SRR311 BUILT ENVIRONMENTAL RESEARCH PROJECT
ASSIGNMENT 2
Reflective Journal A personal reflection on the events of the study tour of South Korea Voon Yiann Low, Beverlea 212105404
HELLO, READER In this journal I will be taking you through my experiences during the study tour of South Korea. I was touched by the warmth and hospitality of the South Korean locals, awed by the modern cities and impressed by the unique beauty of the traditional architecture.
We were fortunate enough to visit amazing sites and buildings, which have helped me form a more mature perspective of not only the architecture in South Korea but all that which exist in the world.
Compiling this reflective journal at the end of the trip, I can conclude that although at times I strive to take in all the experiences and digest the outpouring of information given to us, I realised that the best way in which I can learn or develop my maturity in this field is to allow myself to be more vulnerable in developing opinions and perspectives on the architecture;
SEOUL // DAEGU // BUSAN MY SOUTH KOREAN EXPERIENCE
by taking what is in front of me and not just accepting it as it is but to analyse if, why and how it works.
Having said that, I sincerely hope to provide you with an engaging insight into the experiences and knowledge I have gained through this invaluable experience. Besides the companionship gained, this trip has enriched my experience in a cultural and architectural perspective and I will forever be grateful to have been given this opportunity.
Thank you and enjoy!
Beverlea
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TOUCHDOWN Upon our arrival in Incheon Airport, we were greeted by Hanyang University representative, Park Min Joo. A slight hit of travel fatigue did not mi the prospect of finally being able to explore the country On route to Hanyang University, we spotted a number of buildings known as “cookie-cutter” buildings - a highrise housing solution by the local government following the devastation of the Korean War in the 1950s. The mantra? “Do it fast, do it cheap.” That way, the city was able to rebuild in a short period of time. First look and taste of South Korean urban culture. Within close proximity to Hanyang University is Wangsimni-ro District where we were given free time to wander and take in the crowded streets.
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THE END AND THE BEGINNING Despite not having much expectation about what being in the Demilitarised Zone (DMZ) would hold for me, I least expected it to contain the level of anonymity it did. The “most dangerous place on earth” appeared to have been tamed by eager tourists - young and old - who climbed to the top of the Odusan Unification Observatory to get a glimpse of the Northern border. I felt well protected and contained within my “tourist bubble”, admiring the breathtaking view of the vast northern landscape and was almost oblivious to the fact that we were indeed in the midst of two actively warring nations, until I occasionally caught a glimpse of the barbed wire fences or roving army tanks. A highlight of the Demilitarised Zone (DMZ) Tour was the chance to explore the third tunnel dug by North Korean infiltrators to break into South Korea. I could hardly comprehend that we were in such close proximity to the North Korean border – only 175m away from the north-south demarcation line. It was almost astonishing to witness the average routine and activity in the areas we visited. Having a North Korea Defector on-board was definitely a special experience as she retold stories of her journey towards escaping from the northern Korean republic – stories that have no doubt been shared an uncountable number of times but which she openly shared with us when upon our query. Taking the risky opportunity to leave North Korea and consequently forcing her to abandon her husband has indeed given her new life, but it was also undeniable the air of sadness she carried with her.
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A symbol of the people’s hope – the Dorasan train station. It stands pristinely untouched as the last stop in South Korea before reaching the North. The station remains unused until the day that the people look forward to as the day both Koreas unite – could this truly become reality? At the heart of this, what stirred me was the positive belief in their dream for unification (UNIFICATION + INITIATIVE = ‘UNITIATIVE’). In the end, the visit to the Demilitarised Zone (DMZ) was an overwhelming experience (save for the propagandistic video presentation at the observatory), which made me become aware and impacted by the tragedy of the Korean War and the devastating aftermath following it that left countless families torn apart.
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ART AND KIMCHI
After taking in the taste and sights of the kimchi festival, we moved on to the National Museum of Modern and Contemporary Art (MMCA),
which
was
within
easy
access
from the Gwanghwamun Plaza. A gallery that houses both Korean and international
One of the things to look forward to in South
artworks, the MMCA stands proudly as an
Korea is the famous tradition of kimchi-
example of Seoul’s modern architecture. With
making. We were fortunate enough that our
its expansive floor plan and high ceilings, I
visit coincided with the 2014 Seoul Kimchi
thought it was an inviting space for a visitor to
Making and Sharing Festival, which was held
enter into. Personally, as someone who is fond
at Gwanghwamun Plaza. The lively event was
of frequenting art galleries, I felt it provided
in celebration of the “gimjang” culture, which
me with the chance to roam the vast spaces
is the traditional process of preparing and
alone without feeling entirely lonely, while
preserving kimchi. The scent of the pungent
at the same time enjoying the small pockets
red pepper powder filled the evening air as
of spaces that to me appeared to encourage
the women dug into basins filled with pickled
interactivity.
vegetables, smothering them with the red paste while we stood by and looked on,
To end the day, we paid a visit to Myeong-
occasionally being offered a taste or two of
dong Shopping District where one of the best
the spicy delicacy. It was an exciting insight
food and shops can be found. The undeniably
into the preparation of the iconic Korean dish.
bustling atmosphere of the shopping area was reinforced by the experience of moving
The event seemed to carry a strong sense of
elbow-to-elbow with other shoppers drifting
the people’s pride, with as many local tourists
between the internationally renowned Korean
as there were foreigners flocking to the
stores lining the shopping streets. The bursts
festival. Here, I was able to witness the spirit
of light coming from the shops befit the name
of all those who joined in the campaign to
of the district – “myeong” in its title, which
revive a somewhat dying culture of gimjang.
means “brightness,” and the neon lights of the
The occasion reflected the strong sense of
chain stores and boutique shops all vie for the
cultural identity in the South Korean people
shoppers’ attention.
and signalled the government’s desire to raise the festival’s rank on a global front.
Street vendors add to the dynamism of the pathways making shoppers strategically weave through the crowds to get to their desired stores – they would first have to confront the enticing scents of their delectable street food.
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THE MODERN VILLAGE On day four of our tour, we travelled to Paju, a city northwest of Seoul. It was there we were scheduled to visit Heyri Art Village, Provence Village and Paju Book City, which are all part of the local government’s expansion plan of the ‘jibang’ (region) outside of Seoul. After almost an hour bus ride, we arrived at Provence Village, a French-themed village with various shops, cafes and galleries. The pastelcoloured buildings we saw there were charming and gave the vibe of being in an actual European village town - which I assume was the intention of the architects and planners who came up with the concept of the village. To have built a town from scratch was an impressive effort by the government to fulfil a vision that gives locals and tourists a chance to escape the congestion of city life. By creating a ‘town’ that pays tribute to traditional living, the scheme of the village gives visitors a retreat from the denseness of Seoul city. After the brief stop at Provence Village, we moved on to Heyri Art Village - a sort of artists’ district where one would find numerous galleries, residences and offices of architects, artists, musicians and writers. This cultural village gives its residents and the public a programmatically defined settlement that balances between being a cultural hub and an amusement park. Just as the buildings merge harmoniously with the hilly landscape, each building that functions as a detached family home combines silently with the public function assigned to it - be it a gallery, cafe, shop or music hall.
Living up to its reputation as a ‘melting pot’ of culture and art, the uniqueness of the Heyri Village lies not just in the community of people who live there, but in the buildings too. A feature that stood out to me was the consistent use of concrete, timber, steel and glass in most of the buildings. The similar construction method and finishing gave the collection of buildings uniformity in aesthetics, although each one was still unique in its own way where each turn down a path revealed an exciting new structure. Among the ones that stood out to me: the MOA Gallery (which had been listed among Mark Irving’s “1001 Buildings You Must See Before You Die”) and the Chocolate Design Gallery with its molten chocolate-like exterior. The village gave me the impression of being simply at one with its community – between giving to and taking from the creative eccentricity of the villagers.
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connection), Picasso (works independently and passionately), Matisse (French gardens outside houses), Miro (artwork similar to Jackson Pollock’s action painting) and Chagarn (duplex ascending to heavens). What resonated with me was his emphasis on social science when creating architecture. To him, it was the most fundamental understanding needed to create structures that would perform successfully. And I agree. Architecture has always acted as a facilitator in human activity and by understanding the very basics of what conditions the human use of space, it enables us to define the social parameters of behavioural space.
“First we shape our buildings, and then our buildings shape us.”
PEOPLE SHAPING BUILDINGS A visit to Boutique Monaco Officetel where we
- Winston Churchill
of contextual response and social responsibility.
were introduced to a “new-concept cultural
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space that integrates city and resort”, a business
We were privileged to have crossed paths with
penthouse space for 3rd generation Korean CEOs.
the CEO of Planning Korea, Mr. Lee Byung Ju,
Inspired by 5 surrealist artists (Rene Magritte,
who graciously talked us through the conception
Henry Matisse, Marc Chagall, Pablo Picasso and
of the award-winning building. He enlightened
Joan Miro), Boutique Monaco adopts an ‘avant-
us about the relation of the five surrealist artists
garde’ concept that rests on basic design principles
to the design of the building – Magritte (bridge
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Designcamp MoonPark (DMP) has accumulated a respectable list of commissions over a period of seven years since the start of their design practice, with over 700 completed projects in hand.
SCHOOL-ED
OLD / NEW
A practice that very much values a hands-on process of design where physical models line the walls of the office, the DMP office is based on the setting of a camp ground – stimulating and harnessing creativity, collaboration and unconventional thinking
Bukchon Hanok Village is a most picturesque place, which was once home to royal officials during the Joseon
for the growth of the organisation as a whole. Its tagline on their
Dynasty. In this village, we walked through Seoul’s last enclave of traditional ‘hanok’ houses; their lacquered
website – “design camp = organic body”. Probably a key to their
wood and latticed windows creating a charming setting that transported us back to the ancient era. Although most
climb to prominence in such a short span of their career is this
of the houses had undergone some major restoration, the village – still resided by certain local folk – maintained
central principle of a ‘people-centric’ goal that resonates in their
the traditional aesthetics of the ‘hanok’ that exhibited wonderful details in their woodwork. Roaming into some
employees’ work ethic and ultimately in their design projects.
traditional houses that were open for viewing, the narrow interior corridors would have made interaction within the home inevitable. Saving on built space and minimising floor space to retain heat during the winter, the ‘hanok’
Back in Hanyang University, we were privileged to have Professor
exemplifies traditional Korean architecture that responds to the daily activities of the occupants’ lives.
Jae Kim from the Faculty of Architecture give us a brief lecture on his Master Thesis Project: “Re-imagining the Manhattan skyscraper”, in which he did a study of skyscraper morphology in relation to surrounding public buildings (Early - International - Post-modern). Among the things I picked up from his lecture are his consideration towards public circulation in public spaces, pedestrian pathways as connectors between buildings and the practice of investigating new building types and forms through the studies of urbanism. Within this context of design methodology, the practice is dedicated to search for both theoretical and practical applications of design to urban environment, especially the projects of public interest. On our tour of the university, we visited Hanyang’s architecture faculty building where we were permitted into the work studios of the architecture students - all quietly tucked into spacious officelike rooms segregated according to their level oF learning. Each student, provided with their own desk, had their work spread out from end-to-end of their workstation. The interlocking desks and sitting spaces all give a collaborative atmosphere fitting for a studio environment. Having walked through the studios of DMP office and Hanyang University, they share the characteristics of being centred on a collaborative relationship, where learning and unified progress play a vital role in the development of their design work. Although it might not be considered to be the most substantial of observations about those studio spaces, I found that to be quite significant to me, as I find a studio environment can at most times be quite a narcissistic environment to be in, therefore, it was refreshing to find the practice – both in the working and schooling realm – of working together to create architecture. 14
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I was anticipating our visit to the Samsung Leeum Art Gallery and Dongdaemun History and Culture, which brings us into the sphere of the foreign architecture in South Korea. Due to the prestige and international reputation of the respective architects, it was hard not to approach the visits with a sense of awe towards what the buildings would offer to my senses. The way the Leeum Gallery manages to act as a unified body, one would realise that as you walked through the museums, you might have been prompted to note the stark contrast between each of the museums in terms of their spatial layout, interior fittings, presence of natural light and the manner in which the art was exhibited; and from the outside, be intrigued by how three seemingly distinct buildings manages to cohesively function as a whole gallery. Whether these were the responses the architects intended to evoke in the average visitor, I for one found my response to the artworks somewhat dictated by the architecture of each specific museum within the Leeum, which made my passage through the gallery incredibly unique. Meanwhile, having the futuristic structure that is Zaha Hadid’s Dongdaemun Design Plaza in the midst of central Seoul definitely draws the eye up, down and all around the incredible architecture. Being within the building itself gave me the sense of being swallowed up into this bubble where I was left to soak in all the artwork presented there. I would consider the day’s tour to be relatively substantial in terms of the architecture that we visited. Experiencing the “old” (Bukchon Hanok Village) and the “new” (Leeum Gallery and Dongdaemun Plaza) in a day definitely heightened the appeal of the prevalent design culture of South Korea that balances
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“I am interested in how the architecture creates, strengthens, and makes flexible the flow of the event to create transparency.” - Rem Koolhaas
between the traditional and the modern. One would consider this attribute to be of great value in an urban society like Seoul, which is constantly on the move to develop or improve their standard of living as well as their reputation on a global scale. As we progress further into the future, we might find the practice of contemporary people being influenced by ancient people’s lifestyles and old buildings. The ability to keep an eye on the future while still maintaining a grip on its history becomes an aid rather than a limitation to unify the past with the present, and consequently embracing the uncertainty of the future.
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ANTINOMY WALL An example of transcending architecture within the Suyeong-gu district of Busan is Maroin Office Building – a building that was recognised for its progressive architectural design. Driving up to the building, it seemed almost inconspicuous, nestled between the low buildings surrounding it. Standing on the roof of the office overlooking the view of the city and seeing the odd mix of colours in the roof tiles of the adjacent buildings, I noticed the congestion of the buildings in the area, mixed buildings of houses/offices/workshops all collected in the same area giving me a sense of a town worn-down and neglected. However, the more we explored the building and learnt of the architect’s intent for the building to be an emblem of revitalising the town and bringing new life into the area, I started to appreciate the vision as well as the execution of the building’s design. From the architect, “The concept is to express a challenging image for a venture firm from the street whose surrounding areas are depressed.” The clean lines of the white walls seemed almost daring as they showcase the physical limits of spaces while simultaneously creating dramatic extensions of the spaces. Excerpt from Archdaily website: “The architect generated several surfaces using various architectural limited lines. And he made volumes manipulating those surfaces. It was possible to watch other volumes from the space in each volume. Especially, it enabled users who experienced spaces and architectures to feel not only landscapes of time but also landscapes made of visual touch and light.”
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SOCIAL ACT-ITECTURE Visiting the Soogook Village was a special experience as it exemplified to me what successful architecture can do in a social context. Having that conscientious and consistent connection with the community was a fundamental value held by the architects not only to give the residents a refurbished housing village but a home. Excerpt from the architect about the project: “‘Please repair this house’, was a request that bore this project. As one of the Sisters of Mary institutions, it has operated a care aid programme for impoverished children for the past five decades. Its original aim was to improve the living conditions of adolescents by changing the spatial structure, which used to resemble an army camp. Upon close examination it became apparent that the fundamental problem was more than just their house and life.” The project’s sensitivity towards providing the residents – mainly consisting of orphans moving from school life to adult life – with a foundation to build their new lives upon. Following the concept of independent-living and self-reliance, the scheme of the village created a ‘homey’ environment, where the young residents were able to adapt to living independently while not being pulled right out of the nurturing environment they grew up with. Looking into the rooms of the children, communality of space was evident. They would move in and live, work and manage their lives together in those homes. I felt it was a tremendously encouraging and comforting environment to be in. Architecture that was operating to change the lives of the occupants rather than to promote a brand of architecture stirred in me a desire to have more encounters like this to further enlighten my design principles.
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end