Almere Floriade 2022 _ MVRDV
Central Tirana Masterplan _ Grimshaw Architects
Guadeloupe Beauperthuy Hospital _ SCAU
Riviera-Chablais Hospital _ Groupe-6
Unire / Unite, the 2012 YAP MAXXI _ Urban Movement Design
Introversion, or about Observation (within) _ Diego Terna
Brufe Social Center _ Imago
House S _ Suga Atelier
Daylight House _ Takeshi Hosaka Architects
Mecenat Art Museum _ Naf Architect & Design
Moliner House _ Alberto Campo Baeza
Urban How City Inherit
Heritage Infills _ Michele Stramezzi + Maria Pedal
MAC, Belfast _ Hackett Hall McKnight
Lund Cathedral Forum _ Carmen Izquierdo
San Antón Charity School Restoration _ Gonzalo Moure Architect
A Small Village becomes one with Natures _ BongHee Jeon
Earth, Water, Flower, Wind, 360° Country Club
Korea DMZ Peace and Life Valley
Jeju Art Villas Community Center
MoHeon and SaYaWon
Introversion, or about Observation (within)
Beth Gibbons explodes into an extreme and furious scream during the final bars of Threads: the walls of the Scaligero Castle, in Verona, seem to explode with the force bursting from this seemingly fragile woman. The walls, solid and impenetrable from the outside, welcoming on the inside, vibrate at the song’s sonic power, becoming a membrane of passage between the castle and the city.
The urban fabric of the original Roman city of Pompeii, destroyed yet preserved by volcanic ash-fall, gives us a vision of the house as an artifact, revealing how the house allowed a quite well-concealed private life: so much so that the outside was mute to the city and the interior was enriched with greenery, water features, and multiple views, all of which gave the rooms a suggestion of overlooking, though they remained quite intimate.
Somehow, life in the houses ended within those same limits: the movie The Family, by Ettore Scola, 1987, suggests the exhaustion of all the activities of several generations which had long been conducted along a few meters of a long corridor.
Something similar happens in Porto’s Casa da Mùsica, a giant alien object that seems to have dropped from nowhere upon the Portuguese city, revealing its gentle character via a tiny cut in the roof, on which a patio, tiled in black and white, takes visitors to the minute scale of the Portuguese streets and houses, losing the appearance of introversion with respect to the environment.
The buildings to be analyzed herein tell of rich and complex worlds enclosed by seemingly impenetrable walls, freeing themselves from the sort of existential nightmare Sartre associates with the wall, but vibrating outward, to adopt the words of Gibbons, and like the ceramics employed by Koolhaas, telling the story of the life that takes place inside as a generational epic. written by Diego Terna
A Small Village becomes one with Nature
I don't hesitate to choose Seung, Hchioh Sang as an architect who represents Korea today. There will be preference differences regarding each of his work and discrepancies on his social activities; however, considering how much he has heightened the status of Korean architecture through international exchange and domestically promoted architecture through collaborative works with different disciplines, no architect can match up to Seung. With essential figure of speech and simple language, he facilitates the public’s understanding of architecture, which normally had been dismissed as exclusive works by peculiar people. Above all things, Seung is an architect who expertly speaks up by always presenting fresh works, and not just with words. The Graveyard for former president ‘Roh Moohyun’ provides an opportunity to remind ourselves of true existence and the meaning of commemoration without political agenda; the void created by the Welcome City building demonstrates how Seoul’s ordinary scenery could be newly recognized with dignity. Seung’s interpretation of Hanok in Sujoldang provided a preamble for a long controversy regarding form and space of inherited tradition and his use of unconstrained design in Subaekdang, shows an understanding of yard-to-room relationship.
In my opinion, the advantage of Seung’s architecture is that it always starts with us, living right here, right now. Thus the owner or the users don’t hesitate from unfamiliarity or be perplexed by its eccentricity. In fact, originality and unfamiliarity are the easiest methods of introducing artistic tension. However, architecture cannot survive solely on appealing with a strong stimulus that you normally get when you pass by an artwork because architecture is not only art but also our daily life. More than anything, the fate of architecture is permanently determined by its location. For this reason, architecture has to respond sensitively to the character of the site, which could be influenced from the surrounding topography and landscape or the lifetime and experience of the users.
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written by BongHee Jeon
Envíos fuera de Colombia: Los fletes corren por cuenta del cliente
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