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INNER WALL BUILDER: RE-MAPPING PUBLIC AND PRIVATE DOMESTIC SPACE 17 FA PRATT INSTITUTE SCHOOL OF ARCHITECTURE ARCH 501: DEGREE PROJECT RESEARCH YOOJIN HAN + Nadia Jihyun Kim

Student:

Yoojin Han + Jihyun Nadia Kim

Section Instructor:

Frederick Biehle . Eva Perez de Vega

Writing Instructor:

Saul Anton

Course Title:

Formation of Excess

Academic Year:

Fall 2017

Booklet Title:

INNER WALL BUILDER: RE-MAPPING PUBLIC AND PRIVATE DOMESTIC SPACE

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CONTENTS 00 INTRODUCTION EXCESS OF PUBLICNESS Introduction

01 PROJECTL: THE INNER WALL BUILDER Concept Project Proposal Sielent Individuals What is the Inner Wall ? Reversal of Curtain Wall

02 GAZE Blurred Public & Public boundaries Transparency

03 CITY 04 GENERATIVE DRAWING 05 SITE Identity of London Pseudo-Public Site Selection

05 PROGRAM Microhousing

06 ANNOTATED BIBLIOGRAPHY

Yoojin Han | Jihyun Nadia Kim

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INTRODUCTION

EXCESS OF PUBLICNESS The aim of this research project is to document, interrogate and form critical response to the condition of EXCESS OF PUBLICNESS found in spatial and cultural conditions of contemporary social life. The emergence of a modern capitalist society based on private ownership of means of production and their LQWHUHVWV LURQLFDOO\ LQWHQVL¿HG PDVVL¿FDWLRQ DQG HUDGLFDWLRQ RI LQGLYLGXDOLW\ LQ ZKLFK 1LHW]VFKH FDOOHG PDVV VRFLHW\ 7KH PDVVL¿HG VRFLHW\ FUHDWH KHUG VRFLHWLHV DQG PHGLRFULW\ ZKLFK SUHYHQW WKH FUHDWLRQ RI JHQXLQH culture and active individuals. The increasing transparency in the rapid development of technology and digital media empowered individuals with unlimited access to vast resources, communication and integration. However, pervasive interconnectedness can also lead to a lost sense of privateness, an absence of conVFLRXV µ,¶ ([FHVV RI SXEOLFQHVV FDWDO\]HV DFTXLHVFHQFH RI LQGLYLGXDO XWLOLW\ DQG GLVUHJDUG UDWLRQDO GHFLVLRQV RI LQGLYLGXDOV ZKLFK FDQ TXLFNO\ WXUQ VRFLHW\ WR µHQ PDVV¶ IURP DQ DJJUHJDWLRQ RI LQGLYLGXDO HQWLWLHV Yoojin Han | Jihyun Nadia Kim

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PROJECT CONCEPT

RE-MAPPING THE INNER WALL 7ZHQW\ ¿UVW FHQWXU\ GLJLWDO FXOWXUH LV RQH RI WKH H[FHVVLYH SXEOLF GLVSOD\ GULYHQ E\ SROLWLFDO SRZHUOHVVQHVV DQG FXOWXUDO GLVLOOXVLRQPHQW 7KH VHOI WRGD\ LV LGHQWL¿HG DQG FODVVL¿HG LQWR WZR GLVWLQFW IRUPV ¿UVW D FRPSOLDQW µ,¶ WKDW SURYHV LV IDUPHG DQG IXQGDPHQWDO WR WKH DWWHQWLRQ DQG LQIRUPDWLRQ HFRQRP\ DQG LWV PRGH RI SURGXFWLRQ VHFRQG D PDUJLQDOL]HG VHOI WKDW QHHGV WUHDWPHQW RI GLVFLSOLQH LQ RUGHU WR SDUWLFLSDWH and cooperate with the standards of the digital economy. In the domestic architectural expression of the QHWZRUN H[WHQVLYHO\ DSSOLHG WUDQVSDUHQF\ LQ JODVV FXUWDLQ ZDOO DQG LPSHFFDEO\ GH¿QHG SXEOLF VSDFH DXJPHQW D GHVLUH RI KLGLQJ EHKLQG DQ LGHDO PDVV IRU IHDU RI PDUJLQDOL]DWLRQ This project proposes a reversal RI FRQWHPSRUDU\ FXUWDLQ ZDOO V\VWHP ZKLFK UHFRQ¿JXUHV WKH RXWHU DQG LQQHU ERXQGDULHV 7KH LQQHU ZDOO FUHDWHV D JDS EHWZHHQ SXEOLF DQG SULYDWH ZKLFK LV D PHGLDWHG VSDFH IRU FRH[LVWHQFH DOORZLQJ IUHHGRP RI YDULRXV LQWHUSUHWDWLRQV DQG YLHZV RI LQGLYLGXDOV 7KH QHZ W\SH RI XUEDQ PLFUR KRXVLQJ V\VWHP DJJUHJDWHV DW WKH FHQWHU RI RQH FLW\ EORFN DQG PLQLPL]HV HFORVHG VSDFH DQG FUHDWHV ODUJHU FRPPXWHU DQG RSHQLQJ DUHD 3ULYDWH EHFDPH PRUH LQWLPDWH IRU HDFK DQG DLPHG DQ DFKLHYHPHQW RI VROLWXGH 7KH SXEOLF LV UHPDSSHG H[SDQGHG DQG WUDQVIHUUHG LQWR D ÀXLG IRUP DFFHSWDQFH RI FRPSOHWH WUDQVSDUHQF\ ¿ Parc de la Villette(1989) by Bernard Tschumi Architects

Yoojin Han | Jihyun Nadia Kim

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PROJECT PROPOSAL

THE INNER WALL BUILDER

7KH VW FHQWXU\ PHWURSROLV DSSHDUV WR EH WKH XWRSLD WKDW KDV WUDQVFHQGHG WKH FXOWXUDO WUD-

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7KH PRGHUQ FLWL]HQV KDYH IDOOHQ VLOHQW LQ D VRFLHW\ ZKHUH YDOXHV EHWZHHQ H[WHULRU DQG LQWHULRU

DUH RYHUO\ UHÀHFWHG 7KH SXEOLF VSDFH KDV EHHQ SULYDWL]HG E\ WKH VXUYHLOODQFH FDPHUD DQG WKH SULYDWH VSDFH KDV EHHQ GHSULYDWL]HG E\ VRFLDO PHGLD 7KH UDGLFDO WUDQVSDUHQF\ LQ PRGHUQ DUFKLWHFWXUH HPERGLHV WKH EOXUULQJ RI WKH ERXQGDULHV EHWZHHQ WKH SXEOLF DQG WKH SULYDWH $V D UHVXOW WKH SXEOLF VSDFH LQ WKH FLW\ EHFDPH SODFHV RI JD]H UDWKHU WKDQ VFHQHV RI GLVFRXUVH $ FLW\ EHFDPH D JDWKHULQJ VSDFH IRU WKH VWUDQJHUV ZKHUH LQGLYLGXDOV KLGH WKHLU LQQHU GLVVRQDQFH XQGHU D OD\HU RI DFFHSWDQFH RQ WKH IDFWXDO GLIIHUHQFH Yoojin Han | Jihyun Nadia Kim

In a city, there are privately owned public spaces constructed by a business decision to provide EHWWHU DFFHVVLELOLW\ IRU LWV XVHUV D ]RQLQJ UHJXODWLRQ between the government, or a governmental commission of reinvention of a deserted public space. While seemingly pleasant, well-designed and maintained by WKH EXVLQHVV WKH\ RQO\ DOORZ WKH VSHFL¿F ³SXEOLF´ WR XVH their public space.

$Q\RQH DQG DQ\ EHKDYLRU WKDW LV GLVTXDOL¿HG

IRU WKHLU XQVSRNHQ UXOHV VXFK DV D KRPHOHVV PDQ D FRQVWUXFWLRQ ZRUNHU WDNLQJ D QDS D SKRWRJUDSK RU FRQGXFWLQJ DQ LQWHUYLHZ FDQ EH SURKLELWHG DQG WDNHQ away by the security. With the controlled image of a crowd in a seemingly public space, these spaces create a false image of a gathering of individuals in society.

SILENT INDIVIDUALS

Moreover, they hinder an individual from reDOL]LQJ WKH UHDOLW\ RI D VRFLHW\ DQG HQFRXUDJH IXUWKHU alienation between different groups in the city. This LQWHULRUL]HG SXEOLF VSDFH HVWDEOLVKHV D PHFKDQLVP RI self-control and surveillance within the mind of an individual stimulates them to be silent. As a result, individuals have forgotten the initial condition of society as an intermediary value of differences, but as a place to IROORZ WKH XQVSRNHQ UXOH ³6RFLDO OLIH LQYROYHV WKH PXWXDO FRUUHODWLRQ RI LWV HOHments, which occur in part of instantaneous actions and relations, which partly manifest themselves in tangible IRUPV LQ SXEOLF IXQFWLRQV DQG ODZV RUGHUV DQG SRVsessions, languages and means of communication. All such social mutual co-relations, however, are caused by distinct interests, ends and impulses. They form, as LW ZHUH WKH PDWWHU ZKLFK UHDOL]HV LWVHOI VRFLDOO\ LQ WKH ‘next to each other’ and ‘with each other’, the ‘for each RWKHU¶ DQG µDJDLQVW HDFK RWKHU¶ RI LQGLYLGXDOV´ -George Simmel

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These silent individuals collectively mute the city as well creating the false illusion of a utopian collective whole. However, when there is a catalyst, these individuals express their disagreement and even animosity towards different ‘them’ from similar ‘us.’ The ODFN RI WKUHVKROG ZLWK DQ RXWEUHDN RI DQ HYHQW UHYHDO their separateness and outburst the struggle between ‘our society’ and ‘their society.’ In truth, ‘them’ is not entirely different from ‘I’ and ‘us’ is not entirely similar to ‘I.’ The society consists of ‘I’ and multiple ‘you,’ and the dialectics between. This re-manifestation of society calls for an architectural typology that allows individuals to start seeing the society as an intermediary value between µ,¶ DQG µ\RX¶V DQ DUFKLWHFWXUH WKDW VXJJHVWV D VXEWOH GHsign decision to contribute the perceptual change in an individual and an architecture that is narrowed down to the level of an individual. It is the micro-housing not to focus on being small, functional, and economical, but as a space of separating an individual from the rest and giving the boundary for oneself to fully explore their identity WKURXJK WKH PDWHULDOL]HG H[SUHVVLRQ RI WKHPVHOYHV ,W LV WKH DUFKLWHFWXUH WKDW VHQVLWL]HV WKH ERXQGDU\ EHtween individuals and blurs the boundary within oneself through the spatial language that expresses the freedom and shelters one’s habits, thoughts, dreams, and identities.

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Yoojin Han | Jihyun Nadia Kim

WHAT IS THE INNER WALL?

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THE INNER WALL ³7KH OLQH EHWZHHQ SXEOLF DQG SULYDWH QR ORQJHU FRLQcides with the outer limit of a building. We might argue

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that the envelop is no longer to be found on the outVLGH LW KDV FRLOHG LWVHOI XS ZLWKLQ DQ LPDJLQDU\ ERG\ ´

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Just

as transparency in internet change the

human perception in communication as well as in architecture, now this transparency calls for a new typology, urges for freedom in not only expressing oneself

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through two dimensional facade, but through an actuDO VSDFH PDNLQJ DFWLYLW\ 7KH VSDFH ZKLFK LWVHOI LV WKH freedom and the direct representation of each individ-

Curtain wall contains a mass ,QQHU ZDOO HPERGLHV DJJUHJDWLRQ

XDO LQKDELWDQW UDWKHU WKDQ D PHUH FRQQHFWLRQ RI JD]LQJ The inner wall is a reversal of a curtain wall which is a non-structural system covering private entities rath-

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HU WKDQ DQ H[WHULRU RI D PDVV $ FXUWDLQ ZDOO XWLOL]HV WR NHHS WKH ZHDWKHU RXW DQG RFFXSDQWV LQ EXW LW H[SRVHV to an excess of publicness in contemporary living. Its

Curtain wall frames movements Inner wall plays orchestra

RYHUHPSKDVL]HG H[WHUQDO VXUIDFH DQG RYHU LPSRVHG WUDQVSDUHQF\ V\QFURQL]H LQGLYLGXDOV SDVVLYHO\ HPEUDFH excessive publicness, which turned them into a viewer

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RI VRFLHW\ DQG SXEOLF LQWR D PDVV RI RQORRNHUV RI REMHFWL¿HG LQGLYLGXDOV 7KH LQQHU ZDOO HPSKDVL]HV LQWHUQDO surface and imposes opacity, empowers inhabitants to

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interact actively with society and return the public as a gathering of individuals. Yoojin Han | Jihyun Nadia Kim

TO DWELL

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BINARY SYSTEM

The

inner wall suggests a binary system. It

IRU DQ DGYDQFHPHQW RI WKLQNLQJ ³WR GZHOO´ DQG ³WR EXLOG´ metaphorically embodies public and private as two in architecture. The conventional top-down construction

VHSDUDWH V\VWHPV DQ LQWHUVHFWLRQ RI FHOHVWLDO ERGLHV

that gives the people regulated and calculated system

and immense aggregations of entities. The entities are

DQG H[SHFWV WKHP WR EH IUHH DW OHDVW ZLWKLQ WKHLU EORFNV close enough to orbit each other around a barycenter QHHGV WR EH LWHUDWHG DV WR UHÀHFW WKH DOUHDG\ FKDQJHG by their mutual gravitational attraction, but the joint cenFKDQJLQJ DQG ZLOO FKDQJH VRFLHW\ DV LQGXVWULDOL]DWLRQ ter of bodies is not located within the interior of either DQG PRGHUQL]DWLRQ FKDQJHG WKH EXLOW HQYLURQPHQW LQ space. The binary system enables both wide binaries the past. Architecture which is building for dwelling

DQG FORVH ELQDULHV VR WKDW HYROYH VHSDUDWHO\ E\ NHHS-

needs to be accommodated to inhabit their dwellers of

ing them apart from one another and transfer mass

diversity, difference, mutation, multiplicity, heterogene-

from one another by getting close to each other.

ity. The world full of the variable needs to be addressed, mediated, and resolved in architecture.

The Inner wall is a spatial provision for the two:

TO DWELL TO EMERGE

RSHQLQJ XS RXU SHUFHSWLRQ WRZDUG DQ RYHUDOO V\VIndustrialism, modernism, and globalism com-

WHP DQG WKH ZKROH LQ ELUG¶V H\H YLHZ DQG UHJDLQLQJ

bined with information technology shape and alter the

LQGLYLGXDOV WR LQWHUDFW DQG FRQWULEXWH WR WKH EURDGHU

society faster and higher than before, achieving the im-

V\VWHPV LQ ZRUP¶V H\H YLHZ

agery of cosmopolitan modernity. Ironically, this placelessness sameness in modernity also provides place distinctiveness -- individuals. In a metropolis where its raw materials of a society and image of architecture create placeless sameness, the individuals as con-

PUBLIC

µ62&,$/ 87,/,7< $1' 3/($685(¶

structive elements achieved place distinctiveness for the municipality. In other words, the universal similarity is exact on an urban scale more than ever, but the var-

The ‘changeable part’ and ‘expandable part,’

LHG XQLTXHQHVV RFFXUV RQ DQ LQGLYLGXDO OHYHO PRUH WKDQ It is an outer edge of the middle ground and the priever. This system of the hybridity of placelessness en-

vate. A dissolution of corridor and living room turned

vironment and place environment in a metropolis, the

out and emerged into a larger opening area. The public

re-embedding of disembedding elements, the impact

LV QRW DQ DUWIXO V\VWHP QRU D FRPPRQ µGH¿QLHQ ¶ ,W LV

RI SODFH D XQLTXH LQGLYLGXDO LQ UHVKDSLQJ WKH JUHDWHU DQ LQWHUWZLQHG V\VWHP DQ LQ¿QLW\ ZHE WR HQFRXQWHU DQG FRPPXQLW\ QHHGV WR EH KLJKOLJKWHG DQG FRQWH[WXDOL]HG exchange of different individual values and meaning. It in architecture. The rise of individualism re-ensures the

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identity of architecture which is the byproduct of build-

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LQJ DFWLYLWLHV $ EXLOGLQJ GRHV QRW PDNH D GZHOOLQJ EXW LQGLYLGXDOV QHHGV WR EH H[WUDFWHG DQG PRGL¿HG dwelling structures a building.

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The new public concerning the people as aggregate of individuals. Adjustable, collective, or innova-

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tive from various angles. It is a gathering of congenial

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individuals and community. People participate and in-

revealed progressive grid system and the real move-

terpret art, writing, or performance glaringly out from

ments of the living organism in it. This intermediate

passive consumers consuming objects. Grasping future

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problems and vistas, enabling us to see everything in

forms many different characteristics can be perceived

a relationship, real and seemingly transparent. Hoping

and associated with own images and meaning. The

WKDW WKLV YLVXDOL]DWLRQ RI FRQJUHJDWHG ERG\ PHPEHUV RI ³GRXEOH QDWXUH RI WUDQVSDUHQF\ ´ IURP 5REHUW 6OXWVN\ contemporary society and economy, which excess time

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and running toward, falling toward somewhere, act as

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DQ LQHUWLD IRU RXU FRPPXQLW\ LQWR DQ DFNQRZOHGJPHQW for the coexistence of representational contents, now RXU LQQDWH QDWXUH RI µVZDP LQWHOOLJHQFH ´

the private, and possibility of a liberated reading of phenomena, now the public.

‘swam intelligence’ is introduced in Steven -RKQVRQ¶V ³(PHUJHQFH 7KH &RQQHFWHG /LYHV RI $QW %UDLQV &LWLHV DQG 6RIWZDUH ´ +H OHDUQV IURP WKH DELO-

PRIVATE

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µ5('8&,%/( 3$57¶ EXW µ,1'(63(16$%/(¶

gated with single elements of one dimensional and single-minded, successfully adapt to changes in an

TKH µFHQWHU ¶ VROLG WKH SULYDWH PLQLPL]HG IRU WKH FDUHIXO

environment with their collective intelligence system.

structuring of concentration and discretion. Solitude in

Human endowed with more sophisticated and com-

RQH¶V URRP WKH ³,QWLPDWH´ /DWLQ LQWLPXV VSDFH 3HRSOH

plex system and our digital world now is a potential site

can see the result or representation of their production,

to bottom-up interaction and growing resource of our

but the memory or process of creation is entirely in pri-

‘swam intelligence’.

vacy unless they want to express or expose it. Inner VSDFH LV WUXO\ VHOI UHÀHFWHG 7KH LQWLPDWH VSDFH HPbodied a digital platform of social media and creative

MIDDLE GROUND

software, into a spatial platform as a tool for the ability of self-creation.

µ81352'8&7,9( (;3(1',785(6¶ µ0(',80¶

The power of street, tendencies of dynamic, TRANSPARENCY movement of people in the space become curtain wall

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blending of independent elements or events into a coKHUHQW ZKROH 0LUURULQJ WKH UHÀHFWLRQV DQG WUDQVSDUHQW

TRANSLUCENCY

RI WKH SDVVLQJ WUDI¿F DV VXSHULPSRVLWLRQ FKDQJLQJ DV-

ÀXLG 0LGGOH 6SDFH

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WALL

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VROLG 3ULYDWH Yoojin Han | Jihyun Nadia Kim

PROGRAM OF TYPICAL HIGH-RISE APARTMENT 7KH SULYDWH UHVLGHQWLDO FRYHUHG E\ JODVV FXUWDLQ ZDOO RXWVLGH ORFDWHG DW WKH HGJH RI WKH EXLOGLQJ 7KH FRUULGRU LV FRQQHFWHG IURP WKH HQWUDQFH RI WKH EXLOGLQJ WR WKH HDFK XQLWV

REVERSAL OF CURTAIN WALL

7KH SXEOLF DUHD LQVLGH SULYDWH XQLWV OLYLQJ URRP DQG NLWFKHQ ORFDWHG DW WKH FHQWHU RI SULYDWH URRPV

REVERSAL OF CURTAIN WALL 3XEOLF RSHQ WR DOO VLGHV (QWUDQFH IURP DOO VLGHV 0LGGOH JURXQG FUHDWHG 0DUJLQDO DUHD RI EORFN DGGHG LQWR SXEOLFH VSDFH 2XWHU ERXQGDU\ GLVVROYHG 3XEOLF H[SDQGHG 3ULYDWH EHFRPH VROLG

THE TYPICAL PROGRAM

REMOVED CORRIDOR

EXTRACTED PUBLIC SPACE IN PRIVATE UNIT

| 17

DETACH CURTAIN WALL

MIRRORED PRIVATE

GATHERED PRIVATE

CURTAIN WALL REVERSED AS A INNER WALL

Yoojin Han | Jihyun Nadia Kim

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GAZE BOUNDARIES IN THE AGE OF DATAVEILLANCE Today, most people are happy to exchange information about themselves for services and access to digital culture. Everything is permanently exposed to anonymous eyes, and nothing is entirely hidden IURP WKH YLHZ 7KLV HSLGHPLF WUDQVSDUHQF\ LQ GLJLWDO ZRUOG FKDQJHG RXU ZD\ RI WKLQNLQJ RQ FRYHU DQG H[SRVXUH DQG FUHDWHG QHZ W\SRORJ\ RI PRGHUQ DUFKLWHFWXUH VXUYHLOODQFH YR\HXULVP DQG H[KLELWLRQLVP 7KLV KDV EHHQ HSLWRPL]HG LQ WKH XVH RI JODVV FXUWDLQ ZDOO DUFKLWHFWXUH WR EXLOG SULYDWH KRXVHV DSDUWPHQWV DQG FRQGRPLQLXPV 5DGLFDO WUDQVSDUHQF\ LQ PRGHUQ DUFKLWHFWXUH HPERGLHV WKH EOXUULQJ RI WKH ERXQGDULHV EHtween the public and the private in this data-driven surveillance society, which we can call dataveillance, DQG UHDOL]HV WKH G\VWRSLDQ SRWHQWLDO RI ELJ GDWD DV D SDQRSWLF PHFKDQLVP RI VXUYHLOODQFH DQG SRZHU 2QFH D traditional role of architecture, setting boundaries between private and public life and sheltering individuals IURP WKH RWKHUV WUDQVIRUPV WR ZRUN DV D QHZ UHODWLRQVKLS EHWZHHQ YLHZHU DQG YLHZHG FUHDWLQJ D QDUFLVVLVWLF DUFKLWHFWXUH WKDW YDOLGDWHV DQG H[SRVHV LQHTXDOLW\ DQG VHJUHJDWLRQ 7KLV VLWXDWLRQ GHPDQGV D QHZ approach to public and private boundaries are conceived in architecture. Yoojin Han | Jihyun Nadia Kim

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BLURRED PRIVATE & PUBLIC BOUNDARIES Yoojin Han | Jihyun Nadia Kim

³7KH 3DQRSWLFRQ FUHDWHV D FRQVFLRXVQHVV RI SHUPDnent visibility as a form of power, where bars, chains, DQG KHDY\ ORFNV DUH QR ORQJHU QHFHVVDU\ IRU QRPLQD-

PANOPTICISM to VOYEURISM

WLRQ ´ )RXFDXOW

In the new digital world, increasingly, everything becomes data, and people are connected DQG FROODERUDWHG RQ GLJLWDO SODWIRUPV 7KH DJH RI XELT-

HYHU\ FLWL]HQ ,Q PRGHUQ VRFLHW\ QRW RQO\ WKLV SK\VLFDO

uitous smart technology enables us to broaden our

surveillance has become a social norm in the name of

interest and be aware of important social and political

protection and security, but also self-surveillance grow

issues, which bring people together for improvements.

in the name of social culture.

However, it also isolated and disconnected people, and exposed privacy to invisible eyes.

The term, total

Panopticon is a type of institutional building

VXUYHLOODQFH SHUWDLQV WR UHFRUGLQJ DXGLR YLGHR RI GHVLJQHG E\ -HUHP\ %HQWKDP LQ WKH ODWH WK 7KLV

| 23

structural system separates individuals from one an-

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RWKHU DQG OHDYHV WKHP ZRQGHULQJ DQG PDNH VHOI FRQ-

PRYHG LQWR ZKDW *LOOHV 'HORXVH FDOOV FRQWURO VRFLHW\ RI

scious at all time. One in each cell is isolated between

the twentieth century, a lost vision of disciplined society.

walls, and watched by the invisible observer at the

The mass media replaced interaction and contribution

watchtower through the wholly opened frontal face of

EHWZHHQ LQGLYLGXDOV DQG DZDNHQ D GHHS GHVLUH IRU

the cell. Everyone in the cells, control them self, and

peeping and eavesdropping.

TXHVWLRQ WKHLU DFWLRQV WKRXJKW DQG EHKDYLRU DOO WLPHV 7KHUH LV QR SK\VLFDO IRUFH EXW WKH SRZHU RI JD]H RQH

The advancement of technology commenced

hidden inside the watchtower gain power over every

the new age of near-total surveillance. Now, we are

other in the exposed cell.

recorded and also gain an ability to watch and record HYHU\RQH HOVH LQFOXGLQJ RXU VHOI 1RZ VXUYHLOODQFH WKH

TKLV QRWLRQ RI VHOI VXUYHLOODQFH GH¿QHG DV

ZRUG ³VXU´ PHDQV IURP DERYH LQFOXGHV VRXVYHLOODQFH

Panopticism, the initiation of self-disciplined society, by

³VRXV´ PHDQV IURP EHORZ 7KLV ORFDOL]DWLRQ RI VXUYHLO-

0LFKHO )RXFDXOW LQ KLV ERRN 'LVFLSOLQH DQG 3XQLVKPHQW lance outlined our voyeuristic desire and formed the Later this idea positioned a management of a manu-

new culture of self-surveillance and exhibitionism. We

facturing plant in a way that they could oversee their

are domesticated in the permanent visibility. We contin-

ZRUNIRUFH DW DOO WLPHV ZLWKRXW EHLQJ VHHQ WKHPVHOYHV uously long for a peep show through screens and exand given the system anonymous power and ability to

pose self to anonymous eyes even in our private room. Yoojin Han | Jihyun Nadia Kim

FUN-LOVING CONSUMERS

In consumer society, consumption become a language to communicate with others and a social sig-

In the modern society, the physical wall of the

QL¿HU :H FRQVXPH PHVVDJHV DQG LPDJHV VLJQL¿HG E\

panopticon is demolished and evolved into an invisible

society rather than what ‘I’ need, which lead to endless

tether of self-interest consumerism. Our Identities are

searching for consumption.

GLJLWDOL]HG DQG PDVVL¿FDWHG DV ³IXQ ORYLQJ´ FRQVXPHUV ³$ VHULHV RI VWUXFWXUHV SURGXFH WKH FRQVXPHU VRFLHW\

IQ WKH ODWH WK FHQWXU\ ³7KH &RQVXPHU 6R-

the system maintains itself by producing wealth and

FLHW\ P\WK DQG VWUXFWXUH´ -HDQ %DXGULOODUG SURFHVVHG

poverty, satisfactions and dissatisfactions, disturbanc-

meaning of cosumption and leisure in compulsive con-

es and progress. He does not blame ‘bloodthirsty cap-

sumer society. Consumption become an unconscious

italists’ for poverty but the ‘system’ and its structures

reaction to desire. The logic of signs, symbols and ob-

µREH\LQJ LWV RZQ ODZV¶ ³

MHFWV DUH QR ORQJHU OLQNHG WR D VHQVH RI GH¿QLWH IXQFLRQ or need. The desire for beauty and sexuality are used for commercial purposes. He called consumption ‘collective behavior’ which is instituted with a whole system and a sense of the important group integration and VRFLDO FRQWURO 7KH LGHD RI VRFLDOL]DWLRQ DFFRUGLQJ WR Baudrillard that we must be trained, we must learn to consume.

%DXGULOODUG -HDQ SJ

| 25

µ,¶ "

Individuals, who are not able to decode messages and signs behind the unconscious social logic,

³WKH ERG\ HPHUJHV DV VRPHWKLQJ WKDW FDQ EH XVHG WR

become a ‘true consumers’, fetishes objects and iden-

sell commodities and serves as well as being itself a

WL¿HV WKHPVHOYHV LQ WKH DFW RI FRQVXPSWLRQ 0HDQ RI

consumed object. In order to be used as an objet, the

consumption became to gain ‘social logic of differen-

body must be ‘rediscovered by its ‘owner’. Once the

tiation’ and individual logic of satisfaction’ is discarded

body is seen in this way, people are free to adorn it

in the communication through mass media. Baudrillard

ZLWK REMHFWV DQG WR SDPSHU DQG VHHN WR LPSURYH LW ZLWK

VD\V ³SHRSOH VKRZ FXULRVLW\ SOD\ ZLWK WKLQJV ´ 7KH FUH-

a variety of service. Capitalists are free to produce and

ation of symbolic values is easily involved and manip-

PDUNHW DOO PDQQHU RI JRRGV DQG VHUYLFHV KLPH DW WKH

ulated by industy and society, but the consumers are

ERG\ µOLEHUDWHG¶ DV DQ REMHFW WKH ERG\ WDNHV LWV SODFH

missed in the process of creation. A human body is re-

LQ WKH V\VWHP RI REMHFWV ´

duced to an object carefully, groomed, managed, surveillance, tailored to the needs of society, and objects

%DXGULOODUG -HDQ 7KH FRQVXPHU VRFLHW\ P\WK DQG VWUXFWXUH

are obtained with abundance signs and values that exLVW RQO\ LQ WKH VRFLHW\ 7KH H[FHVV RI VLJQV DQG ODFN RI UHDO VLJLQL¿FDWLRQ UHVXOWHG LQ OH NLWVFK WUDVK\ REMHFW DQG

IQGLYLGXDOV ERWK VDYH DQG NLOO WLPH E\ DGRSW-

pseudo-objects. The aesthetic of beauty and originality

ing to utile technologies and connecting to a new so-

replaced by aesthetics of imitaion and repetition.

FLDO QHWZRUN V\VWHP :H DUH XQFHDVLQJO\ VHDUFKLQJ IRU new devices to see the world and logging into the digital

In

the modern high technology society, this

world to belong to a community. The shortening pro-

panoply of objects grew to smart gadgets and moved

cess of consumption and communication resulted in to

into digital world. Smart phone and computer are al-

lessen the self-determination and communion with na-

ready daily necessities, and increasing number of peo-

ture and human. Screens rapidly replace eyes to view

ple are intereted and in use of wearable and senser

the world. Now pleasure produced by watching and

devices. The rapid adaptation of smart gadgets em-

being watched, adopted the logic of technology, which

powered us with periodical functions within massive

dominate and turn the human into objects.

QHWZRUN V\VWHP EXW WKH REMHFWL¿FDWLRQ RI ERG\ LV LQWHQVL¿HG DQG H[SOLFLW

Yoojin Han | Jihyun Nadia Kim

³0LVDSSURSULDWLRQ RI WDSH UHFRUGLQJ WHFKQRORJLHV DQG

DESTRUCTED SENSE OF PRIVACY

other surveillance devices. He prepared us for the ³LQGLYLGXDO IDLOV WR REVHUYH KLV RZQ PLQLPXP ERXQGDULHV RI SULYDF\´ Andy Worhol

VXUYHLOODQFH RI UHDOLW\ ERWK WHOHYLVHG DQG QRW Surveillance used for satisfaction of voyeuristic tendencies, which in turn feed off a potentially contagious exhibitionism that could unleash the total destruction RI D SURSHU VHQVH RI SULYDF\ ´ Alan F. Westin

| 27

AQG\ :DUKRO WKH SURPLQHQW ¿JXUH LQ WKH SRS

In

the pervasive consumer society, celebrity

DUW QDPHG LQLWLDOO\ YLVXDO DUW PRYHPHQW SURYHG WKDW culture became the new means of consumption, called we are being taught to adapt to technologies of surveil-

‘fantastic cages,’ combined the material reality with a

ODQFH DQG LQVWUXPHQWDOL]HG DQG QDUUDWHG FRQVXPHULVP IDQWDV\ ZRUOG RI JRRGV DQG VHUYLFHV ,W VDWLV¿HG RXU WKURXJK PHGLD VXFK DV UHDOLW\ WHOHYLVLRQ DQG ¿OP 7KH voyeuristic tendencies and made people desire more ZRUG µSRS DUW¶ LV D W\SH RI DUW WKDW ¿WV ZHOO ZLWKLQ D VRFL-

images and signs which led them to consume more in

ety dominated by the logic of signs and consumption,

different things.

and the word ‘pop’ illustrated the culture of American consumer society. He applied symbols, codes, and me-

We live in the society of perpetual reproduc-

GLD RI WKH FRQVXPHU VRFLHW\ LQWR KLV ZRUNV WXUQ WKHP tion and imitations. The modern society obliged us to into art and leisure.

repeat and reproduce values produced in the past in endless ‘mode of simulation.’ Everything is multiplied, disappeared, contaminated and regenerated. Things became disappeared, saturated or transparent from over reduction and destruction. The goal now becomes

³%HQH¿W RI D &DPSEHOO¶V VRXS FDQ E\ $QG\ :DUKRO LV that it releases us from the need to decide between beautiful and ugly, between real and unreal, between WUDQVFHQGHQFH DQG LPPDQHQFH MXVW DV %\]DQWLQH LFRQV PDGH LW SRVVLEOH WR VWRS DVNLQJ ZKHWKHU *RG H[LVWHG ZLWKRXW IRU DOO WKDW FHDVLQJ WR EHOLHYH LQ KLP ´ Transaesthetics, Baudrillard

IRVWHU DQG SURYLVLRQ RI QHWZRUNV 7KH LGHDOV IDQWDVLHV LPDJHV DQG GUHDPV DOO JRDOV RI OLEHUDWLRQ DUH WDNHQ away. Signs, forms, and desires once manufactured in factories are now generated and spread very rapidly LQ D GLJLWDO SODWIRUP %DXGULOODUG ³7KH 7UDQVSDUHQF\ RI (YLO ´ WKH VRFLHW\ LV DFFHOHUDWLQJ LQ D YRLG KDXQWV DQG obsesses with visible things and outputs without meaning and goal of libration origined signs, forms, and desires. The pure circulation of unexpected revolution and OLEHUDWHG VWDWH OHW VWHS EDFN D ELW DQG UHWKLQN WKH LGHDO is faded away, but only the pseudo-ideals created by consumerism left.

Technologies

of surveillance integrated into

forms of entertainment as a disciplinary introduction to the new system of transparency, near-total surveillance, which demolished boundary of privacy in both

¿J EHORZ $QG\ :DUKRO eating a Whopper from %XUJHU .LQJ DQG +HLQ] 7RPDWR .HWFKXS ³ 6FHQHV IURP $PHULFD´ -RUJHQ /HWK

pysycal and perceptual level. In uban Metropolis, evHU\WKLQJ WUDQVIRUPHG LQWR DHVWKHWLFL]HG LPDJHV DQG FRQWDLQHG VLJQV RI RUJDQLD]DLRQ DQG PHDQV RI DGYHUWDLVLQJ ZKLFK VXEMHFWHG WR DHVWKHWLFL]DWLRQ FXOWXUDOL]DWLRQ DQG PXVHXPL¿FDWLRQ 7KH ZKROH DHVWKHWLF RI DUW DQG DUFKLWHFWXUH QRZ PDWHULDOL]HG LQWR WUDQVSDUHQF\ disappearance and disembodiment.

¿J OHIW &DPSEHOO¶V 6RXS , $QG\ :DUKRO ¿J ULJKW (QFDXVWLF LFRQ of Christ Pantocrator. [ FP 0RQDVWHU\ RI 6W Catherine, Sinai.

Yoojin Han | Jihyun Nadia Kim

AESTHETICIZATION SURVEILLANCE

AESTHETICIZATION OF SELF-IMPOSED SURVEILLANCE: 6859(,//$1&( 92<(85,60 (;+,%,7,21,60

In

recent years, in a section of the High

apartments. The residents seem accustomed to and

/LQH DURXQG UG 6WUHHW D YR\HXULVWLF FLW\VFDSH KDYH enjoy excessive exposure to the public as a display of emerged. The internal view of newly constructed glass perfect living. and steel residential buildings rising either side become D SDUW RI WKH SDQRUDPD RI WKH HOHYDWHG SDUN DQG WKH

AV VHHQ LQ WKH +LJKOLQH PXOWL PLOOLRQ ¿VKERZO OLY-

domestic window scene of Highline residents came to

ing, the lost sense of boundaries of privacy displayed in

OLIH E\ WKH PRYHPHQW RI RXWVLGH SDUNJRHUV 7KH YLVLWRUV an excessive transparency in the modern architecture. FDQ SHHN DW WKH SULYDWH LQVLGH RI WKH PXOWLPLOOLRQ GROODU The architecture as a threshold and limits between the

| 29

³,¶YH QHYHU WULHG WR EH UHFDOFLWUDQW RU QRW DGGUHVV WKH RSSRUWXQLW\ ´ ³D SULYDWH SXEOLF GLVFRXUVH ´ ³<RX IHHO OLNH \RX¶UH RQ WKDW ODZQ ´ ³7KH\ FDQ GH¿QLWHO\ VHH XV LI WKH\ ORRN ´ ³:K\ QRW WU\ WR JLYH RXU DSDUWPHQW FKDUDFWHU"´ ³,I ZH FDQ VKRZ DQ DUWLVW WR IRXU PLOOLRQ SHRSOH ZK\ QRW" ³SUHWW\ RGG´ ³, KDYH QR SUREOHP OLYLQJ LQ WKLV EXEEOH ,W¶V WKH EHVW EXEEOH ´ $W ¿UVW , ZDV VK\ DERXW ORRNLQJ RXW ´ ³:H GHVLJQHG LW WKDW ZD\ ´ ³:H NQHZ LW ZRXOG EH WKH EHVW YLHZ LQ WKH KRXVH ´ ³0\ GDXJKWHU ORRNV RXW WKH ZLQGRZ DQG ZDYHV WR HYHU\RQH ´ ³7KH SHRSOH ZKR ZDON E\ WKLQN WKLV LV WKH PRVW DPD]LQJ SODFH WR OLYH ´ ³,I ,¶P ZDWFKLQJ 79 RQ D UDQGRP 6DWXUGD\ , GRQ¶W ZDQW D WRXULVW ORRNLQJ LQ ´ ³:H¶UH QRW DIUDLG ´ ³1HLWKHU RI XV LV YHU\ PRGHVW ´ ³:H¶UH LPPHUVLQJ RXUVHOYHV ´ ³7KHUH¶V QRWKLQJ OLNH WKLV YLHZ LQ WKH FLW\ ´ ³7KDW DSDUWPHQW KDV QR SULYDF\ ´ ³:KHQHYHU , KDYH P\ EOLQGV RSHQ ´ KH VDLG ³, PDNH VXUH P\ DSDUWPHQW ORRNV SULVWLQH ´ ³,W¶V OLNH KDYLQJ D EDFN\DUG EXW ZH GRQ¶W KDYH WR PRZ WKH +LJK /LQH ´ ³7KH\¶UH VL[ IHHW IURP PH DQG GRQ¶W ORRN DW PH ,W¶V DOPRVW OLNH WKH\ GRQ¶W SHUFHLYH WKDW ,¶P WKHUH ´ ³,I , ZRUN IURP KRPH , VLW RQ WKH EDOFRQ\ DQG ORYH ZDWFKLQJ WKH SHRSOH SDVV E\ ´ ³:H¶UH µ5HDU :LQGRZ¶ +LJK /LQH UHVLGHQWV ´ KH VDLG ³,W JLYHV XV VRPHWKLQJ LQ FRPPRQ ´ ³,I ,¶P ZDWFKLQJ 79 RQ D UDQGRP 6DWXUGD\ , GRQ¶W ZDQW D WRXULVW ORRNLQJ LQ ´ ³, ZRXOGQ¶W FDOO LW D SDUDGH ,W¶V PRUH OLNH D VWUHDP RI ZDWHU ´ ³<RX FDQ¶W KHOS EXW ORRN LQVLGH EHFDXVH WKH\¶UH VR SUHWW\ ´

³$W ¿UVW , ZDV VK\ DERXW ORRNLQJ RXW ´ VDLG .DW\D 9DOHYLFK RI +/ &UHGLW 7RQ\ &HQLFROD 7KH 1HZ <RUN 7LPHV

³<RX NQRZ \RX¶UH LQIULQJLQJ RQ VRPHRQH¶V SULYDF\ WKRXJK \RX GRQ¶W PHDQ WR ´ ³7KHUH ZDV D ULQJ SURWHFWHG E\ D JODVV VLPLODU WR WKH NLQG \RX ZRXOG VHH LQ D PXVHXP ´ ³,W ZDV YHU\ ZHOO VWDJHG ´

LQWHUYLHZV IURP ³&ORVH 4XDUWHUV´ 6WHYHQ .XUXW] 7KH 1HZ <RUN 7LPHV

³RQ VRPH HYHQLQJV SDUNJRHUV FDQ ZDWFK KLP W\SLQJ Yoojin Han | Jihyun Nadia Kim

AESTHETICIZATION SURVEILLANCE

private and the public space had worn away by adopt-

WKH VWUHHW DQG SHRSOH LQVLGH EORFNHG DQG VHOI DEVRUEHG

ing the new technologies of surveillance, dataveillance.

vision by a mirror inside. The insider transformed into

7KH EXLOGLQJ QRZ SDUWLFLSDWHV DFWLYHO\ LQ VSDWLDOL]DWLRQ a voluntary prisoner of asymmetrical structure of viRI JD]H LQYLWLQJ DQG GHSOR\LQJ WKH JD]H DV ZHOO DV LQ-

VLRQ ZKLFK KH FDOOV µDUFKLWHFWXUDOL]HG VXUYHLOODQFH ¶

corporating a new system of information and control.

7KH ¿VK ERZO HIIHFW RI JODVV PRGHUQ EXLOGLQJ QRW RQO\ made the people inside dull but also turn the passer-

TKRPDV /HHVHU VSDWLDOL]HG WKH LGHD RI SDQRSWLFRQ

E\ RQ WKH VWUHHW WR YR\HXUV LV YLVXDOL]HG FOHDUO\ LQ WKLV

hidden in modern architecture, ‘seeing and being seen,’

project. The shop front, facades of glass modern build-

in The Glass bar in Chelsea. The facade, made up of a

ing, transformed into ‘a late-capitalist surveillance peep

one-way mirror, exposes the scene of the restroom to

show.’

BUDVVHULH UHVWDXUDQW LQ WKH 6HDJUDP EXLOGLQJ E\ 'LOOHU 6FR¿GLR EOXQWO\ DHVWKHWLFL]HV VXUYHLOODQFH DQG H[KLELtionism through the interior decorated with surveillance cameras. People spotted from the moment passing the UHYROYLQJ GRRU IURP WKH HQWUDQFH RQ WK 6WUHHW DQG ODWHU HQFRXQWHU ¿[HG JUDLQ\ DQG VW\OL]HG VHOI LPDJHV projected onto the screens above the bar. The images displayed until the new pictures of newcomers displace them. By crossing the threshold of the building, people arbitrary participated in total-surveillance. Contrast to a transparency of vision in Seagram building, the Brasse-

| 31

rie restaurant removed windows offered a site for a new

The structures of illicit vision, self-conscious and sco-

YLHZ ³VFRSRSKLOLF SOHDVXUH RI VHHLQJ DQG EHLQJ VHHQ ´

SRSKLOLD ¿UVW FRQVWUXFWHG DQG VSUHDG IURP PHGLDV DQG constructed to a new spatial condition, transparency.

Those

following cases uncover aesthetici-

This exposed panoptic condition radically imposed

]DWLRQ RI VXUYHLOODQFH ¿JXUH LQ UHFHQW VSDWLDO GHVLJQV from commercials to residential spaces. It is turning city strengthen the culture of voyeurism and exhibitionism.

dwellers, one into inmates and the other turn into observers.

The glass architecture once suggested as an LGHDO IDQWDV\ DQG XWRSLF VSDWLDO FRQGLWLRQ LQ WK FHQWXU\ RI PRGHUQ OLYLQJ LV VXSHU¿FLDOO\ UHSURGXFHG UHSHDWHG DQG µK\SHU UHDOL]HG¶ %DXGULOODUG E\ DGYDQFHG WHFKnologies of materials and constructions. The meaning RI VLPSOL¿HG IRUP DQG WUDQVSDUHQF\ LQ PRGHUQ DUFKL-

¿J DERYH OHIW 7KH *ODVV Bar in Chelsea, Thomas Leeser

tecture derived from ambitions of architects, a goal of liberation from past architectural styles and a desire of something purely functional and new, is in danger of contaminated and deformed into an over-exposed, hySHU PLQLPDOL]HG VHOI GHSUHFDWLRQ VSDFH LQ WKH FRQWHPporary architecture.

¿J EHORZ OHIW %UDVVHULH 5HVWDXUDQW LQ WKH 6HDJUDP %XLOGLQJ 'LOOHU 6FR¿GLR ¿J DERYH ULJKW :HVW WK =DKDG +DGLG ¿J EHORZ ULKJW +LJK/LQH 1HLO 0 'HQDUL

Yoojin Han | Jihyun Nadia Kim

FANTASY OF GLASS ARCHITECTURE

FANTASY OF GLASS ARCHITECTURE: GLASS UTOPIA

³We live for the most part in closed rooms. These form the environment from which our culture grows. Our culture is to a certain extent the product of our archi-

TKLV YHU\ HDUO\ LGHD RI IDQWDVL]DWLRQ RI JODVV DUFKLWHFture, glass utopia, aphorism glass architecture, is introduced by German critic and novelist Paul Scheerbart. These glass fantasies have been playing a dominant UROH LQ VFLHQFH ¿FWLRQ DQG DOVR LQ PRGHUQ DUFKLWHFWXUH VLQFH DW OHDVW WKH PLG QLQHWHHQWK 2QO\ PLG WK FHQWXU\ WKH GUHDP ¿QDOO\ KDELWXGH ZLWK WKH LQYHQWLRQ RI WKH picture window, creating the outside landscape as a television blurred the notion of outside and inside.

tecture. If we want our culture to rise to a higher level, we are obliged, for better or for worse, to change our DUFKLWHFWXUH $QG WKLV RQO\ EHFRPHV SRVVLEOH LI ZH WDNH away the closed character from the rooms in which we live. We can only do that by introducing glass architecture, which lets in the lights of the sun, the moon, and the stars, nor merely through a few windows, but through every possible wall, which will be made entirely of glass–of coloured glass. The new environment, ZKLFK ZH WKXV FUHDWH PXVW EULQJ XV D QHZ FXOWXUH ´ ³*ODVDUFKLWHNWXU´ *ODVV $UFKLWHFWXUH 3DXO 6FKHHUEDUW

MLG WK FHQWXU\ WKH IDQWDVL]HG JODVV KRXVH EHJDQ WR UHDOL]H LQ /H &RUEXVLHU¶V KRUL]RQWDO ZLQGRZ which turned the outside environment into a cinema. The window framed the moving scenery, and the architecture becomes a machine to see.

| 33

Information extracted from ³%OXUUHG 9LVLRQ $UFKLWHFWXUHV of Surveillance from Mies to 6$1$$´ %HDWUL] &RORPLQD AA School of Architecture /HFWXUH ¿J EHORZ (OHYDWLRQ 6WXG\ RI 6RXWKZHVW IDFHG RI 9LOOD 6DYR\H DW 3RLVV\ Foundation Le Corbusier, Paris

¿J OHIW 7ZLQGRZ $G 6DOW\ Cotton, Pittsburghplateglass,

Yoojin Han | Jihyun Nadia Kim

FANTASY OF GLASS ARCHITECTURE

IQ 0LHV¶ ¿UVW JODVV KRXVH )DUQVZRUWK KRXVH LV EXLOW DV D ÀRDWLQJ VWUXFWXUH ³WKH ÀRDWLQJ VHOI FRQWDLQHG .DWH´ DERYH WKH JURXQG &RORPLQD GHVFULEHG LW DV DQ DLUFUDIW ¿QDOO\ FRPLQJ LQWR WKH ODQG DQG UHVWLQJ RQ WKH HDUWK ,W UHDOL]HG WKH SLFWXUH RI HYHU\RQH¶V fantasy what modern architecture wanted to be.

PKLOLS -RKQVRQ EXLOW D JODVV KRXVH LQ WKH VDPH year for himself. In his home, glass becomes precisely DV ZDOOSDSHU KH VDLG ³WKH JODVV KRXVH ZDV YHU\ ZHOO for the simple reason that the ‘wall paper’ is so hand-

JRRG SLHFH RI DUFKLWHFWXUH ´ UDWKHU WKDQ GHPDWHULDOL]HG

some. It is perhaps a very expensive wallpaper, but you

architecture the glass, in fact, reinforces traditional role

KDYH ZDOOSDSHU WKDW FKDQJHV HYHU\ ¿YH PLQXWHV ZKLOH ZKLFK SURYLGHV HQFORVHG VSDFH 7KH PLQLPDOL]HG SODQ WKH GD\ DQG VXUURXQGHG E\ WKH EHDXWLIXO QDWXUH´ 7KH LQWHUUXSWHG RQO\ E\ D FLUFXODU EULFN EDWKURRP ÀRRU WR JODVV IRU -RKQVRQ SURYLGHV HQFORVXUH FRQWDLQPHQW EXW ceiling doors on all sides that all can be opened. It is deUDWKHU WKDQ RSHQQHVV ,W JLYHV D VHQVH RI ³\RX DUH LQ D VLJQHG WR EH ³XQLYHUVDOO\ YLHZ DQG KDYLQJ EHHQ GHULYHG

| 35

IURP ´ +HUH &RORPLQD UDLVHG D TXHVWLRQ WKDW ³ZKDW LI ]LQHV DQG DUWZRUNV +H IHDWXUHG LQ $QG\ :DUKRO¶V ZRUN

¿J OHIW DERYH )DUQVZRUWK

WKH JODVV KRXVH ZDV PDGH IRU 79"´ :KDW LI WKLV KRXVH DQG LQWURGXFHG LQ /DGLHV +RPH MRXUQDOV 1HZVZHHN

+RXVH 0LHV 9DQ 'HU 5RKH

LV GHVLJQHG WR EH YLHZHG"

He aimed it or not, his glass house becomes DQ LFRQ RI WK FHQWXU\ DUFKLWHFWXUH +H EHFDPH IDmous not only in the professional media of the architec-

<RUN 7LPHV PDJD]LQHV DQG %XVLQHVVZHHN DQG HYHQ

¿J OHIW EHORZ 7KH *ODVV

LQ 9RJXH -RKQVRQ EHFDPH D SURPLQHQW ¿JXUH LQ WKH

House

visual

¿J ULJKW 7KH *ODVV +RXVH 3KLOLS -RKQVRQ

ture journals but also in the renowned press of magaYoojin Han | Jihyun Nadia Kim

FANTASY OF GLASS ARCHITECTURE

| 37

of his chaotic inner world. He embodied his character, DVSLUDWLRQ PRWLYDWLRQ DQG VHOI FRQÀLFWV WKURXJK WKLV spatial language and architectural form. Transparency revealed his intimate portrait of vulnerability and frangibility emerged from the domestic synthesis of mass media, and the fear of losing a sense of self, and possessing fragmented sinful characters. The glass house existed upon his endless search for an ideal, an inspiUDWLRQ DQG RZQ VHOI LW ZDV D GH¿QLWH UHIXVDO WR WKH LGHD RI SRSXODUL]HG FRQVXPHU VRFLHW\

However,

the transparency of the glass

house, not only opened to nature and his inner world but also opened the door to the new architecture, which I call ‘media architecture’ and ‘pop architecture,’ adapted to technologies of surveillance and integrated doPHVWLF ERXQGDULHV WR D SRODUL]LQJ DQG LQÀXHQWLDO FXOWXUH Now it seems a lot of various spatial form and choices of lifestyle but mostly reproduced images, signs, and art movement of modern architecture.

value applied by prominent architects and giant corporation, the over-articulated form in high-end buildings

He refused to have any media in his house;

are mostly not derived from habitant’s inner world, but

FRQVXPHULVP GHHSO\ LQVWUXPHQWDOL]HG DQG QDUUDWHG LQ RU QRLVH RI DQ\ NLQG ZKLFK FORVHV LWVHOI WR WKH RXWVLGH every part of our society. much more radically than a stone house will do. He there was no television, no telephone, no gramophone

used his own home as a television broadcast studio, NHHS EXLOGLQJ WKH QHZ VWUXFWXUH EURDGFDVWLQJ +H ZDV RQ 79 IURP ZKHQ SHRSOH GLGQ¶W NQRZ ZKDW WKH\ are supposed to do, but he ultimately understood he was the perfect character for Television. He was com-

¿J OHIW 3KLOLS -RKQVRQ

fortable with journalists reporting on his own life; there

$QG\ :DUKRO

was no distinction between reporter and him. His life EHFRPHV D UHDOLW\ 79 VKRZ

AOWKRXJK

KLV µVXSHU¿FLDOO\ QRQUHSUHVHQWD-

¿J ULJKW DERYH $Q ,QWLPDWH 3RUWUDLW RI WKH 3KLOLS -RKQVRQ Glass House, Adele Tutter,

WLRQDO SK\VLFDO VWUXFWXUH¶ 'UHDP +RXVH $GHOH 7XWWHU LV PXFK OLNH WKH FRQWHPSRUDU\ JODVV DUFKLWHFWXUHV his transparent house is fundamentally different. His LQWLPDWH VSDFH ZKROO\ H[SRVHG DQG DOPRVW QDNHG E\

¿J ULJKW EHORZ 9RJXH 0DJD]LQH 3LOLS -RKQVRQ

the clear external wall, emerged from his self-portrait Yoojin Han | Jihyun Nadia Kim

FANTASY OF GLASS ARCHITECTURE

| 39

TKH DSDUWPHQW VWRU\ JODVV VWUXFWXUH JODVV DSDUWPHQWV UHSUHVHQWHG WKH IXO¿OOPHQW RI 0LH¶V \HDUV GUHDP RI D VNLQ DQG ERQHV VWUXFWXUH and wanted to give city apartment dwellers the feeling of living close to the outdoors as people in the sewers GR ZKR KDYH ÀRRU WR FHLOLQJ SLFWXUH ZLQGRZV LQ WKHLU houses. The glass suspended in the air their wall allowLQJ YLHZV RI WKH ODNH IURP HYHU\ DSDUWPHQW EXW DW WKH same time turning each apartment into a display.

LLNH DV 3KLOLS -RKQVRQ¶V UHIXVH IURP PDVV media turned to a broadcast studio, Mie’s glass apartment opening view to city dwellers, changed into a multiplex theater providing an audience for each other. 6NLQ DQG ERQH VWUXFWXUH JDYH IHHOLQJ FORVH WR WKH RXWdoor, that became a display of private life for each other VR PXFK OLNH UHDOLW\ WHOHYLVLRQ

¿J DERYH ZLQGRZV RI DSUWPHQWV 0LHV 9DQ 'HU 5RKH SKRWR from /LIH PDJD]LQH ¿J EHORZ 0LHV YDQ GHU 5RKH *ODVV 6N\VFUDSHU 3URMHFW SKRWRPRQtage. ¿J OHIW DSUWPHQWV 0LHV 9DQ 'HU 5RKH

Yoojin Han | Jihyun Nadia Kim

| 41

GAZE

TRANSPARENCY

Yoojin Han | Jihyun Nadia Kim

X-RAY ARCHITECTURE GLASS BOX

X-RAY ARCHITECTURE BHDWUL] &RORPLQD GH¿QHG µ; UD\ DUFKLWHFWXUH ¶ the see-through sanatorium not just a tool for diagnosis but also a site for a new form of public surveillance. The

³1RWKLQJ LV WUXO\ UHÀHFWHG DQ\ PRUH ZKHWKHU LQ D PLUURU

development of X-rays and glass architecture coincides

RU LQ WKH DE\VVDO UHDOP ZKLFK LV PHUHO\ WKH HQGOHVV

just as the x-ray framed the paused view inside of the body to the public eye in an object. The glass building GLVSOD\HG DQG REMHFWL¿HG ¿JXUHV DQG H[SRVHG LQWHULRU DQG SUHYLRXVO\ KLGGHQ DQG NHSW SULYDWH VSKHUH EHFDPH now subjected to public scrutiny.

We are living in digital society, where transparency and surveillance become a cultural norm. Every individXDO DOZD\V H[SRVHG WR SXEOLF H\HV DQG REMHFWL¿FDWLRQ RI RQHVHOI DQG RWKHUV WKURXJK WKH UHÀHFWHG ¿JXUH DQG WR D GDWD¿FDWLRQ RI WKRXJKW EHKDYLRU DQG UHODWLRQVKLS 2XU visible shadows and materialistic and virtual forms born and tumbled to real value, and our inner realm and deVLUH RI IUHHGRP EURNH DQG YDQLVKHG LQWR QRQ H[LVWHQFH $QG\ :DUKRO¶V &DPSEHOO¶V VRXS DQG %\]DQWLQH LFRQV PDGH XV FRPSOHWHO\ VDWLV¿HG DQG KDG QR PRUH FXULRVLW\

UHGXSOLFDWLRQ RI FRQVFLRXVQHVV «WKHUH LV QR ORQJHU any such thing as a revolution of values-merely a circumvention or involution of values. A centripetal compulsion coexists with a decent redness of all systems, an internal metastasis or fevered endogenic virulence which creates a tendency for systems to explode beyond their own limits, to override their own logic-not in the sense of creating sheer redundancy, but in the VHQVH RI DQ LQFUHDVH LQ SRZHU D IDQWDVWLF SRWHQWLDOL]DWLRQ ZKHUHE\ WKHLU RZQ YHU\ H[LVWHQFH LV SXW DW ULVN ´ The Transparency of Evil, Baudrillard

| 43

of existence of God and meaning, of real beauty and

with dispersed light, he thought light without a shadow

values of things. Now the contemporary culture and

is lifeless. He turned straight and plain surfaces into

architecture turning oneself into a transparent object

FXUYHG SODQHV DQG VNHOHWRQ ZDOOV WR DFKLHYH WKH ULFK-

which already all seen through so that pauses search-

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ing for one’s existence and self-identity.

shifted one stage to another. The stage moved into the VLGH VWDJH ³ZLQJV´ DQG UROOHG LQ D QHZ VHW IURP WKH other side. The middle stage and one wing enabled the double-set of the stage, hidden the change of scene from eyes of the audience. The shadow effect, which KH EHOLHYHG WR EH WKH IXWXUH RI WKHDWHU FDPH WR D ³7KHDWHU RI 7RWDOLW\ ´ +H WXUQHG DQ DXGLHQFH WR D ³IRUPDWLYH PHGLD ´ ,Q KLV SURMHFW PDQ KDV EHHQ LQWHUSUHWHG DV D SDUW RI REMHFWL¿HG FRQWH[WV ZLWKLQ D IRUP RI WKH WKHDWHU box and located to please a vision from outside.

FROZEN GLASS BOX: THEATER OF TOTALITY Initially,

the transparency in architecture is a

creation of great dreamers, by creative architects, such as Crystal Palace and Eiffel Tower. However, as seen in the X-ray architecture, transparency understood as a material which led to larger openings and a perfect transparent than as a potential mediator between the dissociated units and alienated individuals of urban living. Contemporary glass buildings are lighter, high-

0LHV µ *HVWDOWXQJ µV WKH QXPEHU $SULO SXElished an article that uses the same head and the silhouette of both X-ray and showing pictures.

HU DQG PRUH WUDQVSDUHQW WKDQ WKH WK FHQWXU\ EXW WKH main idea; which is built based on function, new construction method, and building material, and interest of institution and corporation, is still maintained in the form

¿J DERYH 2SHUD 0DGDPH %XWWHUÀ\ /DV]OR 0RKRO\ 1DJ\ *DFRXJQRO

of shaded glass ‘box’.

LD]OR 0RKRO\ 1DJ\ GHVLJQHG D FRQWHPSRUDU\ VWDJH NHSW LQVLGH D µER[¶ ZLWK RQO\ IURQW VLGH RSHQ which creates an illusion of reality. The stage set for

¿J EHORZ

Stage Set for Madame %XWWHUÀ\ /iV]Oy 0RKRO\ 1DJ\

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LITERAL PHENOMENAL

SPECIFIC FORMAL CHARCTERISTICS OF CONTEMPORARY ARCHITECTURE: µ6,08/7$1(,7<¶ µ,17(53(175$7,21¶ µ683(5,0326,7,21¶ µ$0%,9$/(1&(¶ µ63$&( 7,0(¶ µ75$163$5(1&<¶

TKH TXDOLW\ RI WUDQVSDUHQF\ LQ DUFKLWHFWXUH has been applied exclusively to its material aspects, such as a wire mesh and glass curtainwall, which rely on optical condition. But the analog of transparency in DUFKLWHFWXUH PXVW EH FRQVLGHUHG LQ RWKHU TXDOLWLHV WR DFKLHYH D VSDFH JDWKHULQJ RI IUHH VSLULWV DQG WR NHHS XV DOLYH 2XU H\HV PXVW EH GHÀHFWHG IURP WKH IUR]HQ JODVV ER[ DQG ; UD\ PDFKLQH VWUXFWXUDOL]LQJ DQG REMHFWLI\LQJ living.

CROLQ 5RZH DQG 5REHUW 6OXW]N\ LQ WKH VHPLQDO HVVD\ ³ 7UDQVSDUHQF\ /LWHUDO DQG 3KHQRPHQDO ´ those words, ‘simultaneity,’ ‘interpenetration,’ ‘superimpositon,’ ‘ambivalence,’‘space-time’,‘transparency,’ are analogous in the literature of contemporary architecWXUH :H FDQ DUJXH WKDW WKHVH VSHFL¿F IRUPDO FKDUDFWHULVWLFV RI DUFKLWHFWXUH VLPLODU WR WKH [ UD\ FU\VWDOL]HV our evasive nature into form, obsoleted own critical DQDO\VLV YLHZ RI WKH ZRUOG 5RZH DQG 6OXW]N\ DFFHSW WKH OLIH RI DPELJXLW\ H[SRVH WKH ZRUG ³WUDQVSDUHQF\ ´ endowed with a different layer of meaning, rather than H[DPLQH RU GH¿QH

| 45

PYSICAL AND CONNOTATIONAL: WHAT DOES BEING TRANSPARENT MEAN?

³,I RQH VHHV WZR RU PRUH ¿JXUHV RYHUODSSLQJ RQH another, and each other of them claimes for itself the common overlapped part, the one is confronted with a contradiction of spatial dimensions. To resolve this contradiction one must assume the presence of a new RSWLFDO TXDOLW\ 7KH ¿JXUHV DUH HQGRZHG ZLWK WUDQVRRZH DQG 6OXW]N\ GLVWLQFW WUDQVSDUHQF\ LQWR parency, that is they are able to interpenetrate without two categories, one is a literal transparency, percepan optical destruction of each other. Transparency tual and substance; the other is a phenomenal trans- however implies more than an optical characterisWLF LW LPSOLHV D EURDGHU VSDWLDO RUGHU 7UDQVSDUHQF\ parency. , conceptual and spatial. Moholy perceived PHDQV D VLPXOWDQHRXV SHUFHSWLRQ RI GLIIHUHQW WUDQVSDUHQF\ DV DQ LQKHUHQW TXDOLW\ RI VXEVWDQFH DQG VSDWLDO ORFDWLRQV 6SDFH QRW RQO\ UHFHGHV EXW ÀXFDQ RUJDQL]DWLRQ *\RUJ\ .HSH ³/DQJXDJH RI 9,VLRQ ´ WXDWHV LQ D FRQWLQXRXV DFWLYLW\ 7KH SRVLWLRQ RI WKH GH¿QHG LPSOLFDWLRQ RI WUDQVSDUHQF\ DV ³FOHDUO\ DPELJX- WUDQVSDUHQW ¿JXUHV KDV HTXLYRFDO PHDQLQJ DV RQH VHH ¿JXUH QRZ DV WKH FORVHU QRZ DV WKH IXUWKHU RXV´ DQG ³RYHUODSSLQJ SODQHV¶ RQH ´ PHYSICAL: REAL AND LITERAL

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• Critical

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• Ceased to be perfectly clear and become.

tones.

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perfectly evident.

in a continuous activity. • Innate perceptive ability.

$Q DWWULEXWH RI SHUVRQDOLW\ • An absence of guile and pretense of dissimulation.

¿J EHORZ 3RVLWLRQLQJ OXQJ Anamaria Tatu

Yoojin Han | Jihyun Nadia Kim

TRANSPARENCY IN CUBISM PAINTING

PDXO &p]DQQH ZDV RQH RI WKH PRVW LQÀXHQWLDO DUWLVWV RI WKH WK FHQWXU\ +LV DQDO\WLFDO DSSURDFK WR QDWXUH DQG XQLTXH PHWKRG GHWDFKHG IURP UHSUHVHQtational form and space later become a typical cubist PRWLI 7KH 0RQW 6DLQWH 9LFWRLUH RQH RI KLV ODWH ZRUN LV

LITERAL PHENOMENAL

FKDUDFWHUL]HG E\ D FHUWDLQ H[WUHPH VLPSOL¿FDWLRQ ZKLFK is HPSKDVL]HG IURQWDO YLHZSRLQW RI WKH ZKROH VFHQH 6XSSUHVVLRQ RI DSSDUHQW IHDWXUHV DQG FRQWUDVW GLI-

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TRY TO GUESS IF IT IS LITERAL TRANSPARENCY OR PHENOM(1$/ 75$163$5(1&<

| 47

¿J 3DXO &H]DQQH 0RQW 6LQWH 9LFWRLUH

Yoojin Han | Jihyun Nadia Kim

PICTORIAL PROBLEMS OF ANALYTICAL CUBISM AND MODERN ARCHITECTURE

The Cubist painting has been interpreted to illustrate the presence of both literal and phenomenal

THOSE ARE ALL TYPICAL CHARACTERISTICS OF ANALYTICAL CUBISM

transparency, a fusion of temporal and spatial factors.

LITERAL PHENOMENAL

However, the interpretation of cubism became very litHUDO DQG FULWLFDO DQDO\VLV DQG VNHSWLFDO YLHZ RI WKRVH H[SODQDWLRQV DUH VWLOO ODFNLQJ LQ VSLWH RI WKH VSDFH RI

FRONTALITY

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SUPPRESSION OF DEPTH

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CONTRACTING OF SPACE

Characteristics

of analytical cubism, typ-

DEFINITION OF LIGHT SOURCES

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TIPPING FORWARD OF OBJECTS

overly representational purpose and assume a more

RESTRICTED PALETTE

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OBLIQUE

page hindered our interpretation, and our perceptual recognition awarded and set inside the grid. Our eyes

RECTILINEAR GRIDS

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PROPENSITIES TOWARDS PERIPHERIC DEVEL-

lines as described to reassure that we understood the

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| 49

%$&.*5281' 0,''/( *5281' )25(*5281' ¿J 3DXO &H]DQQH 0RQW 6LQWH 9LFWRLUH

Yoojin Han | Jihyun Nadia Kim

WHAT DO YOU SEE NOW ?

WKHQ

REVHUYHU UHDOL]HV DOO WKH SODQHV

ZKLFK DUH GLVWLQJXLVKHG DQG VWLFN RXW IURP WKH JULG system, progressively becomes conscious of variRXV RWKHU SDUWV ZLWK D QHZ KRUL]RQ &RORUV VKDSHV and many different characteristics can be perceived and associated with own images and meaning. The ³GRXEOH QDWXUH RI WUDQVSDUHQF\´ LOOXVWUDWHG LQ FXELVP paintings, the coexistence of representational con-

LITERAL PHENOMENAL

WHQWV DQG SRVVLELOLW\ RI D OLEHUDWHG UHDGLQJ RI ¿JXUH DQG JULG 1RZ .HSHV¶V GH¿QLWLRQ RI WUDQVSDUHQF\ ZLOO be conceived more clearly.

³,I RQH VHHV WZR RU PRUH ¿JXUHV RYHUODSSLQJ RQH another, and each other of them claimes for itself the common overlapped part, the one is confronted with a contradiction of spatial dimensions. To resolve this contradiction one must assume the SUHVHQFH RI D QHZ RSWLFDO TXDOLW\ 7KH ¿JXUHV DUH endowed with transparency, that is they are able to interpenetrate without an optical destruction of each other. Transparency however implies more than DQ RSWLFDO FKDUDFWHULVWLF LW LPSOLHV D EURDGHU VSDWLDO RUGHU 7UDQVSDUHQF\ PHDQV D VLPXOWDQHRXV SHUFHSWLRQ RI GLIIHUHQW VSDWLDO ORFDWLRQV 6SDFH QRW RQO\ UHFHGHV EXW ÀXFWXDWHV LQ D FRQWLQXRXV DFWLYLW\ 7KH SRVLWLRQ RI WKH WUDQVSDUHQW ¿JXUHV KDV HTXLYRFDO PHDQLQJ DV RQH VHH ¿JXUH QRZ DV WKH FORVHU QRZ DV WKH IXUWKHU RQH ´

³/DQJXDJH RI 9LVLRQ´ *\RUJ\ .H\SHV

| 51

CONTRADICTORY STATEENT OF FRONTALITY PHYSICAL NATURE

NATURALISTIC SIGNIFICANCE

OVERLAPPING

DIAGONAL SPATIAL RECESSION

TRANSLUCENT / OPAQUE INTERSECTIONG

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COORDINATE EXTENDED SPACE

,17(5/2&.,1*

BUILDING UP INTO LARGER ¿J &HOOXORLG DQG 2SDTXH

SEMI-OPAQUE

&ROODJH <RRMLQ +DQ

SIMULTANEOUSLY IN TRANSMISSION OF LIGHT

FLUCTUATING CONFIGURATION

Yoojin Han | Jihyun Nadia Kim

WHO OWNS THE VIEW?

| 53

single page image

7KH QDUURZ EORFN 7KH QDUURZ EORFN LQ %DXKDXV SLQZKHHO LQ D PDQQHU highly suggestive of constructivist compositions. The LQWURGXFWLRQ RI JOD]LQJ DORQJ WKH VLGH ZDOOV GLVWXUELQJ

¿J )LUVW ÀRRU RI %DXKDXV¶ %XLOGLQJ LQ 'HVVDX - Walter Gropius, Carl Fieger, (UQVW 1HXIHUW î

¿J *URXQG ÀRRU RI %DXKDXV¶ %XLOGLQJ LQ 'HVVDX :DOWHU *URSLXV Carl Fieger, Ernst Neufert î

the usual focus of the hall upon the presidential box and introduces to the transverse direction. The axial approaching to auditorium subjected to the attraction of its principal entrance which he sees framed within D VFUHHQ RI WUHHV EHWZHHQ WKH ÀDQNLQJ RI¿FH EXLOGLQJ DQG IRUHJURXQG DQG FURVVZDON DQG FRXUW\DUG

%DXKDXV %XLOGLQJ LQ 'HVVDX by architect Walter Gropius, LPDJH ‹ /XFLD 0RKRO\ (VWDWH $UWLVWV 5LJKWV 6RFLHW\ $56 1HZ <RUN 9* Bild-Kunst, Bonn

Yoojin Han | Jihyun Nadia Kim

WHO OWNS THE VIEW?

| 55

%DXKDXV %XLOGLQJ LQ 'HVVDX by architect Walter Gropius, LPDJH ‹ /XFLD 0RKRO\ (VWDWH $UWLVWV 5LJKWV 6RFLHW\ $56 1HZ <RUN 9* Bild-Kunst, Bonn

In Bauhaus, intimations of depth inherent. A cut, a displacement, a sliding sideways occur along WKH OLQH RI LWV PLQRU D[LV $V D ¿JXUH LW LV UHSHDWHGO\ VFRUHG WKURXJK DQG EURNHQ GRZQ LQWR D VHULHV RI lateral references-tree, circulations, a momentum of the buildings themselves. In Bauhaus, the whole area

¿J )LUVW ÀRRU RI %DXKDXV¶ %XLOGLQJ LQ 'HVVDX - Walter Gropius, Carl Fieger, (UQVW 1HXIHUW î

¿J *URXQG ÀRRU RI %DXKDXV¶ %XLOGLQJ LQ 'HVVDX :DOWHU *URSLXV Carl Fieger, Ernst Neufert î

becomes a sort of a debate between a real and deep space and a ideal and shallow one. ³,I ZH FRXOG DWWULEXWH WR VSDFH WKH TXDOLWLHV RI ZDWHU WKHQ KLV EXLOGLQJ LV OLNH D GDP E\ PHDQV RI ZKLFK VSDFH LV FRQWDLQHG HPEDQNHG WXQQHOHG VOXLFHG DQG ¿QDOO\ VSLOOHG LQWR WKH LQIRUPDO JDUGHQV DORQJVLGH WKH ODNH ´

¿J EHORZ 3RVLWLRQLQJ OXQJ Anamaria Tatu

Yoojin Han | Jihyun Nadia Kim

| 57

CITY WHO CREATES A METROPOLIS? The world is drastically different today from what it was a few decades ago. In the past, culture was shared on a smaller geographical scale than it is today. Nowadays, regardless of locations, language, and culture, the world’s great metropolises have more in common with each other than they do with the regions and countries they are in. They have transcended their cultural traditions and established a cosmopolitan PRGHUQLW\ WKDW H[WHQGV DURXQG WKH ZRUOG %HQH¿WV IURP FRVPRSROLWDQ PRGHUQLW\ VWLPXODWHG PRUH PLJUDWLRQ to a metropolis, calling for an expansion of a metropolitan area. These newer, authority-made metropolises are problematic because they failed to see the various forms of life. The life of the people was calculated DQG DYHUDJHG RXW WR FRQVWUXFW D EXLOW HQYLURQPHQW WR UHSURGXFH WKH PRGHUQLW\ &RQVHTXHQWO\ SHRSOH QRW only feel disassociated in their built environment, but also loss of identities which prevents them from cultural cultivation. Modern metropolises need to reconcile the constitutive characteristics of a metropolis. Yoojin Han | Jihyun Nadia Kim

-XQH RI WKH FLWL]HQV RI RQH RI WKH FRXQWULHV

Societies are built upon the similarities of

WKDW ZHUH ÀRXULVKHG WKURXJK JOREDO LQWHUFRQQHFWLRQ

RZQ NLQG IDFLQJ WKH LQWUXVLRQ RI IRUHLJQQHVV LQ WKHLU

decided to part away from the connection. The United

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and actively brought the world together under the power

different societies of the world, it is hard to close the border

of British Empire, now wanted the new independence.

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The people of the United Kingdom didn’t consider the

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connection to the rest of the European countries as a

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EHQH¿W DQ\PRUH 7KH\ ZDQWHG WR EH VHSDUDWHG 7KH\

the society drastically and advantageous to the people.

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WKH FLWL]HQV¶ FROOHFWLYH UHDFWLRQ WRZDUGV WKH RQJRLQJ

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we explain the cultural value, the social meaning of

country anymore. They are much alienated from the

diverse cultural, religious, and ethnic demographics in

development of their countries that they wanted to stop

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DQG JR EDFN ,W LV WUXH WKDW WKH\ PD\ QRW WUXO\ NQRZ

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how their countries were before. It is this state of

JOREDOL]DWLRQ"

BOUNDARY FOR A NATION

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can we establish bridges between different cultures or

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¿J D %UH[LW VXSSRUWHU KROGV a sign encouraging the leave YRWH *HWW\ ,PDJH

| 59

There needs to be an explanation or interpretation for the actual existence of the city and KRZ LW FRPHV LQWR EHLQJ ZK\ WKH\ DUH ZKHUH WKH\ are, with whom and with what they are connected, how they are used, how they disappear, or what they have behind. In other words, there needs to be a trace of an identity of a city available to the people. The start of the city as a reconciliation, intertwining, and convergence of different forms of life and crossing over their differences should be recalled in the mind of the people. Accordingly, structures, people, cultures, are

WHAT IT MEANS TO BE A CITY

feasible.. The image of a metropolitan was lost in the course of a capitalistic economy. The megalopolis, such DV WKH RQH UHFRJQL]HG E\ -HDQ *RWWRPDQ FRQWLQXHV WR generate throughout the developed world to such an extent that, with the exception of cities which were laid in place before the turn of the century, we are no longer DEOH WR PDLQWDLQ GH¿QHG XUEDQ IRUPV 7KH IHHOLQJ RI placelessness is indeed universal, and the modern HQYLURQPHQW IXUWKHUPRUH HQFRXUDJHV WKH XELTXLWRXV placelessness. To recover of not belonging to anywhere in the modern society, the built environment needs to act as a WKUHVKROG XQGHUVWDQGLQJ WKH XQLYHUVDO FLYLOL]DWLRQ WKH VWUXFWXUH RI D FLYLOL]DWLRQ :KHQ WKLV XQGHUVWDQGLQJ LV translated into place and form, through the experience of the space, the body is able to decode this information, and open up the possibility of a perceptional change.

³7KH µLQ RUGHU WR¶ KDV EHFRPH WKH FRQWHQW RI WKH µIRU WKH VDNH RI¶ XWLOLW\ HVWDEOLVKHG DV PHDQLQJ JHQHUDWHV PHDQLQJOHVVQHVV ´ Hannah Arendt Yoojin Han | Jihyun Nadia Kim

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Today, the city became a place of anonymous,

values and circulation of powers. A city is composed of

indifferent, and apathetic. Once a mass of bodies

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SDFNHG WLJKWO\ WRJHWKHU LQ WKH FHQWHU RI FLWLHV WKH FURZG

independent actions. In a city, individuals perceive their

today has dispersed. They only assemble in malls for

environment not only through the personal senses but

consumption rather than for the more complex purposes

through the symbolic system of instituted differences

of community or political power; in the modern crowd

and meanings of the culture to which they belong.

the physical presence of other human beings feels threatening. The metropolis is now an ‘orgy of difference,

The interaction between individuals and society

of disconnection, of exhibition, and of circulation’

LV D FRQVWDQW EULQJLQJ DERXW DQG UHRUJDQL]DWLRQ of differences. Being an individual as belonging

In the course of modern development and

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urban individualism, the individual became silent in

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the city. The street, the cafe, the department store,

individuals

is

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established and perpetuated through the symbolic.

scenes of discourse. A city became a gather space

and

this

constitutive

relationship

for the strangers, the pseudo-community of strangers. 7KH FLW\ LV WKH V\PEROL]HG IRUP RI WKLV UHODWLYH

The stranger is an element of a social group, but the

autonomy to express their logic and maintain them

stranger cannot become an individual.

in a comparative independence to the motivations of the other humans. The city is the genuine arena of the culture which outgrows all personal life.

¿J OHIW DHULDO ÀLJKW DERYH Mongolia capital Ulaanbaatar $OH['URQH ¿J ULJKW 6KLEX\D &URVVLQJ -DSDQ 6WRFN 3KRWRV

FORMATION OF A CITY

| 61

:KDW LV D FLW\" $ FLW\ LV D FHOHEUDWLRQ RI

Cities have an ability to store and retrieve

values and circulation of powers. A city is composed of

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in human behavior in the form of architecture and

independent actions. In a city, individuals perceive their

the perception of individuals. The meaning of a city,

environment not only through the personal senses but

recorded in the memory of the people are indeed the

through the symbolic system of instituted differences

driving conscience for the architecture. In a sense

and meanings of the culture to which they belong.

this memory is the allographic trait of the architecture.

The interaction between individuals and society

The internal structure of a city is produced through

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interpretation and instrumentation by the individuals.

of differences. Being an individual as belonging

The abstract schemas becomes the tangible form

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RI WKH ZRUN WKURXJK DUFKLWHFWXUH DQG SURGXFHV WKH

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new realities. In a visual form, the architecture of the

individuals

is

city embodied collective memory through a structure

established and perpetuated through the symbolic.

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and

this

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physical difference and the development of cities. 7KH FLW\ LV WKH V\PEROL]HG IRUP RI WKLV UHODWLYH autonomy to express their logic and maintain them

However, as cities fall silent and the memory of the

in a comparative independence to the motivations of

city being lost in the course, what can architecture do

the other humans. The city is the genuine arena of the

to intervene this memory loss and alleviate the state of

culture which outgrows all personal life.

SODFHOHVVQHVV LQ D FLW\"

Yoojin Han | Jihyun Nadia Kim

In order to reactivate the memory of the city,

7KH WRXULVW¶V JD]H UHPRYHV WKH ERQG RI

the mental dimension of architecture needs to be

habitual use to lives and identities from consideration,

UHFRJQL]HG DV ZHOO 7KH WDVN RI DUFKLWHFWXUH H[WHQGV

preferring visual spectacle, and has dominated the

beyond its material, functional, and measurable

way that architecture is presented. Architecture needs

properties into the mental and existential sphere of life.

to shift its attention as a support for life and to see that focus as a legitimate part of the aesthetic analysis.

³,I D ZRUN RQO\ H[SUHVVHV WKH SHUVRQ ZKR FUHDWHG LW LW ZDV QRW ZRUWK GRLQJ « ([SUHVVLQJ WKH ZRUOG understanding it, that is what seems interesting to

INHABITANTS OVER TOURISTS

PH´

$OWKRXJK ZKHQ ¿UVW HQFRXQWHULQJ ZH WHQG

Building as letting-dwell is critical. The space for dwelling, the space of being free inside a boundary is needed, but this boundary cannot be the authoritative top-down system. The boundary has to embody one’s identity, in order to let its individual inhabit, and cultivate within. Giving people the boundary and allowing people to have the dialectics between

to pay attention to the visual form of the architecture.

ones of different boundaries with dissimilar values is

However, as every day continues, we do not focus on

the essential identity of a city.

the building but instead on what we are trying to do in it. As time goes, the building is more or less ignored,

As a threshold, this identity of a city needs to

and what matters for its inhabitants is whether their

be encoded in the conscience of architecture to create

OLIH KDELWV DUH DFFRPPRGDWHG EHFDXVH WKH JD]H RI DQ LQKDELWDQW LV GLIIHUHQW IURP WKH JD]H RI D WRXULVW

a new reality through experience within for individuals.

¿J OHIW WKH ,QVLGH RI WHUPLWH 0RXQG 6N\H ¿J PLGGOH 0DS RI 5RPH *LDPEDWWLVWD 1ROOL ¿J ULJKW 2I¿FH LQ D 6PDOO &LW\ (GZDUG +RSSHU

| 63

The city has always been the battleground between the public and the private. The ‘private’ which descended from the Latin word, ‘privare,’ to deprive someone of something, the word has a negative connotation and a notion of something. The ‘public’ has been associated with a harmonious order and the happiness, whereas the space of the private was registered as chaos, signifying the uncontrollable variants. Especially, considering the eyes of the VWUDQJHU DQG FLWL]HQV WKH SULYDWH EXLOGLQJV WKURXJK their diversity, the city can easily be interpreted to be uncontrollable which is a substantial economic loss in

CHAOTIC WHOLE

D JOREDOL]HG ZRUOG

¿J OHIW D VFHQH IURP 3OD\WLPH -DFTXHV Tati ¿J ULJKW &KLQDWRZQ 1HZ <RUN XQNQRZQ

+RZHYHU LQ WKH JD]H RI WKH LQGLYLGXDO WKH

FLWL]HQ RI WKH FLW\ WKLV EDWWOHJURXQG LV WKH SRVLWLYH dialectics. Letting individuals be themselves, and the city as a collective entity, the public space becomes ZKHUH WKH LQWHUPHGLDU\ YDOXHV RI WKHVH ³FKDRWLF´ individuals come together, allowing the further mutation RI WKH QRUP :KHQ WKH FLW\ ORVHV WKH DQ[LHW\ WR ORRN JRRG IRU WKH JD]H RI WKH WRXULVW EXW HQDEOH WKH FKDRWLF SURFHVV WR WDNH RQ EHWZHHQ GLYHUVL¿HG LQGLYLGXDOV WKH FLW\ EHFRPHV WKH LQ KDELW VSDFH IRU LWV FLWL]HQV Yoojin Han | Jihyun Nadia Kim

| 65

GENERATIVE RESEARCH

Yoojin Han | Jihyun Nadia Kim

RFID MAPPING

| 67

Yoojin Han | Jihyun Nadia Kim

OBJECTIFICATION OF VIEWS

single page image

| 69

single page image

Yoojin Han | Jihyun Nadia Kim

| 71

Yoojin Han | Jihyun Nadia Kim

| 73

Yoojin Han | Jihyun Nadia Kim

PROGRAM / CHANGE/ SPACE/ TIME

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| 75

Yoojin Han | Jihyun Nadia Kim

| 77

Yoojin Han | Jihyun Nadia Kim

| 79

Yoojin Han | Jihyun Nadia Kim

THE IDEAL HUMAN

| 81

Yoojin Han | Jihyun Nadia Kim

| 83

SITE RESEARCH : UNNAMED OPEN SPACE IN LONDON Yoojin Han | Jihyun Nadia Kim

London has been a place of major settlement

The acceptance of various people and their

for more than two thousand years. From earlier im-

culture made London be the cultural capital as well

PLJUDQWV VXFK DV &HOWLFV 5RPDQV 6D[RQV 9LNLQJV DV WKH ZRUOG¶V ODUJHVW ¿QDQFLDO FHQWHU %HLQJ KHWHUR'DQHV 1RUPDQV WR PRGHUQ ZRUOGZLGH LPPLJUDQWV geneous, opening up oneself to others, allowing the London is a cultural melting pot. Today in London, over

freedom of others, learning from their criticisms and

WKUHH KXQGUHG ODQJXDJHV DUH VSRNHQ DQG RQO\ ¿IW\ ¿YH insights cultivated London to have rich and tolerant culpercent of the population is non-white British.

6LQFH WKH IRXQGDWLRQ RI WKH FLW\ WKH FLWL]HQV

³$OO WKH LQJUHGLHQWV DUH HTXDOO\ LPSRUWDQW 7UHDWLQJ

of London have experienced, opened up, and learned

one ingredient better than another will leave a bitter

from diverse cultures around the world. Also, gener-

XQSOHDVDQW WDVWH ´ %HQMDPLQ =HSKDQLDK D %ULWLVK

ations to generations, the people have watched how

poet

these multi-cultures have shaped the landscape of London.

LONDON

tures where different ideas coexist.

| 85

¿J OHIW SODQ RI 5RPDQ /RQGRQ $' &DVVHOO DQG &RPSDQ\ ¿J ULJKW (WKQL&LW\ -DPHV Cheshire, Oliver Uberti Yoojin Han | Jihyun Nadia Kim

¿J OHIW 6LPLODULWLHV $WWUDFW -DPHV &KHVKLUH 2OLYHU Uberti ¿J ULJKW 0DS RI 3VHXGR public Space conducted by the Guardian Cities Investigation and GiGL

| 87

According to the Guardian Cities Investigation,

³%XW FLWLHV OLNH /RQGRQ KDYH DOZD\V KDG diverse combinations of ownerships, predominantly

privately owned. Why do these pseudo-public spaces

public but also private and semi-private. There’s all

H[LVW" 6RPHWLPHV FRUSRUDWHV IHHO WKH QHHG WR SURYLGH

VRUWV RI FRPSOLFDWLRQV DQG QXDQFHV ZKLFK , WKLQN

better accessibility, space for their users, or sometimes

fail to be understood by claims that all privatisation

LW LV D ]RQLQJ UHJXODWLRQ LPSRVHG RQ WKH FRUSRUDWHV E\

is bad, and all public ownership of public space is

the government or governmental commission of rein-

good. I’m not interested in using the issue of privatelyowned public spaces as a surrogate for a larger

vention of the deserted public space.

PSEUDO-PUBLIC SPACE IN LONDON

WKHUH DUH DERXW SXEOLF VSDFHV LQ /RQGRQ WKDW DUH

SROLWLFDO DUJXPHQW , WKLQN WKHUH DUH PDQ\ LQVWDQFHV

'HVSLWH WKH SRWHQWLDO DQG XQGHUO\LQJ WKUHDW

to the formation of the public in society, it is an

where private spaces are well-used and enjoyed, and FRQWULEXWH VRFLDOO\ DQG HFRQRPLFDOO\ WR WKH FLW\ ´

XQGHQLDEOH WUXWK WKDW LW ZDV IRU D PXWXDO EHQH¿W Indeed, However,

pseudo-public what

these

spaces spaces

are in

universal.

London

are

Matthew Carmona, a professor at the Bartlett School of Urban Planning.

SUREOHPDWLF LV EHFDXVH WKH\ ODFN WUDQVSDUHQF\

Yoojin Han | Jihyun Nadia Kim

8QOLNH /RQGRQ FLWLHV VXFK DV 1HZ <RUN 7RURQWR RU 5RWWHUGDP KDYH SURGXFHG D FRPSUHKHQVLYH map of such sites. In these cities, the city authority SURYLGHV SXEOLFO\ DFFHVVLEOH PDSV WR DLG FLWL]HQV WR LGHQWLI\ SVHXGR SXEOLF VSDFHV DV ZHOO DV FDWHJRUL]HV

PRIVATELY OWNED PUBLIC SPACE

them separately from the genuine public space. W Until the research by the Guardians, London has yet to provide an accessible map for public or given out information on these spaces. With the city authority failed to identify the owners of misguiding public spaces, investigate the private rules on the spaces, or administer these regulations for true public and democracy, the imagery and perception of public of London has been controlled by the corporates.

¿J 0DS DQG ,QYHVWLJDWLRQ of Privately Owned Public 6SDFHV RI 1HZ <RUN Opened to Public through the City Authority’s Website.

EMERGENCE OF ³3236´

| 89

Because the pseudo-public spaces are initially

While it is instinctive that visitors want

designed to provide desirable spaces for the people,

spaces without unpleasant elements of society, the

WKH\ DUH EXLOW DGMDFHQW WR DQ DUHD ZLWK D VLJQL¿FDQW continuous covert establishment of these spaces number of visitors such as major shopping area, cultural

FRQVHTXHQWO\ PXWDWHV WKH YLHZ RI WKH FLW\ IURP WKH

complex, transportation central, tourist attractions, or

JD]H RI WKH FLWL]HQV WR WKH JD]H RI WKH YLVLWRUV

historical monument.

FRQVHTXHQWO\ PXWDWHV WKH YLHZ RI WKH FLW\ IURP WKH JD]H RI WKH FLWL]HQV WR WKH JD]H RI WKH YLVLWRUV

These private spaces are built to serve the public to call for more usage in favor of an increase in SUR¿W 7KH PDLQ SXEOLF WKDW LV FRQVLGHUHG DQG WDUJHWHG for construction of pseudo-public spaces are the visitors.

¿J 3VHXGR SXEOLF 6SDFHV RI London. Among numerous pseudopublic spaces in London, IRXU VSHFL¿F VLWHV DUH DQDO\]HG WR LOOXVWUDWH WKH site conditions behind the emergence of pseudo-public spaces. Yoojin Han | Jihyun Nadia Kim

Central St. Giles

Covent Garden

St Martin's Courtyard

ADJACENT TO MAJOR SHOPPING AREA

| 91

Millenium Bridge

Bankside Shakespeare's Globe

Tate Modern

NEO Bankside

ADJACENT TO CULTURAL COMPLEX Yoojin Han | Jihyun Nadia Kim

Broadgate Plaza

Bishops Square Exchange Square

Finsbury Avenue Square

Broadgate Circle

Liverpool Station

ADJACENT TO TRANSPORTATION CENTRAL

| 93

New Street Square

St. Paul Cathedra

ADJACENT TO HISTORICAL MONUMENT Yoojin Han | Jihyun Nadia Kim

To propose an architecture that shows the JHQXLQH SXEOLF DQ DUHD ZLWK WKH PRVW GLYHUVL¿HG individuals are chosen. The biggest demographic group LQ /RQGRQ LV WKH V 7KH ULFK ¿QDQFLDO DQG FXOWXUDO context of London provides a perfect lifestyle for the V ZKR DUH IXOO RI KRSH DQG GHVLUH 7KHVH LQGLYLGXDOV majorly inhabit the central London, the area with countless numbers of tourists and commercial activities as well. The central London hosts multitudinous

SITE SELECTION

FLWL]HQV QRQ FLWL]HQV DQG XQGHVLUDEOH FLWL]HQV IURP DOO RYHU WKH ZRUOG ZLWK DOO GLIIHUHQW EDFNJURXQGV +RZHYHU WKH EXLOW HQYLURQPHQW RI /RQGRQ MXVW OLNH RWKHU FLWLHV RI WKH ZRUOG KDVQ¶W UHÀHFWHG WKLV ERG\ RI QRQXQLIRUPLW\ yet, in addition to the non-transparent deceitful pseudopublic spaces.

¿J DERYH 0DS RI 6LQJOH Inhabitants of London , -DPHV &KHVKLUH 2OLYHU Uberti ¿J ULJKW &KRVHQ VLWH LQ London

| 95

Yoojin Han | Jihyun Nadia Kim

| 97

As an attempt to resist the fabricated publicness and prevent further misconception in D GH¿QLWLRQ RI SXEOLF D VLWH WKDW KDV DQ H[WHQVLYH possibility of becoming a pseudo-public space is

The British Museum

Tourist Attraction

chosen. Within the neighborhood full of nonuniform LQGLYLGXDOV D VHHPLQJO\ LQVLJQL¿FDQW RSHQ VSDFH WKDW The British Museum

VDWLV¿HV WKH FULWHULD RI SVHXGR SXEOLF VSDFH FRQGLWLRQ LV chosen. This unlabeled space, located along the path from the British Museum to Covent Garden, is only a IHZ EORFNV DZD\ IURP 7RWWHQKDP 5RDG 6WDWLRQ $OUHDG\ D SVHXGR SXEOLF VSDFH &HQWUDO 6W *LOHV 3LD]]D LV EXLOW

Chosen Site

nearby, and following the clustering nature of pseudoSXEOLF VSDFHV WKLV LQVLJQL¿FDQW HPSW\ ORW KDV D KXJH possibility of becoming the next pseudo-public space.

Chosen Site

Potential Pseudo-public Space

Tottenham Court Road

Tottenham Court Road

Transportation Central

Central St. Giles

Pseudo-public Space

Central St. Giles

Covent Garden

Major Shopping Area

Covent Garden

St Martin's Courtyard Pseudo-public Space

St. Martin's Courtyard

¿J 6LWH $QDO\VLV Considering the context of the site, this chosen site FRXOG EH WKH QH[W ³SXEOLF VSDFH´ RI PDUJLQDOL]DWLRQ Yoojin Han | Jihyun Nadia Kim

| 99

As a city that is developed through the course RI WLPH FLYLOL]DWLRQV DIWHU FLYLOL]DWLRQV WKH DUFKLWHFWXUH RI /RQGRQ FDQQRW EH GH¿QHG DV D VLQJXODU VW\OH 5DWKHU London is a city of composite architecture with various implications. This eclectic architectural characteristic of /RQGRQ UHÀHFWV WKH IRUPDWLRQ RI D FLW\ DV ZHOO DV WKH SXEOLF $UFKLWHFWXUH RI /RQGRQ VLJQL¿HV KRZ HOHPHQWV GRQ¶W QHHG WR EH FODVVL¿HG DQG XQLWHG LQWR D VLQJXODULW\ to achieve harmony. The neighboring buildings of the chosen site are from diverse time periods with various styles as well, offering an appropriate site for an architecture of a public. Neighboring buildings of the chosen site are built in different periods with different styles, reevaluating WKH UROH RI WKH SXEOLF LQ DJJUHJDWLRQ WR GH¿QH WKH SXEOLF highlighted blue in the collage indicates the chosen site that can be also found in the plan on the bottom.

¿J 1HLJKERULQJ %XLOGLQJ Analysis Yoojin Han | Jihyun Nadia Kim

| 101

PROGRAM RESEARCH : MICROHOUSING

Yoojin Han | Jihyun Nadia Kim

Q$5&+,7(&76¶ &DUPHO 3ODFH LV D ¿UVW PLFUR KRXVLQJ DSDUWPHQW LQ 1HZ <RUN ODXQFKHG DV SDUW RI WKH Mayor’s administration plan to accommodate the city’s JURZLQJ VPDOO KRXVHKROG SRSXODWLRQ ,W SURYLGHV UHQWDO DSDUWPHQWV UDQJLQJ IURP WR VTXDUH IHHW DQG YDULRXV VKDUHG DPHQLWLHV XQLWV DUH GHGLFDWHG WR DIIRUGDEOH KRXVLQJ DQG XQLWV DUH PDUNHW UDWH half of which include furniture and concierge services. The design goal for the unit interior was to achieve a sense of spaciousness, comfort, and HI¿FLHQF\ HYHQ ZLWKLQ D VPDOO IRRWSULQW ([FHSW IRU WKH

CARMEL PLACE

ÀRRU DUHD RWKHU HOHPHQWV VXFK DV D FHLOLQJ KHLJKW RU D ZLQGRZ VL]H ZDV LQFUHDVHG $OVR WKH ÀH[LEOH EXLOW LQ furnishings that integrate storage, couch, and bed into the layout of about a half of the units were installed. 7KH PLFUR XQLW W\SHV ZLWKLQ WKH EXLOGLQJ YDU\ LQ VL]H DQG FRQ¿JXUDWLRQ WR KROG D EURDGHU VSHFWUXP RI KRXVHKROGV

| 103

¿J OHIW DERYH SKRWRJUDSK of inside a unit of Carmel 3ODFH :HQG\ *RRGPDQ IRU 'DLO\ Intelligence ¿J OHIW ERWWRP LQWHUDWLRQV of a the unit, nArchitects ¿J DERYH VSDWLDO GLDJUDP , n Architects Yoojin Han | Jihyun Nadia Kim

6RQJSD 0LFUR KRXVLQJ E\ 6V' DUFKLWHFWV challenges the problem of urban density and housing costs by mining the discrepancy between maximum ÀRRU DUHD UDWLRV DQG ]RQLQJ HQYHORSHV $OVR DWWHPSWLQJ to obstruct a limit of a housing unit by providing a soft

intersection

between

public/private,

interior/

exterior, and a social fabric between neighbors as well.

XQLWV DOORZ UHVLGHQWV WR HLWKHU FODLP D

SONGPA MICRO-HOUSING

single space or an additional recombination between EORFNV IRU ODUJHU FRQ¿JXUDWLRQV 7R JHQHUDWH WKH LGHD of community, exhibition spaces on the lower levels DUH VSDWLDOO\ OLQNHG WR WKH XQLWV DV D VKDUHG OLYLQJ URRP 7KH RSHQ JURXQG SODQ LV XWLOL]HG WR SXOO SHGHVWULDQV in from the street to the auditorium, connecting city and residents in the exhibition and cafe space.

¿J DERYH IURQW IDFDGH of songpa micro-housing SKRWRJUDSKHG E\ 6V' architects ¿J ERWWRP SODQ 6V' architects

| 105

¿J OHIW DERYH WUDQVLWLRQDO space, photographed by 6V' DUFKLWHFWV ¿J ULJKW DERYH HQWUDQFH on the ground level, SKRWRJUDSKHG E\ 6V' architects ¿J OHIW ERWWRP JURXQG OHYHO SODQ 6V' DUFKLWHFWV ¿J ULJKW ERWWRP transitional space from outside to inside , SKRWRJUDSKHG E\ 6V' architects

Yoojin Han | Jihyun Nadia Kim

7KH LGHD RI /H &RUEXVLHU LQ ³D KRXVH LV

D PDFKLQH IRU OLYLQJ LQ´ UHSUHVHQWV WKH GHVLUH IRU SURGXFLQJ WKH FRQGLWLRQV IRU OLIH /H &RUEXVLHU GH¿QHG DUFKLWHFWXUH DV ³WKH PDVWHUIXO FRUUHFW DQG PDJQL¿FHQW SOD\ RI YROXPHV EURXJKW WRJHWKHU LQ OLJKW´ DQG ³HQJLQHHU¶V DHVWKHWLF ´ However, for Gray, she designed when she IHOW D QHHG DIWHU FDUHIXOO\ DQDO\]LQJ WKH QHHG 6KH made shift with the things available to her. The priority for Le Corbusier was primarily the sight whereas Gray’s priority was the body and its habit. Her sense of architecture was in the life of the inhabitant rather than in the contemplation of pure and authoritative form. The house is an extension of the person as well as the part of the organism of the person, and cannot be understood without

the

person.

The

consideration

of

the

connection between the dwelling and its occupants provides an ethical dimension for the architecture,

,Q ODWH DQ DUFKLWHFW DQG D GHVLJQHU

QRW WKH VHTXHQFH RI VSDFHV DQG IRUPV LQ (

(LOHHQ *UD\ GHVLJQHG WKH KRXVH ( E\ WKH sea. Gray wanted to build a house that allows her to interact with the natural elements around her and built a structure with a constant evolution to follow the relation to the sun, wind, and sea.

(

Gray designed the house so that the inside

³$ KRXVH LV QRW D PDFKLQH IRU OLYLQJ LQ ,W LV PDQ¶V

DQG WKH RXWVLGH ÀRZ WRJHWKHU FRQWDLQLQJ PRELOH

shell, his continuation, his spreading out, his spiritual

walls, blinds, screens, and windows. These allow the

emanation. Not only its sculptural harmony but its

residents to participate in the movement of nature

ZKROH RUJDQL]DWLRQ HYHU\ DVSHFW RI WKH ZKROH ZRUN

DW DOO WLPH 7KH KRXVH ZDV GHVLJQHG WR EH ³PDLVRQ

FRPELQHG FRPH WRJHWKHU WR PDNH LW KXPDQ LQ WKH PRVW SURIRXQG VHQVH´

PLQLPXP´ VLPSOH DQG HI¿FLHQW

7KH RSHQ DQG ÀH[LEOH GHVLJQ DOORZHG

the resident to experience the space of life as an

organic

whole

that

encompasses

the

self,

house, and outside environment. The architecture UHÀHFWV *UD\¶V VHQVH RI LQWLPDF\ DQG SULYDF\

Eileen Gray

| 107

¿J OHIW YLHZ RI ( IURP WKH VHD photographed by Eileen Gray ¿J ULJKW D[RQRPHWULF GUDZLQJ RI ( (LOHHQ Gray Archive Yoojin Han | Jihyun Nadia Kim

| 109

BIBLIOGRAPHY

%8,/',1* ':(//,1* 7+,1.,1* MARTIN HEIDEGGER ,Q %XLOGLQJ 'ZHOOLQJ 7KLQNLQJ +HLGHJJHU VWUHVVHV WKH LPSRUWDQFH RI GZHOOLQJ LQ EXLOGLQJ DQG WKLQNLQJ +H XUJHV IRU WKH UH PDQLIHVWDWLRQ EXLOGLQJ DV LQGZHOOLQJ DQG VSDFH WR LQKDELW 7KH DFWLYLW\ RI FXOWLYDWLRQ DQG FRQVWUXFWLRQ WDNHV SODFHV ZKHQ EXLOGLQJ DV D GZHOOLQJ DQG FRQWLQXHV WR FXOWLYDWH EXLOGLQJ WKDW HUHFWV EXLOGLQJ 7KHQ +HLGHJJHU GH¿QHV µWR GZHOO¶ DV WR EH VHW DW SHDFH DQG WR UHPDLQ ZLWKLQ WKH IUHH WKH SUHVHUYH DQG WKH IUHH VSKHUH WKDW VDIHJXDUGV HDFK WKLQJ LQ LWV HVVHQFH 7R OHW RQH GZHOO WKHUH QHHGV WR EH D ERXQGDU\ DQG ZLWKLQ WKH ERXQGDU\ WKHUH LV D VSDFH ZKHUH IRXU IROGV HDUWK VN\ GLYLQLWLHV DQG PRUWDOV RFFXU 7KXV DV EXLOGLQJ EHORQJV WR WKH GZHOOLQJ DQG UHFHLYHV LWV HVVHQFH IURP WKH GZHOOLQJ WKH EXLOGLQJ QHHGV WR DFTXLUH DQ DWWLWXGH RI OHW GZHOO

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