The architectural sketch exhibition of Seung H-Sang ‘SOULSCAPE’, on show at GALLERY 508 in Cheongdam-dong, came to an end on Mar. 12, after a month-long programme. Instead of displaying drawings and photographs, the exhibition space was filled with sketches and small models hung from the wall. In the places of caption descriptions of each work, only the names of the building, completion dates, and the locations have been listed. Just as the architect facing an empty site begins to draw a line pondering so many others on an empty page of a sketchbook, the exhibition must have intended to encourage the audience to follow the architect’s process of thinking by returning to the beginning point of architecture, leaving behind wider product information. This is also well expressed in the preface of the exhibition. ‘I believe the drawing of the architect is a diffident proposal drawn with respect and affection for life, and it should be a script for arranging life that way’, Seung H-Sang stated, urging people to ‘read my sketches carefully, not as a picture to see, but as a script about life.’
The twelve projects presented in this exhibition are a selection of works that depict spiritual landscapes taken from the past ten years of his practice. Aside from architecture related to religion, meditation, and death – such as House on the Border (2021), which is the house of a retreat in St. Benedict Waegwan, Sayuwon (2013-2021) in Gunwi, Gyeongsangbuk-do, Landscape for Voluntary Exiles (2009), which is Graveyard of Roh Moo-hyun –, there are community centres and neighbourhood living facilities in which you can catch a glimpse of how the architect dreams of spirituality in everyday architecture. Seung H-Sang’s interest in spirituality is based on his architectural philosophy, ‘beauty of poverty’. Until he dissolves his belief, which is that ‘luxurious architecture creates an absurd and false life, whereas humble architecture makes it easier to cultivate an honest and upright mind’. This is an attitude conveyed by his architecture . His work begins in a small sketchbook, and these squiggles and memos are traces of the contemplation behind spatial composition, light, and detailing. Seung H-Sang’s desk reproduced in the middle of the exhibition hall, together with the sketches that surround it, inspires the audience to visualise the architect in contemplation in front of a piece of paper. There are pencils, coloured pencils, tracing paper, a scale ruler, books, a paperweight, and glasses.
In his exhibition catalogue, Seung H-Sang stated that ‘The fear of failure is not as strong as architecture. Once it is built, architecture displays a profound influence on the lives of not just those who live in it for a long time but also the lives of their neighbours. It is natural for architects to hesitate when designing’. The dignity that flows through him, as well as the traces of his belief in it, will be remembered long after this exhibition.
Exhibition view of ‘SOULSCAPE’, Seung H-Sang’s desk / Image courtesy of GALLERY 508