터���이의 선큰가든은 예술과 일상, 내·외부의 관계에 대한 감각의 풍부함을 담는 장소가 되다. Sunken garden between cafe and media centre will be a space takes richness about art, daily life, and sense of in and out-side relationship.

CAFE

G.

BRIDGE_glass box type

SUNKEN

전망 브릿지

program : outdoor exhibition activity

: 프롤로그와 같은 공간으로 전경을 투명하게 보여주다. This space like prologue shows scenery of art clearly.

B,C,D. exhibition


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Exhibit Selves self reflected exhibition exhibited individual works, 2005

see : show Relations to see and to be seen. Art and display would become each other’s purpose or tool. Can each purpose and its tool to express created with independent starting point? The relation of seeing and being seen includes the meaning of sociality. When privacy meets display, an public action, and formulated, it may be deeper private form. 見て見える関係。 芸術と展示はよくお互いの目的や道具になったりする。 それぞれの目的とそれを表現する道具がお互いに独立的な手始め店を持って生成されることが できるか。見て見える関係は社会性の意味を含むプライバシーが展示と言うのは功績な行為に 会って形態化になる時プライバシーはもっと奥深い 私的である形態になるかも知れない。

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bottom

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Exhibit Selves

1. The value of all arts consist in realizing oneself through art. If asked one exhibit in the project of planning exhibition for one subject, it is necessarily himself, I think. 2. As a mirror is a simplest and friendly device, it has possibility to be a device without exposing the fact. 3. Whether I am not reflected in the mirror or see myself who sees others seeing myself reflected by the mirror. After all I see myself who see myself through me.

wall

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verse. 2

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verse. 1

verse. 2

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verse. 2

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verse. 3

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verse. 3

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verse. 2

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I see you

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The palace is now open to the public.

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public

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the pleasant education center

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neutral ground

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vertical floor

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Forest, Architecture, Landscape 森、建築、風景

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the Pleasant Education Center a company’s education center works at samusohyojadong, 2011 selected invited design competition concept design, planniong, presentation drawing

I imagine that a purpose of the architecture is exposed through the form. The pleasant as a purpose belongs to both of users and environment and it becomes the relation with all situation, as it is. In order to the pleasant is being the form, forest, architecture and education center move towards the same way. 建築の目的が形態を通じて現われる想像をする。 目的な楽しいことは, 使用者と環境皆に当たってすべての状況との関係自体になる 。 楽しさが形態化になるために森, 建築, そして研修院は同じ方向を向けて動く。


Pleasent Forest

楽しい森

I want to accept a forest of itself. Trees, flowers, animals and a pleasant forest which people communicate. Especially, I thought it would be nice we can feel the pleasant from the forest. Make a field which continue with a forest. a stacked field, a narrowed and inclined field, a field including courtyard, a field connected with forest.

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visitor's center

These four fields are different for feeling and enjoying the forest and nature, cause of differences of spatial properties and situation. We consider the wood finished like skin shape for getting together with animals and plants, and make the sloped roof. As this gathering of architectures through these processes are the field continued with the condition of forest but based on specific function, will be the new space sparked activities and programs of the education center.

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Pleasent Architecture

楽しい建築

1. Education. Research Facility The architecture looks complicated but it is exist in order to change a detail of the earth, wind, sunlight and scenery. The wind, sunlight, view of sky are changed every moment and for this goal, changing the density of trees, changing the level of ground, changing the area of plaza, changing wind, sunlight and would like to put some rymthmical sense in education facilities may looks static.

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plaza in front of education center

2. Accommodation Facility To protect a nature? No, it is similar to dodge a ball, we recommend architecture looks like a circular arc avoiding the trees. Then, inside and outside of forest cross each other. Long sloped roof house, square sloped roof house, arched house that be able to reach to the high tree trunks, are avoiding trees, forming in-between spaces, and response to inclination, animals, insects, as the plants will live together in-between space.

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Pleasent Education Center

楽しい研修員

Nature, or auditorium / seminar, or dinning / friend, or senior/ picnic, or extension of work. Two antithetic desires coexist in harmony. In fact at education center, we can remember awkward meetings between them more than the visualized form about programs.

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restaurant

Pleasant education center? Is it possible that the architecture give â&#x20AC;&#x2DC;the pleasant feelingsâ&#x20AC;&#x2122; to people? In fact two desires do not exist for making harmony, but they exist together and also separated each others as everyone knows but just pretending we donâ&#x20AC;&#x2122;t know. How do the architecture support both of desires?

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Important thing is not programs but the thing that people gathered here move together for something to do (program). Moving with same purpose(program). Feeling that they are in the same organization. We think the architecture it have to give something to talk about with environment and scale, for moving well, can see the same view, can be leaded conversation from naturally grazed contact.

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education facility-2

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landscape


site plan


scape_accomodation facilities


site plan_accomodation facilities


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accomodation facility_plan / elev

cross section

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view from the starting point


site plan_education facilities


study for the openings shaped of the transformed arch

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form_education facilities

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education facility, restaurant_1f plan / elev

education facility-1_1f plan / elev

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study for the enducation facilities

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view from the starting point

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education center-2_2f plan

education facility-2_1f plan / elev

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roof garden

longitudinal section

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Neutral Ground neutral ground for the urban isntitution studio helen hejung choi individual works, 2006

This project is the work that generate space co-existed by institutions of various layers. We can discover these institutions in every cities, and the final result will be the design of the field for their activities. The city is ordinary when we see the whole, but if we see detail, it is divided, transformed, modified, and modified again. Therefore putting various characters, ordinary lives, and institutions together at the same time can be induced to maximize the flexibility. このプロジェクトは様々なレイヤーの集団が共存する空間を構成する作業である。これらの集 団たちは私たちがどの都市でもよく見られる団体であり、これらが活動をする根拠地が最終結 果だ。都市は全体的に見れば日常的だが、近くかけてみると断絶されて、変形され、修正され て、また修正される。だから、様々な性格と、日常と、集団を同時に組み入れることとして可 変的な確率を極大化して表わせるように誘導する。

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the ground

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Presupposition

Architecture has own rules and its esthetics, but is generated on the frame of the city. City, there are places of architectures and open spaces, and citizens who rules and realize it. These two main agents is generating the space to practice the non-charaterized places in flowing time. Generated spaces is existed not only in the physical level, but meet with another layer of the temporal level, and incur relationships of cultural, political, social and economic events. In other words, city is not the background of the architecture, but the system of the architecture as the physical structure and temporal, cultural, political, and social consumptions of citizens. And the architect is not just build buildings but connect the system of the city, and not just see the building but recognize the condition.

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Magic Region If the visual and physical movements is dislocated from expecting our regular relationships and formations, there will be the tension caused by being exposed differences of two elements, like the edge condition. Can the edge condition be the proper device at the any situation that we couldnâ&#x20AC;&#x2122;t expect?

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Program The program is organized loosely and the possibility is opened for adding new programs, decreasing the existing one, and expanding itself. The goal is not ruled by the program, but the element of the program locate same hierarchy with the space, the character of the site and the flexibility, and to be the system.

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Defamiliarization I donâ&#x20AC;&#x2122;t want to make only the definitive result of visual and physical things, but also the perspective of defamiliarization. Providing the physical flexibility and also want to break the boundary of dependence with habits. And this can be the one of the attitudes by the architecture in the city.

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Vertical Floor myungdong elementary school individual works, 2005

Elementary school in the center of the city should experience richness of urban environment and ensure the educational environment by the definite boundary by accepting surrounded environment selectively. I think school structure makes students keep in mind the system of it. The project concerned to experience the effort of structure recognizing desirable sociality and intention of optional boundaries, not to mention good space. 都心真ん中の小学校は、周辺環境を選択的に収容することで都市環境の豊かさを経験すること と同時に、明確な境界によって教育環境を保障しなければならない。学校建築はそれを構成す るシステムが学生たちの生に深く刻印されると思う。ただ良い空間ではなく、望ましい社会性 と選択的な境界の意図を見抜きながら感じられる建築の努力を経験するように悩んだプロジェ クトだ。

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area divided m2

volume divided m3

area divided m2

volume divided m3

playground playground

grade

grade

1. In the compact cite located in the middle of the city, the facility of classrooms and playground is composed of one volume, and it has internal playground with moderate scale and external classrooms.

6

1

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6

1

2

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grade 6

grade

6

5

5

4

4

3

3

2

2

1

floor : horizontal - grade : vertical

1

floor : horizontal - grade : vertical

floor : vertical - grade : horizontal floor : vertical - grade : horizontal common facility common facility

2. The existing organization of one grade a floor makes unnecessary hierarchy and isolation. Changing organization of horizontal floor into vertical floor and organaizing common facilities in the center.

200m track

can not be existed

1/20 track

3. Gentle slope from rooftop to ground offers 500m track to students.

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front side

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playground

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back yard

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common space

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every present monuments

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monument â&#x2C6;&#x2122; architecture and memory

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memoryscape

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upcoming past

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architecture and memory

Man can not erase anything. Man can not, but just wait and see until it will be disappeared.

_Haruki

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Memoryscape park in the seodaemun prison history hall individual works, 2005

Seodaemun prison history hall is operated as the stuffed memory reviving past habitually. In this project planning a park in front of the museum, I thought the memory from the past remembered at the park as a ordinary space, is better to be flashback remembered in a moment of time than by monument. I think breathing in other ways in the living dead space can get something different meanings. 西大門刑務所歴史博物館は過去を習慣的にいかす記憶の剥製として作動する。博物館前公園を 計画するプロジェクトで,公園と言うのは日常的な空間の中で記憶される過去はモニュメントで はなく瞬間的に記憶されるflashbackになればどうかな思った。生きているが死んだ空間で他 の方式の呼吸をすることは他の意味を持つことができると思う。

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Reminding Memories, Habitually.

1. Time passes and the history repeats, but history is working differently depending on the time of remembrance. How can the past memory work in this present? 2. We, living in modern age, have limit of regarding extreme memory about war as stuffed legacy, in the park of daily space. The material, accumulated memory by memory, is covered in itself. 3. Memory is history as social dimension. Past revives in the habits, it is utilized, and operated. But it is not thought as past. Habit is a mechanism, but pure memory is a single form.

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surrounded environment

flashback

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Changing the Habitual Mechanism a Little.

1. As the method of lifting accumulated layer of memory to the ground as daily life, the way of reminding habitual memories is hard for us to pull down to the very lower part, or to rise to the surface of ground for ourselves. I suggest of ordinary living space method to flashback to the past and flashforward to the present. 2. The moment stuffed memory put down itself, on the contrary, history begins to operate.

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Plan

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Upcoming Past centralglass international architecture competition architecture coexisting with world heritage sites individual works, 2008 co-directing with haedeun lee + junhun kim

We do not do the monumental architecture any more. But the original desire of the monument is still alive. The architecture to be consumed as a tool of desire is difficult to narrow the gap of the time. The consideration for the time gap of the present and past is becoming the way of the monument working, and the past is materialize as the future. 私たちはもう記念碑的な建築をしない。 しかし相変らず記念碑を願う欲望の根源たちは健在だ。欲望の道具で消費する建築は現在との 時間的間隙をこれ以上狭めにくい。現在と過去の時間差に対する思いやりはモニュメントの作動 する方式になって、過去は未来へ具体化になる。

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Theme description : Architecture coexisting with World Heritage sites

Currently, there are 851 World Heritage Sites. Natural heritage sites, cultural heritage sites and mixed heritage sites have been designated by UNESCO as monuments that have a universal value and should be shared by all mankind. The history within these sites tells us about our past, and by adding new sites, we help weave important moments of our history for future generations. We must not lose the historical interconnectedness that is created by these sites. Historical heritages sites must be more that simply preserved in their current condition in order to maintain their relevance for the future: people ought to be able to visit these heritages sites and learn from them. Yet we must prevent the damage and environmental destruction that crowds of visitors create. The logistics of creating a world Heritages Site which both caters to a great number of visitors and which can be protected from the wear and strain on it caused by the public are central concerns in designing a plan such as this. To achieve this aim, this year’s theme is “Architecture coexisting with World Heritage Sites.” Applicants are free to choose any World Heritage Site, however they must make clear the reason for choosing that site. Applicants are also free to select any type of architecture to coexist with the site. There will certainly be many types of architecture, such as information booths, exhibition halls, hotels, restaurants, and viewing platforms. We would like proposals to show how the architecture will interact with the context and practical constraints of the World Heritage site. Coexistence is not assimilation, nor is it harmony. It is two ideas coming from different premises that come together and raise the overall merit of the project by complementing each other. I hope the competitors’ proposals will be intellectually enriching and beneficial to the meaning and significance of the World Heritage Site while at the same time present the attractiveness that can be found in contemporary architecture. /Toyo Ito


upcoming past

Prologue この話は私たちの認識システムの中でmonument がどのように動作しているかについての話 だ。

World heritageとtitleはpublicを彼自身に引き寄せる力を持つと同時に、彼自身を破壊する-破 壊-させるジレンマに陥るが、このような現象は、保護と経験を同時に満たす必要がある答えを 要求する。

How it works All of the world heritageはすべての状況に置かれており、当然のことながら、状況とmonumentとその境界はすべてのvarious gradeの上に位置する。 Ex) 保護される程度、接近的親密 度... 境界は、heritageを保護するbarrierとして働くこともあり、fenceで動作したり、あるいは段 差がある土地自体として機能するかは、その勾配と高さに応じて、保護と同時に選択的な感覚 の経験のcontrollerの役割をする。 さらに、どのような建築装置を加えるならば、様々な経験を提供する空間を形成することもで きる。 そして、これらの境界の属性はすべてのheritageの状況がすべてのように、それに応じて多様に 決定される。 さまざまな条件の状況と混じっされ、再組織された経験の意味を持つようになっ boundary は、monumentの領域をしっかりしてbarrierとしての機能を充実したり、隙を作ってあいま いな境界の領域を作成することもあり、barrier 自体がprogrammed された長さの経験のsequenceになったり、publicとmonumentの間の領域を再びあいまいdivideした感じの密度を デザインする装置にもなる。

Epilogue これは、境界を生成するための戦略に関するものではない。

Presentとmonumentの間の関係への配慮に関する話だ。


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breathe

呼吸

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Every situation is recognized differently according to sunlight and wind, weather and season, feelings and shadow, atmosphere and purpose, and time.

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Tree, being there, makes us feel it by only seeing the form, and makes us feel the form of the sunlight by the shadow. We can feel the wind by the the sound of the branches.

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Existing as it is, makes us feel differently. Its shadow makes the present to be the form, its smell makes us smell of air, and the light emitting makes the atmosphere to be objective.

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I think how fragmentarily we understand the life. Feeling of every moment is like a breath which is necessary for being form of daily life, I think.

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I paint objects as I think them, not as I see them. - Pablo Picasso Breathe, what I am breathing is not only I am alive but also I live how. When, where, and what do I live to be?

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00:29:14, The Wachowskis, The Matrix, 1999.



I LOVE ARCHITECTURE