SPACE December 2025 (No. 697)
‘Cross Critique’ was conceived to examine two projects under a related theme. It aims to serve as a space for critical dialogue between architects, where discussions can reveal the pressing issues and key topics in contemporary architectural practice.
From accusations of political collusion to sweeping interpretations of modernism, Thomas Heatherwick (director, Heatherwick Studio; hereinafter Heatherwick) has long courted controversy. Under his direction, the Thematic Exhibition of the 5th Seoul Biennale of Architecture and Urbanism (covered in SPACE No. 696) has once again fueled debate. At the entrance to Songhyeon Green Plaza, he installed his ‘Humanise Wall’ on an overwhelming scale, while the twenty-four ‘Walls of Public Life’ placed opposite it were at more than one-hundredth of its size. According to Heatherwick, the three-dimensional elevations on view here stand in contrast to the ‘boring’ work of Le Corbusier. Against this backdrop, we speak with Chung Isak (professor, Dongyang University), who participated as an exhibiting artist, and Chon Jaewoo (principal, HYPERSPANDREL), who adapted the theme and form of the Walls of Public Life to develop the ‘K-Wall Challenge’ on Instagram. Here, there is criticism, affirmation, jealousy, and humour.
Residual Heritage (2025)
Image and text of Residual Heritage uploaded by Chung Isak ©Chung Isak
The Theme, Format, and Purpose of the Thematic Exhibition
Park Jiyoun (Park): First, tell us how you came to participate in the ‘Walls of Public Life’ project and what led you to initiate the ‘K-Wall Challenge’.
Chung Isak (Chung): The Seoul Metropolitan Government (SMG) informed us that twenty-four architects and professionals from other fields would take part in creating Walls of Public Life, with five Korean architect teams among them, and that our office, a.co.lab architects, had been selected. But once involved, Heatherwick issued far more additional guidelines than expected. For instance, the wall could not be transparent, and if a window was created, it had to be made entirely of reflective acrylic. The key was to direct attention not toward ...
