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Seoul Art-Complex
Seoul Art-Complex
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Seoul Art-Complex
Firm
STATUS
Concept
SIZE
500,000 sqft - 1,000,000 sqft
BUDGET
$5M - 10M
This Project Submitted for a Competition held by Seoul Metropolitan Government
Architects: Arel Architects Group (www.arel.ir)
Design Team: Hesam Alavi - Emad Kashfi
Design process:
1- General approach of placing the required areas is placing the mass volume in specified site locations, but in this project, considering the streets which have crossed the site and divided the site in four different segments, it will lead to creation of separate volumes, connected through a bridge or a subway, and therefore an integrated shape will not be achieved.
2- Considering the site’s geometry, a monolith volume has been placed in two more bigger segments of the site with distance away from the main street level, creating an open plaza for pedestrian level leading to more interactions with urban space, with least occupancy of the topography of the site and in the end the volume of the building will be simple and integrated as well as distinct and illustrative.
3- The roof of the building is formed by following two issues: a. Highest possible height in each segments of site (20m) for optimal use of the interior space and building volume diagnosis. b. Inspiration from traditional Korean roofs.
4- The main sustainer shaft of the volume acts as a main entrance gate to pedestrian leveled plaza and the console basis. The entrance to the roof has been attached to the volume with inspiration from traditional Korean architecture and combination with modern geometries.
5- The inner part of the volume has been extracted due to the car traffic. This extraction has been formed with conversion of two sides of the site into one semicircular by an abstract of Geodesic domes geometry. This way places for presenting art works, educational parts and etc. will benefit from indirect North light so as the whole building interacts more with crossing cars beneath. Therefore, activities inside can be seen from outer space and meanwhile preserved from access.
6- Interior of the Museum is designed -inspired by the art of traditional Korean garden (Susok)- in a dynamic form, in order to combine, merge and overlap the open and closed spaces and the public and private areas. Boxes with basic colors, which remind us of both Mondrian paintings and early days of modern art and the Dancheong (traditional decorative coloring on wooden buildings), are placed in motion spaces and have different functions for the complex.
7- The final shape of the complex’s roof is shaped by parametric boxes which reminds us of old Korean clay ceilings. In addition to confirming the formal aspect of the roof it would be possible for the visitors of the complex to use it as a sightseeing spot towards nature and the city.
Traditional Korean Architecture as design approach:
Traditional Korean roof construction has traditionally used many kinds of natural materials. Giwa is a construction material for put roofing. It is also called Gaewa. One Giwa can be made by putting together two of these. Roofs are generally made by this way. These rooftops with its specific form which is internationally recognizable use in different kind
of architecture. One of them is for temples and sacred buildings. So seeing this form of rooftop above a building in addition to formal introduction to traditional Korean architecture it brings a sense of sanctification toward the space to minds The roof of the project is formed inspired by these traditional rooftops which apart from formal indications to traditional Korean architecture, has a conceptual sanctification towards art and the people.
Art complex as a public experience:
Traditionally a museum is always a place to exhibit art works and the main purpose is objects and artworks inside the museum. In past decades the interaction between architectural buildings and pedestrian spaces has been taken into consideration. Our design goal was to combine the architectural space with urban space and to eliminate the border between inner and outer space while creating an urban plaza as an event venue. Finally we tried to change the whole complex including the inner spaces and events and also the interaction between the complex and the urban space to an object for the whole city in a bigger scale. In this way the complex is not only interacting with the visitors and the pedestrian around the project but also it would appear as an object for the city and the people. The building distancing itself from the ground level provides a public plaza at the street level to create a dynamic interaction with the city. In a conceptual form this artistic complex which is an archive of artworks is a metaphor of a roof above people’s heads.
After Modernity, cities are not separate components anymore, they become continuous spaces that life goes on among them. In this project urban lifestyle and the city merge together. Seoul Art Complex impose nothing to the urban environment. This project form by keeping the continuity of urban pedestrian routs. This museum is a social complex that interacts with the urban texture, native people and the visitors of the park and the complex. Usually, there are two different levels in each project: Inside and outside. But in this project by dividing the mass of building from ground floor and creating an important urban plaza (for cultural and social events made by people's presence). More over by creating a plaza up on the roof people's interaction become more various. Inside and outside unify, on the other hand more spaces are given to the city by creating the museum and its roof. This complex not only does not reduce anything from the urban area but also add more spaces by creating social events in different levels. So the goal of design is to provide a new intersection between public space, cultural programs, entertainment, technology and architecture, creating a lively landmark within the urban landscape.
Art complex as a moving path:
Similar to Guggenheim museum in New York, masterpiece of Frank Lloyd Wright which is based on motion spaces, Seoul Art Complex is also designed based on movement path, in which hierarchy of inspiration for creating an artwork is taken into account in this path.
a. Archive: The first step of creating new artistic materials is to analyze and to look at the artworks of past and pioneer artists.
b. Exhibition: The second step is to understand and connect with artworks of the exhibition which symbolically is the current art movement of the contemporary art.
c. Community Area: The third step is holding courses, teaching and generally interacting with people and other artists.
d. Nature: The final step is getting inspired by nature which is the source of all the beauties in the world (this step takes place at the rooftop of the building).
Susok as a planning approach: In prehistoric times, Koreans worshipped nature, the sun, stars, water, rocks, stones, and trees. They especially believed that rocks had more power than water and other things in nature. Also, they have believed that rocks engendered God's good-will. Therefore, the arrangement of rocks is considered as one of the "essential" elements in designing the traditional Korean garden. Korean Susok (rock arrangement) garden culture can be described according to its stages of development. In designing the plans of functional and exhibitional flat spaces, which are in fact a metaphor for stones is traditional Korean gardens around which the movement slope paths are designed.
Sightseeing Tower as a Landmark:
Because of height restrictions of the site and the special topography of the area, the project is unidentifiable from a longer distance in Pyeongchangmuhwa-ro. Also near the site on a lower level Naebu expressway passes which is one the most important passages of Seoul. With placing a vertical element in south side of the site which defines the entrance of parking lot and which is also used for a sightseeing area towards both the beautiful nature and the project itself, the project is noticeable and identifiable from a longer distance, even from Naebu expressway.
Architects: Arel Architects Group (www.arel.ir)
Design Team: Hesam Alavi - Emad Kashfi
Design process:
1- General approach of placing the required areas is placing the mass volume in specified site locations, but in this project, considering the streets which have crossed the site and divided the site in four different segments, it will lead to creation of separate volumes, connected through a bridge or a subway, and therefore an integrated shape will not be achieved.
2- Considering the site’s geometry, a monolith volume has been placed in two more bigger segments of the site with distance away from the main street level, creating an open plaza for pedestrian level leading to more interactions with urban space, with least occupancy of the topography of the site and in the end the volume of the building will be simple and integrated as well as distinct and illustrative.
3- The roof of the building is formed by following two issues: a. Highest possible height in each segments of site (20m) for optimal use of the interior space and building volume diagnosis. b. Inspiration from traditional Korean roofs.
4- The main sustainer shaft of the volume acts as a main entrance gate to pedestrian leveled plaza and the console basis. The entrance to the roof has been attached to the volume with inspiration from traditional Korean architecture and combination with modern geometries.
5- The inner part of the volume has been extracted due to the car traffic. This extraction has been formed with conversion of two sides of the site into one semicircular by an abstract of Geodesic domes geometry. This way places for presenting art works, educational parts and etc. will benefit from indirect North light so as the whole building interacts more with crossing cars beneath. Therefore, activities inside can be seen from outer space and meanwhile preserved from access.
6- Interior of the Museum is designed -inspired by the art of traditional Korean garden (Susok)- in a dynamic form, in order to combine, merge and overlap the open and closed spaces and the public and private areas. Boxes with basic colors, which remind us of both Mondrian paintings and early days of modern art and the Dancheong (traditional decorative coloring on wooden buildings), are placed in motion spaces and have different functions for the complex.
7- The final shape of the complex’s roof is shaped by parametric boxes which reminds us of old Korean clay ceilings. In addition to confirming the formal aspect of the roof it would be possible for the visitors of the complex to use it as a sightseeing spot towards nature and the city.
Traditional Korean Architecture as design approach:
Traditional Korean roof construction has traditionally used many kinds of natural materials. Giwa is a construction material for put roofing. It is also called Gaewa. One Giwa can be made by putting together two of these. Roofs are generally made by this way. These rooftops with its specific form which is internationally recognizable use in different kind
of architecture. One of them is for temples and sacred buildings. So seeing this form of rooftop above a building in addition to formal introduction to traditional Korean architecture it brings a sense of sanctification toward the space to minds The roof of the project is formed inspired by these traditional rooftops which apart from formal indications to traditional Korean architecture, has a conceptual sanctification towards art and the people.
Art complex as a public experience:
Traditionally a museum is always a place to exhibit art works and the main purpose is objects and artworks inside the museum. In past decades the interaction between architectural buildings and pedestrian spaces has been taken into consideration. Our design goal was to combine the architectural space with urban space and to eliminate the border between inner and outer space while creating an urban plaza as an event venue. Finally we tried to change the whole complex including the inner spaces and events and also the interaction between the complex and the urban space to an object for the whole city in a bigger scale. In this way the complex is not only interacting with the visitors and the pedestrian around the project but also it would appear as an object for the city and the people. The building distancing itself from the ground level provides a public plaza at the street level to create a dynamic interaction with the city. In a conceptual form this artistic complex which is an archive of artworks is a metaphor of a roof above people’s heads.
After Modernity, cities are not separate components anymore, they become continuous spaces that life goes on among them. In this project urban lifestyle and the city merge together. Seoul Art Complex impose nothing to the urban environment. This project form by keeping the continuity of urban pedestrian routs. This museum is a social complex that interacts with the urban texture, native people and the visitors of the park and the complex. Usually, there are two different levels in each project: Inside and outside. But in this project by dividing the mass of building from ground floor and creating an important urban plaza (for cultural and social events made by people's presence). More over by creating a plaza up on the roof people's interaction become more various. Inside and outside unify, on the other hand more spaces are given to the city by creating the museum and its roof. This complex not only does not reduce anything from the urban area but also add more spaces by creating social events in different levels. So the goal of design is to provide a new intersection between public space, cultural programs, entertainment, technology and architecture, creating a lively landmark within the urban landscape.
Art complex as a moving path:
Similar to Guggenheim museum in New York, masterpiece of Frank Lloyd Wright which is based on motion spaces, Seoul Art Complex is also designed based on movement path, in which hierarchy of inspiration for creating an artwork is taken into account in this path.
a. Archive: The first step of creating new artistic materials is to analyze and to look at the artworks of past and pioneer artists.
b. Exhibition: The second step is to understand and connect with artworks of the exhibition which symbolically is the current art movement of the contemporary art.
c. Community Area: The third step is holding courses, teaching and generally interacting with people and other artists.
d. Nature: The final step is getting inspired by nature which is the source of all the beauties in the world (this step takes place at the rooftop of the building).
Susok as a planning approach: In prehistoric times, Koreans worshipped nature, the sun, stars, water, rocks, stones, and trees. They especially believed that rocks had more power than water and other things in nature. Also, they have believed that rocks engendered God's good-will. Therefore, the arrangement of rocks is considered as one of the "essential" elements in designing the traditional Korean garden. Korean Susok (rock arrangement) garden culture can be described according to its stages of development. In designing the plans of functional and exhibitional flat spaces, which are in fact a metaphor for stones is traditional Korean gardens around which the movement slope paths are designed.
Sightseeing Tower as a Landmark:
Because of height restrictions of the site and the special topography of the area, the project is unidentifiable from a longer distance in Pyeongchangmuhwa-ro. Also near the site on a lower level Naebu expressway passes which is one the most important passages of Seoul. With placing a vertical element in south side of the site which defines the entrance of parking lot and which is also used for a sightseeing area towards both the beautiful nature and the project itself, the project is noticeable and identifiable from a longer distance, even from Naebu expressway.
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