Gallery MOA 2014 international architects drawing exhibition




The 3rd International Architects Drawing Exhibition
제3회 국제건축가 드로잉전 
Architects : Kim In Cheurl, Kim Hee Gon,Moon Hoon, Park Tae Hong
Bang Chul Rin, Woo Kyung Kook, Lim Ji Taek, Yoo Hyunjoon,
Jun Inho, Jeagal Youp, Eric Reeder, Santiago Porras Alvarez .
Kim Young Jai, Jin-wook Lee, Park Kijun,(15명)

주제 : 말 (MAL)
제3회 국제건축가 드로잉전의 주제는 “말” 로서 우리가 일상적으로 사용하는 언어를 의미한다. 말이란 세상에 존재하는 모든 것을 이미지로 표현해내는 그림과 같다 라고 비트겐 슈타인은 이야기 하였다. 즉 가능한 사실을 표상할 수 있으려면 공통적인 구조를 가져야하며 동시에
지시대상을 갖는 다양성 속에서 표출 되어야 한다는 것이다.
그렇기 때문에 동일한 사물이라도 국가, 민족, 문화에 따라 다양한 의미로 표출 할 수가 있는 것이다. 따라서 말은 언어 ,즉 랑그(Lingue)와 개인적 언술행위(Parole)에 따라 다원적이고 다의적인 해석을 낳을 수 있고 비 표상적 결과로서의 형식이지만 역사, 사회적 맥락이 내재되어 있는 결과인 것이다.
따라서 말을 주제로 드로잉 한다는 것은 자신의 언술적 행위를 추상화된 현상으로 표출(드로잉기법)시키는 것으로 역사와 사회적 토양의 바탕으로부터 산출되는 이미지(象) 라 할수 있으며 동시에 심층의 상(相)으로서 특수성을 갖게 되는 것이다.
예를 들어 한국에서는 말을 말(언어),말(Horse),말(끝)등으로 사용하고 같은 음의 영어(mal) 에서는 부정적 의미, 프랑스에서(Lingue)는 혀모양, 이태리에서는 파스타, 국수, 독일에서는 회화 등의 서로 다른 의미를 지니게 된다.
이와 같이 건축가 들에 의하여 언어를 드로잉 화 시키는 작업은 개인의 감성과 가치관에 따라
또 다른 다양한 형상을 표출 시키게 될 것이다. 그동안 건축가들의 건축적 드로잉은 건물을 설계하는 과정에서 아이디어 스케치를 하는 것이라면 이번 드로잉전은 보편적인 건축적 표현을 넘어선 새로운 장르의 문화, 예술적 담론을 형성하기 위한 특별한 드로잉 전시가 될 것이다.

전시 : 2014 02 28 - 03 19
오프닝: 2월28일 오후5시 Gallery MOA , Heyri

A reasonable translation of the Architect, in Kyung Kook Woo's words....

Subject \\ MAL: to say
The theme for the 3rd International Architect's drawing exhibition equates to "the end"; or stated another way, final interpretations in the language we use on a daily basis. Image can be everything, captured in a single word and expressing essential meaning through representation. Or we might consider that we are able to deduct a common, understandable structure through language solely.

We retain the ability to formulate expressions in a variety ways.

Identical words cross national, ethnic, and cultural boundaries, surfacing in diversified meanings. Language therefore, namely ‘lang’ (Lingue) and personal conduct ‘eonsul’ (Parole), depend on cultural background and reveal distinct intentions in meaning- of course through non-representational form, and further, the influence of history is embedded as a condition of social context.

So to say that the subject of the abstracted drawing represents active phenomena, or more specifically (drawing technique) via calculations from historical and social background related to an image (象) can be viewed as just another possibility (相) as a specificity would have it.

For example, in Korea, spoken words (language- ‘mal’), mal also refers to horse, as well as ‘the end’, and in the use of English as a negative (mal), likewise in the negative sense in French (Lingue), it is tongue-shaped, Italian pasta noodles, and in Germany an entirely different meaning as such.

Thus, the language of architects, drawing upon divergent values- work is based on an individual's position. 

Drawing demonstrates another variety of expressed shapes and values. An architectural design by the architect, via the process of drawing the sketches surfaces from an idea; it is at this nucleus that drawing goes beyond universal expression in a new genre of architectural culture and artistic discourse, and now what we formulate as a special drawing exhibition.

Architect Kyung Kook Woo

Display: 2014 02 28-03 19
Opening : February 28 at 5:00 pm Gallery MOA, Heyri



January









Traditions

I'm a stranger
in my own land
My place has become strange

53$
counting too much
Sacred heart(s)
St Mary's 

Cathedral of spending
Shuffling plastics

"Its a lot of testorone all over the place,...

20 million combat troops."
And he continues on:

"Where a leader could rest in an area like disneyland."
So, said the man with cadence.
Over and over
and I listen


There is a longing for the past as we return to our yesterdays.
The people, faces once in life, absent.
Gone.
The place is, Just as it always was. Though

I've sat in this very spot without emotion; as flat as can be.
Stirred only to think of what i could do
If i could walk away.



condenCITY_112 density4 Scale




Compact urban relationships once promoted densities of another kind. Pathways and streets in the past were constructed with people in mind.  Scales of 'body' and that of wagon, defined utilitarian passages and places public. Today, automobiles now consume and have provoked a different kind of scale- and in the post industrial age of machines and new technologies, we go higher (in heights and in density) and larger in scale which tends to supersede yesterday.  'Scale' is consuming greater quantities, leaving less and less of the human urban experiences we once knew.

Density, it appears, cuts both ways. 





condenCITY_111 density3 walkable




'Memory Maps' presented 2012.04 at Heyri MOA Gallery (South Korea) 



Density means walkability and the simplicity with which we are able to go from point A to point B and everyplace in between, by simply walking. Walkability in the city promotes many benefits in heath, the environment amongst other advantages as we go about our daily routines as urban dwellers. The investment in sidewalk/ infrastructures as well as a cities public presence lends itself (perhaps in favorable climates as well) to walking. 

Density curiously promotes an ease of mind change- quick shifts in last minute choices to go left or right.  Habit can give way to chance and experience unfolds in the unexpected. The recollection of these journeys, piece by piece, as we reflect upon the places we've walked or commuted by foot, shape our perceptions in place. 

There is a liberating side to walkable cities. 



condenCITY_110 density2 cogs


 

Density (in cause and effect) establishes collective centers of mass production and exchange. The two are inextricably linked by necessity and to the extent that one without the other ceases to exist. These neighborhoods of highly mixed conditioning, often rely on central masses- large scale infrastructures that power a local economy.  Centralized in form, these megastructures are characteristically simple and redundant, yet what spawns around them is more intricate and complex; neighborhoods that have emerged freely and organically. Density takes peculiar shape out of a self guided will. 

By example the Pyonghwa Market in Seoul, extends for more than 600 meters in length. It is predominantly a textile clothing market with a few other intermixed programs and functions. It is supported by a host of services and residence who have taken root around it establishing a symbiotic situation.  It is by nature a kind of machine in the denseness of Seoul. A cog in the larger picture of things.

Density is constructed around urban 'cogs'. 



condenCITY_109 density1 underground





Density
For some time now I have been meaning to return to what this blog had initially set out to do a few years ago- and to a certain extent it has- perhaps more explicitly now however, in considering density as beneficial to cities. In particular, the ones I have been fortunate to have lived in for extended periods of time. There is much discussion today about the benefits and drawbacks of urban density. 

I tend to think of density as  beneficial in ways of opportunity,  resource sharing, as well as social fulfillment. Although the later is perhaps most open to criticism.  I'll get to that more later as I continue to post on this topic. I will suggest now though that the observations to follow will reflect upon the hyper-density that is part of my daily life and perhaps model examples for the positives of urban density.


Underground is relevant 

Dense cities are often that by restricted necessity and determined by the very nature of available land areas. Space is a premium at any level and below ground becomes just as viable as at or above the surface of city streets. Cities under cities as they subsist in Seoul, extend and wind through artificially lit corridors for kilometers at a stretch. Guided by signage, our only sense of direction comes from the words and arrows, visual cues that guide our steps and train transits to our places of destination. 

Underground is a place of needed efficient passage, a provisional space for moving millions of urban dwellers annually. Underground has relieved the cities street surfaces of severe congestion that would otherwise paralyze a ground -surface only- transit. Underground is an economical component of a thriving and diverse economy. 

Daylight remains for the dreamers above. Down here, we are opportunistic shoppers and commuters on route to someplace else. Yet, these tunnels are a life's link.  



condenCITY_108 Cities of Nowhere




From Gangwon Environmental Artist Exhibition/ 
'Nowhere City Gangwon' Jan Koechermann 2013



I met an Artist recently who reminded me much of an Architect- or one having an Architects mindful craft in approach- but really, Jan Köchermann is an Artist who builds.  And builds intelligently well he does at that. During the recent month of August, the Gangwon-do International Artists Environmental Exhibition took place in rural Gangwon province. The exhibition brought together 37 artists from 5 countries. The work was carried out of a period of 6 days and culminated in a region wide event and  opening upon installation completion. 

Working revelations

Our journeys always carry us someplace, and in this we bring our personal memories, recollections and experiences of past places and honed preconceptions. Jan Köchermann recasts these experiences in sharp and distinctive contrast alongside the here and now. Place finding can be a matter of pre-planned choice- as our preconceived notions lead us- but chance can be just as rewarding. 

Jan Köchermann's approach presents conflicting perspectives. Familiar architectural forms are set against pastoral scenes. Colorful interruptions and precariously suspended materials are pause for contemplation. Taking sides we find thoughtful distinctions between front and back, arranged against the contradictory terms of polar environments. History is suspended and we may recognize that placeless-ness has become the familiar expectation today.  Truth is, we often seek it in our common, everyday lives.

To do is to contemplate

Hands-on working is primary for Jan. Through the actions of craft and execution, his work negotiates possibilities in discovering place, apparently- at least on this occasion- a willingness to be flexible in siting. Nearing completion, creative process renders decisive clarity of architectural model placement and in an outcome which deviates from initial intentions.

Caught in our individual dislocations, the result is beautifully disparate in response to being local, even as we are so far removed from our personal roots. 





Un-condensed Rural 5.0







Walter de Maria 1936- 2013

Death, often sheds light on past experiences. We come to remember through experiential associations the landscapes and impressionable vistas open to the vast expanses of America's west, as is the case for me. Though, having not been to The Lightning Field specifically, I've constructed my own personal and mental images of it's place from conversations with friends who have been there and a familiarity with the environment and landscape having traveled by car through that part of the New Mexican region on numerous trips. It's sparseness is serenely beautiful, at times overwhelming in a petrified calm and at other times ravaged by the natural forces that perhaps played a role in de Maria's choice in this particular spot- giving inspiration and clear conception in what would be called 'The Lightning Field' in rural western New Mexico.  

Organized Wilderness
The Lightning Field 

Walter deMaria was a man of the city and its constructed and organization influences. DeMaria also had an uncanny eye for conceptual integration within the expanses of a high desert plateau. It was a curious pairing of urban vision, oddly and meticulously placed against the randomness of unfettered wilderness. The Lightning Field (1977) installation is of a scale challenging to comprehend. It stands at 1 mile long by 1 km wide- arranged as a grid of stainless steel rods, 2 inches in diameter each. The 400 rods in total were carefully spaced equally apart at a distance of 220 feet. In total area, they establish a preceptively level plane at top elevation, consistent, even though the land covering this vast distance has slight terrain variations and by necessity the slender steel poles were varied in lengths to make up for the lands rise and fall. 

The Lightning Field will remain there certainly for decades to come- if not longer by the will of dedicated organizations ensuring its longevity. It waits for those of us still eager for a visit but who have yet to set aside the time essentials for such an extended journey in finding its place in the isolated wilderness. 

In its timelessness, it succumbs only to the whims of personal anticipation; waiting and longing for the next storm and in death we remember its continuation, conceived in both city and nature. 



condenCITY_107 cities and words



Cities are built of words.


ideas surface and take form, from the very illusion of word

it is words, after the fact, that are used to deconstruct
take apart 

to analyze
to critique the very places then built 

an odd conundrum it appears

words provoke actions
words, surface from memory 

words can be regret 

architecture and words.



livingINDUSTRIAL






livingINDUSTRIAL opens July.2.2013 at the Mullae Art Space in Seoul's Yeongdongpo district. In collaboration with Kuhn Park and Jeff Nesbit (of Texas Tech University), the exhibition examines interlaced perspectives on industrialization and its impact and germinal influence on the city. Seoul has been uniquely shaped by industrialization over the past 80 years. Its rapid transformation continues to reveal complexities of creative industrial formation (and contrasting conditions) within the density of Seoul.