Hongik University Seoul School of Interior Architecture Second Year . Autumn Studio Works 2007
2
Hongik University Seoul School of Interior Architecture Second Year . Autumn Studio Works 2007
Hongik University Seoul School of Interior Architecture Autumn Studio Works 2007
Interiority and Architecture Architecture is closely linked to human endeavors and human emotions. It is the framework for everyday living. To that end, the current architectural world has increasingly been relying on “objects” and “artifacts” as means of expression and creation. Often times, the glorification and obsession of “objects” has imposed alienating and irrational environment upon urban inhabitants. This trend is both dangerous and presumptuous. It further alienates architecture from the public, into realms of pure expressions, toward social irrelevance. Philosophically, there’s a need to re-look at the build environment from the starting point of human beings. A new way of thinking, radiating outward from a human being and his activities and corporal reality, into the surrounding world, is necessary. This way of looking equates an inside to outside mentality, where the interiority of an environment is the starting and driving force. Culturally, Eastern space has always been more in-ward looking then outward expressing. Courtyards, gardens, screens, etc…are all traditional features of architecture that achieve this. Asian architecture has emphasis on the space enclosed by structure, rather than the “object” expression of the structure itself. To this end, traditional Asian culture has not made a clear distinction between architecture and interior architecture: because they are one and the same for our ancestor. By looking at space in a similar fashion, from within to without, we are continuing a long tradition of spatial consciousness, without patronizing imitation of what is old. Technologically, many of the latest inventions are quite microscopic compared to the size of a building. From computers, to energy saving devices to communication tools, many of the latest technology takes on the scale of human beings instead of city blocks. A good number of these technologies have not been taken advantage of from a building stand point. By thinking from inside outside, which could also mean thinking from small to large, we open up possibilities to incorporate these latest inventions, and improve the relationship between technology and the build environment. Urbanistacally, To think from small to large achieves a tremendous impact on our metropolis. Instead of thinking of creating more new “objects” to be inserted into the fabric of the city, smaller environments could be create, each more flexible and responsive to changing needs. In our modern cities, the speed of change has far surpassed the speed of building. Thinking from inside out and small to large could achieve a degree of flexibility that matches this speed of changing reality. Sustainability, It is increasingly unrealistic to impose a large amount of construction on modern cities. It is far more responsible to change incrementally and at a small scale. To this end, interior architecture hold the promise to re-shape space and usage without the energy consuming cycle of demolition and re-construction of entire cities. Interiority in Architecture is not a sub-division of architecture, nor is it an after effect to be applied. Rather, it is a new way of looking at architecture, at our cities, at our culture, at new technology, at our dwindling resources. Interior Architecture is not just another major; it is a revolution to save and re-imagine our world.
Autumn Studio Works 2007 Studio Instructors Prof. Hyunho Lee Prof. Stephan C. Exsternbrink
interior studio 2
Studio Warm-up | Group 1 System of Dependences Before this actual design task, we concentrated for the time span of five weeks on thewarm-up exercise `System of Dependences ´, an examination of spatial phenomenon’s studied on a simple layout of a cube. Phase 1 - Modification of a defined volume A hollow cube ( 6x6x6m | scale 1:20) will be modified by each student by means of 3-5 design interventions. Possible design interventions could be: cut-ins, clippings, setbacks, pop-outs, etc. Design principals like: symmetry, asymmetry, repetition, rhythm, density, looseness, contrast, intersections, axes etc. can support the creation of a challenging spatial composition. Phase 2 - Interpretation of the interior space of the former developed cube Invent a spatial system, a spatial composition, inside of the cube, which could be used in abstract idea as house for a single person. Possible addition of elements like: slabs, ramps, split-levels, stairs columns etc. Possible means like: spatial overlaying, folding, cantilevering etc. Design principals like: symmetry, asymmetry, repetition, rhythm, density, looseness, contrast, intersections, axes etc. can support the creation of a challenging spatial composition Phase 3 - Application of light and surface Apply textures, patterns, colours or ornaments on the inner surface(s) of your space. Study different positions of patterns and colours and their influence on the space. Take pictures in-between the study; finally decide for the most convincing variant. Use this means in a minimal way. Sometimes less is more! Play and control with the illumination of your space. Apply light accents; think about contrasts, bright and darkness, light transition, enhancement or staging Phase 4 – Conclusion and Presentation Present and sum up your work. Choose five of your favourite pictures of your work from each phase (3x5 images), taken from the same pespectives.Describe in own written words the design intervention you made. Which character is achieved, what is the spatial quality?
interior studio 2
lim taeho
interior studio 2
kim jun hyung
interior studio 2
jo hyun jung
interior studio 2
heo taek-soo
interior studio 2
hwan yeon kyoung
interior studio 2
lee sang-hwa
interior studio 2
interior studio 2
interior studio 2
interior studio 2
interior studio 2
Studio Warm-up | Group 2 Module Building Using the tools and materials outlined in this exercise, refine and improve your initial model. Build a large model of at least 8 modules. Connections could be made with brass tubing and piano wire. No glue or string is allowed. You can also choose to notch wood members to create joints. Each individual module should be at least 150mm in one dimension, but no more than 300mm in any dimension. It should be made from 2 to 6 members. Carefully conceptualize and design the joint condition. Both the module and the joint condition should be a translation / interpretation of your action word. Model Testing You are to connect your large model at one end, to an element in the T-103 studio. We then will test both the structural integrity + Transformation potential of your model with real bricks. Your model should with stand at least the weight of one full brick without failing, while still going through transformation motion. We will not accept models that do not move under the weight of the brick, nor anything that falls apart. So test it at home! Drawing On one or multiple sheets of A2 size drawing paper, make 3 hard lined ink drawings describing the action of your large module . One drawing as a plan condition, one drawing as an elevation condition and one drawing as an isometric condition of the skeleton assembly. Show the large model going under transformation under external force (Brick) Show limits of movements, pivot points, range of motion, etc. Use line weight, tone, line type and other drafting techniques to help you study and record movements. Scale is quarter size from your real life model. (1:4) Craftsmanship and Presentation All research, drawings, models should be made with precision, structural integrity and intent. Your presentation should be clear, conceptual and succinct. 1. What is the major movement in the module? How does it relate to the action verb you choose? Is it too flexible or too limited? 2. How can the joints be improved to better facilitate and control movements? 3. When the 4 modules are connected, how does the overall movement compare to the individual movement at the modular level. Is it an amplification of the individual movement? Is it a simplification of the individual movement? Are there additional movements? Is it more flexible? More limited? 4. To what degree can you CONTROL & REPEAT movements? 5. When connected, is your model an open system, ready for more connections and different configurations? Or is it closed and inflexible to more extensions and additions?
interior studio 2
kim hyunjin
interior studio 2
shin donga
interior studio 2
jung unhee
interior studio 2
jung changgyun
interior studio 2
ju jaeyoung
interior studio 2
ju jaeyoung
interior studio 2
interior studio 2
interior studio 2
interior studio 2
Transformation of Dwelling Places | Group 1 + 2 The main subject of this design studio is about the reorganisation of an existing building structure taken from our environment, transformed into a multi dwelling spaces. Students are supposed to develop a conceptual scheme of different apartment types and a focused design proposal for one extraordinary interesting unit in this developed structure. Before this actual design task, we will concentrate for the time span of five weeks on the warm-up exercise `System of Dependences ´, an examination of spatial phenomenon’s studied on a simple layout of a cube. General information with regard to work style and design course The studio generally supports a free, artistic and experimental design process during the whole semester. However, in order to achieve this aim, students have to understand following agreements for the design studio. Sketchbook. Please open a sketch/note book for our design studio ( A3 size landscape format). The sketchbook serves as documentation for the whole design process, variations discussions and considerations. The seminar. The design studio is taking place as table seminar, where each student is having individual corrections. All students are supposed to be present and are invited to take part in discussions about fellow students work. Only things will be discussed, that are “on table” respectively somehow elaborated (by panel, paper, model or PowerPoint) like sketches, diagrams, drawings, photographs, texts etc. in order have a clear design process. Attendance. Basically you should try to attend every seminar during the semester. Architectural design is an interdisciplinary process, which can’t be achieved without consistency. For the case you can’t attend our seminar, it is necessary to inform me in advance by email. Language. Language skills are no subject of evaluation; the design related qualities will be finally evaluated. Even if we understand the English language just `as common communication tool´ you should be always able to describe at least your basic design intention. For those students who can’t summarize such verbal description spontaneously, please prepare yourself in advance by making notes what you have to tell about your work. For later presentations please think about the right methodology how to present. The clearer the structure of such presentation is, the less you finally have to describe by words! The Architecture magazine `Wettbewerbe aktuell´ (current competitions) for instance, is written in German, but also subscribed by a lot of Korean architects. The content of this magazine can be understood therefore, because the architectural projects are somehow speaking for themselves, achieved by the right graphical, architectural or diagrammatical understanding.
interior studio 2
park sou-hyun
interior studio 2
park sou-hyun
interior studio 2
park sou-hyun
interior studio 2
park young long
interior studio 2
hwang yeon kyoung
interior studio 2
interior studio 2
kim hyunjin
interior studio 2
kim hyunjin
LIVING SPACE
COMMON SPACE
interior studio 2
kim hyunjin
interior studio 2
kim hyunjin
interior studio 2
interior studio 2
interior studio 2
lim taeho
interior studio 2
park eerang
interior studio 2
park eerang
interior studio 2
park eerang
interior studio 2
park eerang
interior studio 2
park eerang
interior studio 2
shin donga
For Writer
For Painter
interior studio 2
For Musician
For Dancer
lee haein
interior studio 2
lee haein
interior studio 2
jung unhee
interior studio 2
interior studio 2
kim hyung jun
interior studio 2
kim hyung jun
interior studio 2
lee sang hwa
interior studio 2
kim hyung jun
interior studio 2
interior studio 2
han kyung-woo
interior studio 2
lee suelong
interior studio 2
jung changgyun
interior studio 2
kim junhyung
interior studio 2
kim junhyung
interior studio 2
interior studio 2
interior studio 2
Hongik University Seoul School of Interior Architecture Second Year . Autumn Studio Works 2007