Introversion, or about Observation (within) _ Diego Terna
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.
Urban How_City Inherit
Heritage Infills _ Michele Stramezzi + Maria Pedal
Cities are a construct of various interrelating elements, driven by socio-economic forces, transforming dynamically over time. Sociologist Claude Levi-Strauss described the city as “the most complex of human interventions…at the confluence of nature and artifact” (1954).
Three different cases will be reviewed to address issues of current planning and design approaches in European. All projects are located in the heart of the city, the historical center. Projects within the existing city context have to bridge the gap between urban planning and architecture.
Special attention is given the relation between the addition and the city. Does the building change the nature of the place (Genius Loci)? How does each project contribute to a more liveable environment and a more positive image of the city (Imago Urbis)?
The current planning practices of urban regeneration and urban acupuncture are introduced to evaluate the process and the meaning behind the architectural reference. The successful exercise of urban design is measured in regard of the legibility theory of an urban environment.
A Small Village becomes one with Natures _ BongHee Jeon
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.