SPACE April 2023 (No. 667)
Architecture
Expanding Interests, Spiralling Time
While cleaning my old room at my parents’ house, I came upon a diagram I drew in my junior year of college. The solid lines indicate thoughts, while the dotted lines reflect time. This diagram still accurately represents my perspective on the practice of architecture. First, the axes of thought point in various directions. It is possible to have one’s own colour in a client-based profession, maybe this is even necessary for self-promotion. However, I believe that architecture is closest to strategic consulting, and thus having a fixed architectural philosophy is not useful. More interesting here is that time is moving in a spiral. As the spiral repeatedly intersects with various axes of thoughts, the length of a particular thought has increased when they meet again. My graduate work at the graduate school, ‘Better, Cheaper, Faster’ (2005), is a study on a structural system that is lightweight and made quickly using a CNC milling machine. This is directly related to the Centreefugal Park (2017, covered in SPACE No. 597) and Temporary (and Lightweight) Building (2023), which could not be featured in this issue due to a scheduling delay. The experiment with a lightweight structure, which I addressed almost two decades ago in line with a curiosity for a new machine, has met the client’s very practical concerns and is being realised across a number of buildings. I now have a clearer understanding of how to develop this lightweight system both conceptually and commercially. The diagram also relates to my first FRAME essay in SPACE (covered in SPACE No. 587), where I discussed the notion that one might first work on anything that comes along to amass particular solutions, with the hope of later abstracting a general solution from them. In this issue, I will map out a few crossing points in my thought, which I am not certain how best to reunite.
(from left to right) ‘Better, Cheaper, Faster’ (2005), a 10㎡ structural frame that two non-experts can assemble in an hour / ©Yang Soo-in
Centreefugal Park (2017), a transportable mechanical forest
A Temporary (and Lightweight) Building (2023), a framing system that minimises on-site processes through CNC-folding and pre-assembled cold-formed steel into easily transportable modules in a factory / Image courtesy of Lifethings
Invasive Surgery: Adaptive Reuse
Lifethings has worked on a few adaptive reuse projects recently. For these projects, the existing building is treated as part of the ground and examined archeologically. Then, a new building is designed on that ground. The results often produce clear contrasts between the old and new. For the Helinox Creative Center Busan (hereinafter HCC Busan), the many surprising discoveries on the elevation of the existing building were celebrated as design features. Even a few years ago, adaptive reuse projects carried more conceptual value than practical benefits. However, a dramatic increase in construction costs, due to recent global crises, has now made adaptive reuse a viable option. As I believe that it is one of the fastest growing architectural markets in Korea, Lifethings will continue to focus on adaptive reuse projects in the near future.
(left) PKM Gallery (2015), a western-style house built in 1966 that has been reused as a gallery
(right) Cosmo 40 (2018), a chemical factory’s wastewater disposal building was reused as a multicultural space
(left) Helinox Creative Center Busan (2023), uncovering the original hexagonal beam crossed with the upper beam of the renovation architect’s design
(right) Helinox Creative Center Busan (2023), column left in the original form; circular beams cut off in the first expansion; reinforced beams in this work
Artist? Engineer? Strategist!
The role of an architect, neither as an artist nor an engineer but as a strategy consultant, is an axis that continues to grow in relevance. A vertical extension project in progress is only possible because new standby parking is secured by relocating the mandatory public open space, taking advantage of a new statute that allows indoor public spaces; and additional building to land ratio has been obtained by excluding the disabled elevator floor area from the building coverage calculation and placing a new mechanical parking tower. For Cultureland Office, a long taillike multi-purpose performance hall was proposed, a programme in tune with the company’s business model of publishing culture vouchers, in a space that could have been wasted because of a peculiar site condition of the neighbouring lot. Prior to proposing a detailed design or style, finding a solution that we refer to as an ‘irresistible rationale’ in the office is the most crucial process for an architect to earn the client’s trust. Once mutual trust is built, a satisfactory outcome is sure to be found.
Creative Lawsmith
As a practicing architect, the building code is something in which I find myself strangely interested. As it is possible to come up with different defence strategies based on the same laws, there is more room for interpretation than one would think when it comes to the building codes, district design guidelines, ordinances, and various committee recommendations. Botong Jip (2020) took its 20% building to land ratio restriction as a creative springboard, while Pyeongchangdong Gallery Residence (2021) was inspired by the custom of counting the floor area of the double helix staircase only once. The building code, for me, is not just something with which to passively comply. Rather, I see it as something I can play with in a creative way. Similar to rules in sports, if you understand them clearly and know when fouls are called, you can really play to the fullest.
Making a Method of Making
Designing for precision is artistic, whereas designing for error is industrial. The undulating façade of HCC Busan is realised with two types of custom-made brick. Rather than designing many types of precisely angled custom bricks, we devised a method of distributing discrepancies, so that the façade appears natural as a whole. Making a method of making something ensures efficiency at an industrial scale, and it is something in which I am always interested as an architect.
Office
Good Architecture, Good Office
Everyone at Lifethings has spent their entire adult life studying and practicing architecture, which they enjoy. Therefore, it is most important that we work on good architectural projects, so that each individual member can meet one’s desire to learn and create through the office. However, practising good architecture does not automatically translate to a good office. A good office should be able to offer healthy working conditions as well as stable economic compensation. It will never become a good office unless the head of the architecture office clearly recognises the difference between good architecture and a good office, and makes a conscious effort to arrive at both.
Using a Professional Sports Team as a Model
An office is a unique community. The office and its members are clearly in a contractual relationship in which a reasonable fee is paid for the work provided. Members of the office are ready to leave at any time, for a higher salary, more independence, or academic interests, and so on. There is, however, something a bit more sticky at play in an office than the typical relationship between an employer and a worker. Recently, I heard that an IT company considers themselves to be like a professional sports team, and it resonated with me. Similar to professional athletes, who share unique comradery in pursuit of a championship, members of an office share a sense of collective accomplishment as a group as they work on projects of larger scale and better quality. A professional sports team is an interesting model for understanding the unique relationship between members of a contemporary architectural design office, which differ from that of the apprenticeship system in previous generations, and that of other general companies.
Ten Plus & Corporate
To become a good office, stability is a must. I admire the phrase, ‘even today’s snow is the owner’s responsibility’ from Owner’s Task. When it comes to running the office, I try to present a very clear sense of direction. This is the complete opposite of my approach to design, which is to be very open and flexible with least ego. I realised two different methods of operating a stable atelier in Korea soon after opening my office: ① an atelier in the truest sense with only a few employees that primarily works with private clients, working rigorously on a few residential projects every year; or ② a practice with at least ten employees that focuses on corporate clients, working as an organisation. A practice in between, namely an office with four to nine employees that primarily work on private commissions, is the most difficult to ensure survival, at least in my experience. I knew from the beginning that I wanted to experience relatively largescale projects, so I decided to aim for the latter. Open competitions commissioned by the government were not of interest as they tend to cater to over complicated and lengthy processes. When faced with a decision, I have always made decisions based long-term goals rather than immediate gains and losses. Lifethings currently has fifteen staff members, and we primarily work on corporate commissions while entertaining a few interesting private clients. If given the chance, I do not mind expanding the office a bit more, and if I find myself at a crossroads, I will prioritise adaptive reuse projects over new construction projects for the time being.
(left) Pyeongchangdong Gallery Residence (2021), the circulation path for the double helix staircase (right) Botong Jip (2020), a house placed underground to overcome the building to land ratio restriction, as well as securing good living conditions through a southeast-facing courtyard
You can see more information on the SPACE No. 667 (June 2023).
