Posted by the editors on Monday, 11 February 2013
Residential Architecture: Namhae Cheo-ma House by JOHO Architecture: “..Rural houses, or farmhouses are easily seen around countryside. However, these artificial forms are being placed here and there thoughtlessly in Mother Nature. A common stereotyped rural houses around Namhae, Jindo, and Pyeongchang have set a scenery of 20th century’s Korean farm village. One might say, the system of a local constructor also being a designer also being a constructor is extremely economical in terms of building rural houses. However, mother nature we have is too nice to only covered with identically produced rural houses. The fantasy of poor copied western wooden houses and red brick houses become formed a typical figure of Korean rural communities. Without any concern about an infinite landscape or a spirit of bamboo forest, red brick houses have become a romance dream for farmers, and an ultimate architectural goal for architects..“In the new house, wish I felt at home and attached to its surroundings,” the client who owns a design company in Seoul, asked. He had already requested a local carpenter to build a rural house at his hometown, but the result couldn’t fulfill his wish. Afterwards, whenever he visited the site, he didn’t feel like living there after his retirement. The house was simple with only two small rooms, which meant to be a summer house. However, to be honest, the building was out of its proportion and was not good enough to hold the beautiful landscape of Namhae. The client respected the scenic view and sensitivity of the site itself. He wanted to give a unique identity to his house that can harmonize with nature that the building put in. In urban point of view, this project was an unremunerative and unordinary one, may be too much. One cozy spring day, this interesting project started..A line produces another line. Sky-line, a line made by mountain-line, and land-line are all the Absolute’s line. Newly drawn line means capturing the earth and the point where the sky and the land merge. After all, Cheo-ma possibly means setting a line where mankind and above meet. It is a human beings’ imaginary action about nature and sky while responding back to the beauty of its topography. As a strong stroke from calligraphy, Cheo-ma lines asymmetrically condense the energy of a line while resetting the relationship between mankind and the nature. The Cheo-ma lines are magnificent abstract boundary that mankind visualized and also a tool to reveal the identity of the land. It embraces the land in its own line and disguises itself in the nature’s ridge at the same time. This paradoxical duplicity of Cheo-ma meets the Korean philosophy of being harmonious but not the same and being similar but different. It is our lives and the virtue that the line has..It bends to one side. And it bends again to another axis. Bent steel contains energy in itself. This embodied energy is the inherent strength of property of matter and the point where it balances out. We make a line with a grinder on the bent steel. A square shape steel pipe warps through curved surface as if it will burst right away. 3 dimensional bending is a process of exposing the nature of bended steel by making a line on it. The numbers on the drawing might be useless during the bending. 2 dimensional bending values are only theoretical figures when we try to bend 3 dimensionally. Workers’ sense, constant exertion and endless trial to find the true identity of the curve will be the only realistic solution for 3D bending. The drawings are only a base data to minimize the trial and error. It originates from how one controls and spreads internalized energy of property of matter which depends on the maker’s long time experiences and skills. With the heat we can bend a flat steel plate, but a square shape pipe refuses to be tamed. As we force the pipe to be bent, the energy captured within. The line of the Cheo-ma starts from as we bend a previously bent force to a different direction again. It is a long journey of seeking an answer to a mystery of balancing between physical force and three dimensional geometries..The façade that is created by Cheo-ma curvature, gets filled with parametrically patterned aluminum louvers. Two perpendicularly arranged diamonds form a simple unit to flow through a 3 dimensionally bended line to compose the main façade. Because of the tight budget we had to come up with a best rational solution of how to construct rather than how to design. Discussion about the practical construction was the main issue in order to solve this problem. That is finding the material which is easy to find, simply workable at the site, and strong enough to face open air, and the way to handle the material. To construct a curved-line-shaped skin pattern, a repetitive module was used; making a line on easily manipulatable aluminum bars with a grinder, and arraying the diamond-shaped modules next to each other. If we say that the steel frame defines the line of the Cheo-ma, the diamond-shaped aluminum louver pattern sets a boundary between land and the house like a filter. These louvers protect the building from the rough hot noonday sun and sometimes it privatizes the inside from the outside while restructuring the scenery..A small, but tough 2-month long construction was over during the monsoon season. Because of my sweet words Mr. No, a construction field manager of window frame company in Yong-in, had to stay in a secluded house and listen to sing from scops owl every morning for two months. Employees and Employers had to save a word and overcome the construction of 3 dimensional bending that they never experienced before and the pattern of aluminum louver that changes a centimeter every each members. The construction can be seen very simple in a way, but the process of the renovation was not so. From harmony with color of the pre-existing house to electricity wire from sliced slab, everything needed to be very precise and perfect. Luckily, Mr. No was very familiar with all kinds of steels, so he could deal with every construction that we needed, even connections of tiny steel pieces that rotates in each step. In order to create a line within a beautiful landscape we visited Namhae a lot without noticing spring was almost over. Thanks to the construction we could enjoy the beautiful landscape of Namhae and admired the perfection of lines created by nature. We finally draw a line in that scenic place..” Interesting screening and exterior details; contextuality..
See our post on another home by JOHO Architecture: Residential Architecture: The Curving House by JOHO Architecture.
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image: © Sun Namgoong; article: “Namhae Cheo-ma House / JOHO Architecture” 09 Feb 2013. ArchDaily
Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Design, Designalog, Interiors, Residential Architecture | Tagged: Aluminium, Aluminum, Architecture, Asia, Brick, Design, Homes, Houses, Housing, JOHO Architecture, Korea, Louvers, Louvres, Namhae Cheo-ma House, Namhae Cheo-ma House by JOHO Architecture, Screens, South Korea, steel | Leave a Comment »
Posted by the editors on Sunday, 10 February 2013
Residential Architecture: The Curving House by JOHO Architecture: “..There is no home for parking: I remember that it was a winter day after snowing when I first visited the site. It was a rare residential lot with an open view to the south at the dead end of a small path beneath Mt. Gwanggyo, Korea. What was unique about this lot was that it was very hard to turn the car to come out of the path after more than 2 cars parked, because it was a small path only 4 m in width. Ironically, the fundamental challenge was not only solving the parking problem but also creating a space for both parking and gardening to coexist. It was closely related to the lifestyle of home owner to decide whether to create a garden directly accessible from the living room or to emphasize a visual garden. To resolve this issue, the overall shape was formed to encase the lot with more curves and lifted about 2 m from the ground using pilotis for more efficient parking. The shape of the mass resembling a concave lens was created by the parking needs and the topographical condition of the lot..The line penetrates the sky: The mountains penetrate the sky and the sky contains the mountains as nature. Here, the mountains form lines and the lines remember the mountains in the land. The terrains of Mt. Gwanggyo flow low above the lot and the lot displays the entire view as if it responds to the graceful flow. At this site, the land is the proof of space and everything about the substance. The shape created here contains the sky as an earthenware jar and displays the potentiality of land as a spatial substance. It draws a shape, but creates a space that shows the sky outside the shape to hide itself in nature. Should the line be hidden in nature or should the nature be displayed in the hidden line? This was the essential challenge of this land and the sincere response to the background. This is directly related to how the topographies should be interpreted in Korean traditional spaces. Korean traditional spaces have pursued the shape that is not completely hidden in nature yet beautifully harmonized with surrounding nature. It is based on the post-dualistic beauty of harmony that proves its existence while hiding in nature rather than dominating nature with its shape and lines..The flow of light contained in silver scale: The ash-colored bricks (traditional bricks) embrace the concrete surface as fish scale while slightly altering the angles. The traditional bricks used for this project have silver water-repellent coating on the surface and show sentimentality different from the rough surfaces of their tops and bottoms. The bricks with two different surfaces were piled to form a certain pattern from angles 1° through 25°. In other words, the variation of angle is another way how the outer skin in the shape of a concave lens facing south defines its existence. The shadow of the brick wall caste as the Sun moves converts the flow of lines into the subtle change of the outer skin. The variation of the brick surface is intended to read the entire mass differently according to the perspective of incomer and the perspective of viewing the images from the mountains..Contrast and harmony of texture: The rough texture of the traditional bricks interprets the lot in a different way in combination with the property of highly reflective stainless steel. The skies and nature reflected on the stainless steel surface distort what the true substance is to break the boundaries between shapes and texture. Unlike the rough texture of ceramic bricks, the stainless steel used on the front and on the side reflects the surrounding landscapes to make itself disappear. If the bricks reveal themselves by the change of light and shadow, the stainless steel de-materializes itself by making itself disappear in nature. Such contrasting textures have different properties and confront each other in a single mass, but they ultimately establish balance through the extinction and reflection of light..Space as a flow of nature: The pilotis for parking naturally serves as an opening for air ventilation. The summer breeze coming down from the mountain ridge circulates the air around the building thus reducing the heat load. Also, each room has windows for cross-ventilation and is planned to allow natural circulation of air. The motorized window on top of the living room can release heated air in summer for air circulation triggered by the difference in temperature known as stack effect. The staircase to the north is planned to serve as a buffer of air against the freezing northwestern winds in winter to minimize heat loss. The front windows facing the south allow sufficient sunlight in winter to maximize energy efficiency with natural sunlight. In particular, the ceiling is also diversified to invite as much natural light as possible into the building to control illumination naturally..New technical interpretation of traditional space: The flow of space was borrowed from the method of handling the flow of air in traditional Korean homes. In detail, the pilotis on the bottom expands the surface of volume exposed to outer air to reduce the load of heat energy and allows natural ventilation in summer. This is similar to the principle of open living rooms in Korean traditional spaces. It means that the entire building allows ventilation to keep the building cool. In winter, on the other hand, the concrete floor is made as thick as possible as a thermal mass, similar to Ondol floors of Korean traditional architecture for maximum insulation, to block the cold air from the underground. Also, the interior space of the second floor has an open living room, bedroom, and kitchen which can be divided and combined flexibly with sliding doors for different needs. This is a modern reinterpretation of the variable space of Korean traditional homes that can be used either as a big room or as smaller individual rooms..” Extensive glazing, natural light, views; interesting form, exterior materiality, interior volumes, fenestration, contextuality..
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image: © Sun Namgoong; article: “The Curving House / JOHO Architecture” 06 Feb 2013. ArchDaily
Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Design, Designalog, Interiors, Residential Architecture | Tagged: archdaily, Architecture, Asia, Brick, Design, Designalog, glass, Homes, Houses, Housing, JOHO Architecture, Korea, Mt. Gwanggyo, Pilotis, Residential Architecture, Skylights, South Korea, steel, The Curving House, The Curving House by JOHO Architecture | 1 Comment »
Posted by the editors on Tuesday, 24 July 2012
Architecture: Element House by Sami Rintala: “..In the Seoul metropolitan area there is a satellite city called Anyang, a small, in Korean context, suburban town with 700.000 inhabitants. The city had decided to invite several international architects and artists to participate the design of a new park. The project, called Anyang Public Art Park, relates to the concept of art and architecture parks in Japan, the largest of which is Echigo Tsumari Art Triennial area in Niigata..Following the Korean life rhythm and style the timetable was very tight. Planning started already while choosing the site. Sketches were to be delivered the next day. Due to the rushing I had difficulties to follow the constant changes in my drawings. Luckily I could redo some of the important details later while working on the construction site. Working with the Koreans was in spite of lack of time very pleasant, sometimes even funny..The park is situated in a river valley. The building itself is standing on top of a small forest hill, along an outdoor route leading to the mountains in the far end of the park. Main space is a larger steel cube. Four smaller wooden rooms are connected to this space in different floors. In each of these small rooms there is the presence of one nature element; In cellar water, on courtyard soil, in first floor fire and in the attic air..On practical level, the idea of the work is to offer a simple shelter where the hikers may rest, enjoy their lunch, have a view over the mountains or light a stick of incense. For this purpose Norwegian artist John Roger Holte has crafted a platform and storage for the incenses out of coloured concrete. This habit relates to the history of the valley as an important Buddhist retreat. There used to be many temples situated on the mountain area, only few of which are left today. However, I was told that there are even older shamanistic rituals left, and services available if needed..Main building materials are steel and wood. Concrete has been used to cellar and foundation. Openings are covered with safety glass, floors with jade and marble gravel, different stone type and colour in each space..Seoul is an immense urban area the fast growing of which is visible in the condition of the surroundings. Constant noise, packed motorways, endless rows of cloned blocks of flats and ever prevailing grey smog create a tough place for living things. I hope this small building in the edge of the city and the forest would offer some contrasting atmosphere. If someone ever, walking by in an everyday hurry, decides to stop and sit down and allows silence to take over, lets thoughts wander, this work has reached its goal..” Wood-clad cantilevers, weathered-steel-clad base; interesting form and interior volumes..
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image:Park Wan Soon, Emil Goh, Courtesy of Sami Rintala; article: “Element house / Sami Rintala” 23 Jul 2012. ArchDaily. <http://www.archdaily.com/1004>
Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Design, Designalog, Hospitality Architecture, Interiors, Public Facilities, Public Parks | Tagged: Anyang, Anyang Public Art Park, archdaily, Asia, Cantilevers, Design, Designalog, Echigo Tsumari Art Triennial, Element House, Element House by Sami Rintala, Emil Goh, glass, Gravel, Jade, Japan, Korea, Marble, Niigata, Park Wan Soon, Public Parks, Sami Rintala, Seoul, South Korea, steel, wood | Leave a Comment »
Posted by the editors on Wednesday, 11 July 2012
Residential Architecture: Video: Daeyang Gallery and House by Steven Holl Architects: “Spaces include a gallery and recital room beneath a pool of water and two copper-clad pavilions that rise above the surface…a walk through the Steven Holl-designed Daeyang Gallery and House in South Korea in this second movie by architectural filmmakers Spirit of Space..[in another video] Steven Holl gives a guided tour of the building..” (2 videos in article)..
See our post on Daeyang Gallery and House by Steven Holl Architects: Residential Architecture: Daeyang Gallery and House by Steven Holl Architects.
And see other posts on work by Steven Holl Architects:
image: Iwan Baan; article: Dezeen
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Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Design, Designalog, Galleries, Interiors, Residential Architecture, Video | Tagged: Architecture & Civic Engagement – Steven Holl & Chris McVoy, Asia, Copper Cladding, Daeyang Gallery and House by Steven Holl, Design, Designalog, Dezeen, galleries, Hangzhou Music Museum by Steven Holl Architects, Homes, Houses, Institute for Contemporary Art by Steven Holl Architects, Iwan Baan, Knut Hamsun Centre by Steven Holl Architects, Korea, Linked Hybrid by Steven Holl Architects, Maggie’s Barts by Steven Holl Architects, Museum of Ocean and Surf by Steven Holl Architects in collaboration with Solange Fabiao, Residential Architecture, Sliced Porosity Block by Steven Holl Architects, South Korea, Spirit of Space, Steven Holl Architects, Sun Slice House by Steven Holl Architects, Sustainable Architecture: Vanke Center by Steven Holl Architects, Video, Water Features | 2 Comments »