Half House Architects Group RAUM

2017-08-20 20:00

 © Yoon Joon-hwan

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可感知的框架

A Perceptible Frame

Kim，Taecheol(东甲大学教授)

Kim, Taecheol (Professor, Dong-A University)

在米歇尔·冈德里执导的“化学兄弟”的歌曲“永远保持”的音乐视频中，这位女演员不断地从二维空间跳到三维空间，反之亦然，创造了独特和重复的模式。这段音乐视频展示了米歇尔·冈德里的独创性，著名的电影“睡眠科学”的导演，并通过连接二维和三维世界创造了一个尴尬的效果。它的尴尬出乎意料地刺激和鼓励了观众的参与，而不是让他们保持被动。

in the music video for the Chemical Brothers’ song ‘Let Forever Be’, directed by Michel Gondry, the actress continuously jumps from two-dimensional to three-dimensional spaces and vice versa, creating unique and repetitive patterns. This music video shows Michel Gondry’s originality, famously the director of the film The Science of Sleep, and creates an awkward effect by connecting two-dimensional and three-dimensional worlds. Its awkwardness unexpectedly stimulates and encourages audience participation, instead of allowing them to remain passive.

 © Yoon Joon-hwan

.尹俊焕

建筑师是如何开始设计一个项目的？首先，建筑师致力于建立一个三维结构，并以一种独特的方式强调它，以创造一个独特的空间。如果架构师从使用一个通用的三维空间开始，他或她就会情不自禁地期望一个过于简单和明显的输出，而不是容易设计的结果。这就是为什么建筑师，在设计阶段开始的时候，把一个结构的线和面分开，而不是正确地匹配它们，然后再把这些线和脸连接起来，形成一个三维的质量。架构师对这种联系的思考方式因架构师而异，演变成一种原始的架构思想。Sinwook OH设置了一个框架，它与墙上的一幅画分离开来，在它们之间留下了一个空间。这是一个装置，使一个有意识的连接之间的二维框架和图片，以创造一个三维空间。观众需要重叠这两个元素才能看到一个单独的空间。

How does an architect begin to design a project? First, the architect works on making a three-dimensional structures and emphasizing it in a unique way, in order to create a unique space. If the architect begins by using a general three-dimensional space, he or she cannot help but expect an output that is too simple and obvious to be easily designed. That’s why architects, at the beginning of the design stage, separate lines and faces of a structure instead of matching them correctly and connecting these lines and faces again later, to make a three dimensional mass. The way architects think about the connection, which differs from architect to architect, develops into an original architectural idea. Sinwook Oh sets a frame detached from a picture on a wall, leaving a space between them. It’s an installation that makes a conscious connection between the two-dimensional frame and picture to create a three-dimensional space. The audience is required to overlap these two elements to see a single space.

 © Yoon Joon-hwan

.尹俊焕

可感知的框架

A Perceptible Frame

与周边地区一样，这座建筑的“半壁江山”显示了一种情况，即土地被一条新的道路切断。它的名字可能意味着一个二维立面切割和设置沿路。没有横截面，只有一个框架(皮肤)，然而，脱离墙壁。事实上，这一框架是一个具有重要作用的形成结构。如果这座房子被设计成一半的结构，就像这个名字所暗示的那样，并且展示了房子的横截面，它看起来就不完整了。很好，它没有。让我们看看后面。这座建筑位于海滨村的一群房子中间。

Like its surrounding areas, the construction ‘half-house’ shows a situation where the land is cut through by a new road. Its name may connote a two-dimensional facade cut and set along the road. There is no cross section but a frame (skin), however, detached from the wall. In fact, this frame is a formative structure playing an important role. If this house was designed as a half structure, as the name literally implies, and revealed a cross-section of the house, it would look incomplete. It’s well that it does not. Let’s have a look at the rear. This construction is located in the middle of a group of houses in a seaside village.

 © Yoon Joon-hwan

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 Longitudinal Section

从后面，形成一条预定的线，这些房屋是沿着地籍地图上的边界线建造的，因此它们与周围环境相适应。当墙线调整为与边界线平行的轴线时，它与道路不是平行的，而是与道路形成一个角度。通过这种经典的错位，这些房子试图实现交叉群众的组合。这种错位塑造了许多人熟悉的以几何美学为特征的现代主义。它似乎也反映了一种意愿，使这些房子适应周围的环境，同时保持环境。然而，这看起来太平淡了，这就是为什么建筑师把这座房子分成正面的一个框架(皮肤)和背面的一个图片(身体)，再一次将两者连接起来，尝试一个三维模型。

From the back, forming an intended line, these houses are constructed along the boundary lines on the cadastral map, so they fit in with their surroundings. While the wall line is adjusted to an axis parallel on the boundary line, it is not parallel with the road and instead forms an angle to the road. Through this classical misalignment, these houses try to realise a combination of crossing masses. The misalignment figures the Modernism which features geometrical aesthetics that many are familiar with. It also seems to reflect a kind intention to make these houses accommodate to surroundings and keep the context at the same time. It appears far too plain, however, and that is why the architect divides this house into a frame (skin) at the front and a picture (body) at the back, connecting the two again trying a three-dimensional modeling.

 © Yoon Joon-hwan

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 Cross Section

 © Yoon Joon-hwan

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在建模过程中设计的窗口和开口为业主的日常生活增添了热情。一方面，包括放置在通往二楼梯附近的零碎空间中的不同形状的陶罐，似乎意味着主人茫然不知所措。这种分散的空间阻碍了大规模的组合。然而，在实现大规模组合时，建筑师似乎应该更加积极和大胆。另一方面，风景优美的房间，二楼的露台，适合在海上观看聚会，以及简单而廉价的材料，把房子和主人联系在一起，弥补了任何小的缺点。房主是一个谦逊朴素的人，总是对房子心存感激。

Windows and openings designed in the modeling process add zest to the owner’s daily life. On the one hand, including different shapes of pots placed in a fragmented space near the stairs leading to the second floor, seems to imply the owner is at a loss. This fragmented space hinders a mass combination. However, it appears that the architect should be more active and bold when realising a mass combination. On the other hand, the room with a nice view, the terrace on the second floor suitable for a party with a view over the sea, and simple and inexpensive materials emotionally link the house to its owner and make up for any minor drawbacks. The owner is a modest and simple person who always feels grateful for the house.

 © Yoon Joon-hwan

.尹俊焕

考虑到“可感知框架”的概念，房屋左侧前侧停车位入口的上部，作为建筑的一个基本元素，应该被设计成独立框架的一部分。停车位展示了建筑师在设计框架时的犹豫不决，以及建筑师隐藏在停车位功能背后的意图。也许他尽量对住在房子里的人太好了。有点尴尬没关系。事实上，如果它和米歇尔·冈德里的作品一样尴尬，那就更好了。尴尬引起了人们的注意。观众希望得到刺激和参与。我们来访后，老板正赶出房子去上班。在透过窗户看着他在独立的框架里，我想建筑师不需要仅仅是友好的。

Considering the concept of the ‘perceptible frame’, the upper part of the parking space entrance on the left-front side of the house, which is an essential element of the architecture, should have been designed as a part of the detached frame. The parking space hows the architect’s hesitancy when framing and the architect’s intention to hide behind functionality of the parking space. Perhaps he as tried to be too nice in accommodating the person occupying the house. A little awkwardness is okay. In fact, it would be even better if it were as awkward as Michel Gondry’s work. Awkwardness draws attention. The audience wants to be stimulated and participate. After our visit, the owner was rushing out of the house to go to work. After watching him through the window in the detached frame, I thought that architects don’t have to be only nice.