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Geometry and Strategic, Neutrality as Tools

written by
Nam Sangmoon
photographed by
Bae Jihun
materials provided by
stpmj
edited by
Bang Yukyung

SPACE December 2024 (No. 685) 

 

 

Super-Normal: The Universal and the Particular 

On a low hill in the countryside, there sits a small white mass that appears to have been meticulously carved with a knife. The overall outline of the building is a symmetrical triangle, but its hypotenuse cascades in a stepped manner, and a cylindrical wooden mass is embedded into the pilotis space at the first-floor entrance, adding a sense of sculptural richness. This building was designed first, with the client¡¯s requirements and budget foremost in mind, before a specific site was chosen. This was possible because the site conditions in Yangpyeong, where the building is located, are generally similar to those in the more urban areas, as the market offers square and rectangular plots divided into given areas, and the architectural typologies that distinguish the city centre from the countryside are ambiguous in Korea.

 


º¸ÅëÁý(2021)

 

Mega Floor: Plan as a Generator 

From a distance, the Mega Floor (2024) appears as a singular cubic mass, but, upon closer inspection, it reveals itself as a complex geometric creation composed of architectural elements such as columns, beams, and floor slabs, all arranged according to a consistent compositional principle. The vertical and horizontal lines on the façade divide the mass into planes, while the variations in height between elements and the play of light and shadow imbue the surface with depth, transforming solidity into void. In Towards a New Architecture (1923), Le Corbusier identified the three elements of architecture as volume, surface, and plan, and argued that when a simple geometric form is given surface depth, its sculptural solidity diminishes, leading to a paradoxical situation where the surface takes precedence over the volume. For Le Corbusier, architecture was not about space but about the majestic interplay of forms under light. However, his early sculptural language of smooth surfaces evolved into the direction of giving depth to surfaces through features like brise-soleil and decorative elements, and his early book, Towards a New Architecture, a compilation of ess...

 
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Nam Sangmoon
Nam Sangmoon is the principal at DAYPLACE. After graduating department of architecture and architectural engineering at Yonsei University, Nam continued his graduate studies at the same university before joining SAMWOO Architects & Engineers. Nam is teaching the design studios at the Ajou University and Yonsei University. Nam is a regular writer for various architectural magazines and journals such as Wind and Water, Architecture & Society, and The Liverary. Nam is the author of the introductory book Roofless Architecture and his forthcoming book on urbanism and architecture in the age of climate crisis, How to Invite the Birds, is forthcoming.
stpmj
stpmj is an award-winning design practice based in New York and Seoul. The office was founded by Lee Seungteak and Lim Mijung with the agenda, ¡®provocative realism¡¯. It is a series of synergetic explorations that occur on the boundary between the ideal and the real. It is based on simplicity of form and detail, clarity of structure, excellence in environmental function, use of new materials, and rational management of budget. To these they add ideas generated from curiosity in everyday life, as they pursue a methodology for dramatically exploiting the limitations of reality. stpmj has received numerous awards and prizes, including Seoul Architecture Special Prize (2021), AIA New York Design Awards (2020, 2019, 2017), Korean Architecture Awards (2019), Design Vanguard Architectural Record (2017), Korean Young Architect Award (2016), the Kim Swoo Geun Preview Award (2016), among others.

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