Archive for the ‘Design’ Category

Dongpirang is a painted neighbourhood in Tongyeong. It sits upon a hill and watches over the sea.DSC_0237

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It’s this way.

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If you need a rest…

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No Korean hill is complete without a lookout.

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Her bag is the shape of the village

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From the movie based on the life of Lady Di

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Fmous Korean cartoons.

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Best view.

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The shop of dreams.

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The Dongdaemun Design Plaza is the new landmark building in a landmark area of Seoul. It can get confusing around here, so let me be specific.

동 = east대 = big문 = gate

Dongdaemun is literally a large gate on the eastern part of what once was the Seoul wall. This wall is intact (if recreated) in many places. Several of these gates necklace the former walls of Seoul and provide useful compass points for navigating the city.

Dongdaemun-gu is the district which takes its name from this famous gate; it’s a bit further east from the gate. It’s also my home.

Dongdaemun History & Culture Park is the area which used to house a famous baseball and football stadium. It has been demolished and rebuilt to include museums and ramparts from the wall. This backs on to the markets and busy fashion trade centres. It is also the name for the underground station. Finally we get to the edifice I would like to write about – Dongdaemun Design Plaza. It is quite a mouthful so has been shortened to ddp. I have noticed that many Seoul residents are still unfamiliar with this acronym, but from here on I will refer to it as ddp.

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ddp has been taking shape during the years I have been in Korea. It used to be a building site but as it neared completion I used to ascend the building opposite to view it from above, luckily there is an elevator on the outside of the building which goes up about 17 floors. Finally after 5 years it has been officially inaugurated and I have been able to see it from every other angle, including from the inside. It was designed by Iraqi British architect Zaha Hadid, and it’s a multifunctional mixture of post modern play things. Under the shiny aluminium panels you can find a fashion design information center with seminar rooms and a lecture hall. There is a convention hall, exhibition halls, museum and my personal favourite – a kind of design market.

Zaha Hadid 360 degrees Opening Event

Zaha Hadid 360 degrees Opening Event

 

The fun mixed use nature of the building adds to the playfulness and post industrial vibe that you can find here. Each part of the building morphs into the next and getting from one area to the next is so much fun that you almost don’t care what’s going on in the exhibition spaces. It’s got a minimal feel to it, especially with all the white. However, it differs from any modernist structure because it is completely freeform. There seems to be nothing holding anything up. Moving around the building makes no sense at all, but that’s one of the reasons I like it so much, you never quite know what’s going to happen round the next corner.

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The highlight of the interior has to be the staircase which coils round in a triangular direction. There seem to be no straight lines and at one point you can look across to a window and realise that the floor is uphill, the same floor you walked on before without noticing the gradient. I think a lot of organic architecture dates quickly with materials and concrete looking shabby after only a couple of years.  With ddp I think technology has finally caught up with concept and it has allowed Hadid to build something straight from the sketch book with very little compromise.

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From above, and from certain other angles it looks like a spaceship has docked in the middle of the city. The shape of the spaceship resembles the head of some exotic reptile. These curving forms are all contained within a metallic shell of aluminium panels. The underbelly of the building joins into the cultural plaza where you can find some shops and the subway station. There is a lot of concrete surrounding the building but it manages to keep some kind of harmony with the grassy park and the ramparts of the old buildings which sit in the shadow of the silver spaceship.

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It has been criticized for not fitting in with the surrounding area and for not having a specific purpose. I would admit that it does look strange next to some of the larger retail buildings in that area, but it was a large space to fill and I admire the bravery of going for such a structure. I think over time many of the surrounding buildings will be knocked down, and Seoul has far too many geometric blocks littering the skyline anyway. Whether it will be the new fashion and design hub of Asia only time will tell. For the moment, it has provided the city with something different and something which goes some way to shaping the future urban landscape. I think it is far more successful than the City Hall building for demonstrating how this metropolis sees itself moving into the future. The future here seems to be soft edged, fun and playful. If you visit ddp you will be able to walk on it, in it, through it, round it, under it and over it. Someone told me that you can do those things in a multi story car park, if it is just a large post modern car park then I would be more than happy to park myself there every Saturday afternoon – because I love the place!

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Links and further reading:

http://www.ddp.or.kr/MA010001/getInitPage.do

http://www.zaha-hadid.com/architecture/dongdaemun-design-park-plaza/

http://www.arirang.co.kr/news/News_View.asp?nseq=159617

 

 

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HawksmoorCollage

Nicholas Hawksmoor is one of those strange figures of British history who have remained buried at the bottom, not much recognition, not famous, nobody seems to care much. He should be mentioned in the same breath as Newton, Blake, Shakespeare, or Dickens. He should be one of those we mention without needing to use his first name or his profession. So why is he little known outside the fields of Baroque architecture and London history?

 English Baroque never became as fashionable as its continental counterparts, I believe this is a principle reason why Hawksmoor never quite made it among those lofty names. He has also been overshadowed in notoriety and in the legacy of his work by his master – Sir Christopher Wren.

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Hawksmoor was ‘spotted’ by Sir Christopher Wren. He subsequently worked for Wren as a clerk in the last 20 years of the 18th century. This is both a blessing and a curse for Hawksmoor because much of his work has been overshadowed by the figure of Wren. Wren’s shadow is cast from the huge cupola of St Paul’s over the last 300 years of British Architecture. This period was also characterised by the rebuilding of London after the great fire. I said blessed because Wren is undoubtedly a genius of this period. The job of an architect was not really conceived before Wren. The idea of planning construction sites and project managing was not really a professional concern, it was left to the skilled labourers and masons. Working with Wren during this time must have given Hawksmoor many opportunities which allowed him to develop and exploit his skills. Hawksmoor worked with Wren on the Chelsea Hospital, St. Paul’s Cathedral, Hampton Court Palace and Greenwich Hospital. Wren was also surveyor general. It’s easy to see how Hawksmoor’s influence can be overshadowed by the celebrity of Wren, but many argue that some of the features and developments of Wren’s projects owe much to Hawksmoor. Imagine the modern celebrity chefs who lend their names to famous restaurants only to have another more than competent chef actually cook the meals. I think there is a distinct possibility that their close professional relationship created a level of trust whereby Hawksmoor could carry out the projects of Wren’s ‘brand’ without much interference. Wren also had many other concerns at that time so I think it’s safe to assume that not every Wren project was completed in its entirety by Wren

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By 1700, Hawksmoor was a major architectural force with his own style; his own baroque style.  I say his own Baroque style consciously, because unlike many architects of that time Hawksmoor never completed the almost obligatory Grand Tour. He did not see the famous sights first-hand, and had to rely on pictures and engravings. The lack of first-hand experiences may have hindered his style, but I choose to believe that it prevented cheap mimicry and afforded him a rare objective approach when studying ancient monuments and edifices. Anyone who has seen his churches can see that he paid close attention to the monuments of ancient Rome and even Greek, Egyptian, and Hebrew works. How many churches in England have a pyramid in their graveyards? His grand tour was carried out in the library where he travelled effortlessly from Medieval Europe to Ancient Egypt in the space of a few pages. He was free from the constraints and prejudice of direct contact and instead had to rely more on the free-flowing artistic imagination to complete his works.

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This continuity of history, be it Christian, pagan or anything else, is explored in the baffling yet brilliant book ‘Hawksmoor’ by Peter Ackroyd. I read the book after visiting his churches in London. The narrative switches between the slightly mundane modern murder investigations to the initial drawing board of the architect/mason. Many themes are explored which you can see clearly in the fabric of the unusual churches. The main theme being the relentless rationality of Wren compared to NIcholas Dyer’s satanic mysticism.  I won’t go into too many details about the book here because I want to talk about my journey through the architecture. However, the book provides an unbelievable analysis of religious architecture in relation to the history of belief itself. The book really helped to explain the continuity of history in the church both physical and religious. Some of the prose adds another layer of meaning to most of the structures built by Hawksmoor. The book has also left a cult of the occult. The belief is that the pattern of the churches relates to some diabolical pentagram. I cannot confirm this but what I will say is that there is an otherworldly quality of the churches. Each building seems to exist on a separate timeline than our Judeo-Christian heritage. In many ways the churches seem a little dislocated from their physical surroundings too. Too grand to sit between  the simple dwellings of East London, and far too mysterious too be nestled between the large Victorian Banks and Institutions of Central London. To the untrained eye they may look the same in colour and texture as their neighbouring buildings, but on closer inspection they bear little resemblance to the safe classical buildings we commonly see. I wondered why Hawksmoor had so many churches to his name so long after the great fire. I found my answer when I visited  Christchurch in Spitalfields.

In 1711, parliament passed the following:

Act for the building of Fifty New Churches in the Cities of London and Westminster or the Suburbs thereof.

The act was passed for various political reasons, but it was supported by Queen Ann as a way of providing a pastoral guidance for the godless masses, especially in the East. London at this time was turning into a huge metropolis and the infrastructure had not caught up with the demands of the growing population. There was also a concern about the growing number of non conformist meeting houses, especially in the Spitalfields area which contained large numbers of Huguenots . The creation of large churches was a way to erect towering steeples to watch over the less imposing meeting houses. Whatever the reasoning, it was a serious commission, a commission which included Christopher Wren, John Vanburgh, Thomas Archer and a number of churchmen. Hawksmoor served as one of its surveyors and remained  until the commission ran out of enthusiasm and money in 1733. The declining will for the 50 churches meant that only twelve churches were actually completed. I believe they ran out of money because they were far more grandiose than originally intended. Some of the churches were collaborations but six of the churches were designed or rebuilt by Hawksmoor:

Christ Church, Spitalfields Hawksmoor 1714-29

St Alfege Church, Greenwich Hawksmoor 1712-18 (rebuilt)

St Anne’s Limehouse Hawksmoor 1714-30

St George’s, Bloomsbury Hawksmoor 1716-31

St George in the East Hawksmoor 1714-29

St Mary Woolnoth Hawksmoor 1716-24 (rebuilt)

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I spent the best part of a day travelling across London to look at the churches. Unfortunately St. Georges in the East was closed and as I was in the East I failed to visit Bloomsbury, this is strange because I have been in that area many times. If you live in London, or if you are spending a reasonable amount of time there I highly recommend setting aside a full day to visit the churches. I started in Spitalfields and headed East. Actually, I forgot my map and notes but a leaflet from Christchurch was enough to get me going to Limehouse and beyond. I will not label all the pictures or describe how to get there, I believe it should be a personal journey. If you need a guide then consider following the gruesome murders in Peter Ackroyd’s Hawksmoor. Good luck!

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