Abstract
The aim of this study is to interpret the relationship between topography and architecture in the houses designed by the Korean architect, Kim Incheurl from the 2000s. Kim's various types of single houses built on a range of sites can be seen as representing a typology that addresses the complementary relationship between architecture and topography. His interpretation of the site considered neither narrativity nor romantic association, and rather focused on the physical realities of the site. His houses complemented what was lacking on the sites by architectural framing that contains the practices of human life. The topography of the site was reconfigured using architectural framing and was thus rehabilitated through the performance of window-walls. However, Kim's houses are limited in their reaction to the site, in terms of the consideration of site sustainability, plan type, material, and window-wall design. In order to suggest a productive criticism that can provide insight into the performative relationship between Kim's houses and topography, this paper suggests three topics: 1) creating sustainable outdoor settings on the site, 2) creating a deep structure of interior space, and 3) developing performative window-walls through the variation of materials and opening operation. Keywords: topography; Kim Incheurl; inner space; single-row house; performative window-wall 1. Introduction indicates his understanding of the intrinsic values This research focuses on the complementary of Korean traditional architecture His expression of relationship between the architecture and topography 'performative relationship' between architecture and of the houses designed by the Korean architect, Kim topography is not limited to naïve functionalism, Incheurl. The study will analyze his houses as a but embraces a situational logic that has its origin performative reaction to typical Korean topography. in drama or theatrical performance, and further Kim Incheurl's houses can be regarded as typical suggests a mutual relationship between architecture types that respond to Korean topography, since he and topography, and between interior space and develops a schema for the houses based on the site exterior nature. The performative relationship occurs situation. In addition, his houses do not rely on place- through the interface between the window-wall and bound narratives, but focus on a typically applicable the operating architectural devices that stand between concept in terms of the layout of houses. In his recent interior and exterior spaces. Thus, a performative publication, Space Opening (2011), he criticizes the relationship involves the visual, active, and possible place-bound regional narrativity of a site, and instead mediation that can occur between the inside and proposes a factual and physical relationship between outside. a site and its architecture. His factual analysis of a site This research will discuss Kim Incheurl's four (in which he substantiates natural vista, a visual target houses that were designed after 2000 and will analyze from the site, natural slope, and original vegetation), the following three areas. 1) Site interpretations that demonstrate his interpretation of Korean traditional architecture and his therapeutic approach that opposes excessive disruption of the existing site, 2) life *Contact Author: Hayub Song Ph.D. AIA, Associate Professor, practices that are offered through the interior and Department of Architecture, Chung-Ang University, exterior spaces around the window-walls, 3) theoretical Heukseok-dong Dongjak-gu, Seoul, 156-756, Korea implications that suggest a performative relationship Tel: +82-2-820-5264 Fax: +82-2-812-4150 between interior and exterior spaces through the E-mail: hysong@cau.ac.kr complementation of architecture and topography. ( Received October 8, 2013 ; accepted March 4, 2015 ) Journal of Asian Architecture and Building Engineering/May 2015/278 271 3 2. Theoretical Premise - Interpretation of poem, 'A.3 Environment'. Topography through Architectural Discourse The phrase "sign a pact of solidarity" refers to the In order to discuss Kim Incheurl's interpretation of connection between horizontality and verticality. topography in terms of architectural discourse, this Le Corbusier extolled not an aesthetic evaluation of study introduces major discourses on the definition of verticality and horizontality, but an existential logic topography in architectural history. The following three that architecture is a "frame" that stands on earth and sections discuss topics based on Western architectural has arisen from earth. Earth and frame are existential discourses that represent contemporary global forms that can be intervened by water, stone, hand, perspectives. light, and owl. Physical forms of earth are not merely 2.1 Emphasis on Horizontal Leveling horizontal features, but include the topography of the - Leon Battista Alberti and Le Corbusier earth, the water in the earth, and the vegetation on The emphasis on the earth. Also, various forms of the frame include horizontal leveling construction technology, materials, light and shadow, is not based on any and enclosed spaces. The physical location where the technical rationale, earth and frame exchange their existential forms is the but follows a physical site where topography and architecture complement reality that involves each other through life practices. the us e of a site. The horizontal leveling emphasizes geometrical and Alberti wrote in his constructive features that complement the site, and architectural treatise, give primacy to the life practices that inhabit the frame "On t he Art of and the earth. Buildings" that a site 2.2 Emphasis on Narrativity necessitates horizontal - Alexander Pope and Frank Lloyd Wright leveling according to Contrary to the existential logic of horizontal its shape and purpose. leveling, the emphasis on narrativity was proposed His treatise suggested during the period of English Romanticism. In 1731, the that horizontal leveling poet Alexander Pope (1688-1744, English poet) wrote is achieved using a about the term genius loci in his recommendation to Fig.1. Site Water Analysis, 5 stylobate or platform, gardeners in his letter, "Epistle to Lord Burlington". Alberti, 1755 where the height of the Referring to the definition of genius loci, Pope platform is dependent on the function of the building. introduced the peculiar character of nature through Alberti also wrote that the purpose of a platform is to a debate with the philosopher Shaftberry III. He facilitate an equal relationship among people standing acknowledged, through an imaginary debate between or sitting on the platform. The objective of attaining Theacles and Philocles that Theacles fully understands equality between people in meetings or even when the concept of genius loci, while Philocles's at war was also a political gesture. The definition of understanding of nature is superficial and limited to site needs to include the transformation of the natural the visual aspects of nature. Pope's suggestion, though topography into usable platforms that can cultivate explanatory and poetic, illustrates the power of genius activities of citizens within a culture. loci that is embedded in the site and in nature. He Following Alberti, Le Corbusier mentioned in his argued that Philocles should observe nature until he architectural treatises understands genius loci. It seems that the narrativity the technical and of a site needs to be confirmed through the substantial metaphoric importance reality of the site. of leveling in modern In modern architecture, the architect Frank Lloyd architecture. In "the Wright applied genius loci to the narrativity of the site Poem of the Right and its architecture. Wright proposed that architecture Angle", Le Corbusier and site could be made inseparable through the use of wrote that the vertical the indigenous material of the site. Wright regarded represents the spiritual an architect as a "messenger of earth" and he used wo rl d, a nd t h e the stones of the site to create his architecture. He horizontal represents continued the romantic concept of genius loci and used the physical world on the term "topogenesis" to explain his approach to the which people stand; site. He was convinced of his belief in the organic the vertical is the axis simplicity of nature and attempted to imitate the of the creative force, shape of nature in his projects. Many of his buildings while the horizontal is emphasized the shape of the American prairie as Fig.2. Le Poème de l'Angle Droit A.3 the axis of water and horizontal planes. In summary, the emphasis on earth at the ground level. This is clearly expressed in his narrativity relied on the concept of genius loci and the 272 JAABE vol.14 no.2 May 2015 Hayub Song pursuit of topogenesis for the extraction of an historical that the latter provides an open empty courtyard, and place-bound narrative. de-emphasizing the architectural object. Seung's 2.3 Emphasis on Naturalness interpretations of Korean architecture as evoking - Marcel Breuer emptiness could be regarded as personal opinion, and it Marcel Breuer interpreted the site as being distinctly is doubtful whether the concept of emptiness impacted different to the architecture of the site. Breuer often on the Korean life style. Seung's ideas reveal the used pilotis in the same way as Corbusier, whereby spiritual aspect of Korean architecture. the pilotis suggested the detachment of his buildings The important aspect of Seung's comment is his from the ground. However, raising the building on suggestion that the Korean temple located in the "inner pilotis required certain topographical conditions; on space" in mountains embodies emptiness. Currently, uneven ground, the building looked like "a camera on the empty temple precinct is surrounded by mountains. a tripod". Breuer developed a hillside house which Since Korean topography consists of 70% mountainous was built "so that you enter the top floor from the regions, many Korean villages and temples are located uphill side and the lower floor from the downhill side". in valley areas between mountains. Typically, a village Breuer wrote about this in the following passage, or a temple is located where the topography changes. Other spiritual areas are located in deeper areas in the A building is a man-made work, a crystallic, village. This deeper space of the "inward town" differs constructed thing. It should not imitate nature- from open spaces of the Western plaza. it should be in contrast to nature… Kim Incheurl's houses are usually located in this I see it [a building] not as an isolated inner space of the topography. Lacustrine (2008) is composition, but a composition of contrasts. located at the bottom of mountains, Forest Garden (2006) is located on a sloped site, Tiltup (2008) is The earliest experience that seems to have helped located on a site with a slope that varies by 15 meters, Breuer shape this concept was his critical attitude and Corridor (2012) is located at the end of a village toward the garden designs in German avant-garde in a valley area between mountains. These houses are architectural culture. Breuer implicitly criticized the located in the inner space of the topography, and the Gesamtkunstwerk of Peter Behrens, Josef Olbrich, and atmosphere is shaped by the shaded context. Houses Josef Hoffmann, all of whom blended architectural and in the inner space differ from those of the sunny area. garden forms. The view to the house is not obvious since the houses The contrast, which he expressed as sun and are usually hidden; yet the view from the house to shadow, graphically illustrates Breuer's beliefs about the outside is well lit. This technique is similar to the the coexistent and contrastive relationship between view from a cave into a well-lit open area or the view site and architecture. This concept is expressed in the from the shadowy atmosphere of Korean traditional Spanish motto, Sol y Sombra, which acknowledges architecture into a temple precinct. the relative positions of bright and shaded sections of Kim Incheurl's interpretation of the site suggests the arena during a bullfight. The motto describes the the physical transformation of topography and most link between compositional methods and between life importantly a deep structure that is provided by a situations: light to heavy, bright to dark, architecture to visual frame from a shadowy area to a well-lit area. landscape, and private to public. In the built situation, In the following section, this research will follow however, the contrast is only a mere beginning the analysis of 1) house and site relationship and 2) because nature and life practices cannot be definitively performative aspect of the window-wall that enables prescribed. interaction between the house and site. 3.2 Synchronization of Architecture and Site: Tiltup 3. Kim Incheurl's Houses on Topography (2008) 3.1 Kim Incheurl's Site Interpretation: the Revelation Tiltup is located of Inner Topographical Structure on a site with a Kim Incheurl's houses are located in suburban areas 1 0-m e t e r he i g ht in the vicinity of Seoul. The characteristics of the sites difference from the do not imply any specific historical narrative. While front to the back. many architects tend to focus on the meaning of a Tiltup weaves itself site, Kim Incheurl often does not develop elaborate around a winding interpretations. A Korean architect, Seung Hyosang path that climbs up wrote about the transience and visual imagination 8 the site. The building of temple ruins that do not have a foundation. This mass follows the Fig.3. Site Condition, Tiltup approach is similar to that of 19th century romanticism winding ascent of the that dwelt on the sentimental reconstruction of the site and its relationship with the site is defined through past. Seung compared the Roman Forum with its this ascent. Following the winding masses, the visual stone foundations to a Korean Buddhist temple which experience from the house is diverse. In the interior similarly has no indication of foundations, mentioning JAABE vol.14 no.2 May 2015 Hayub Song 273 configuration, room t he fro nt t o t he f l o o r s a n d st e p s back. The typical ascend with the site frontal image of a slope. Architecture house is replaced and topography with an image of are synchronized. the visual contrast T he di f fe re nc e between architecture between this concept and landscape. and that of Frank Fig.8. Sloping Garden, Forest Garden T he house ha s a L l oyd W ri ght 's courtyard along its Fig.4. 2nd Floor Plan, Tiltup topogenes is is in slope and each wing faces the courtyard, while the the use of materials. front is connected at the 2nd level. Facing the town, the While Wright used house has an opaque façade above the view frame. In stones indigenous contrast, facing the mountain, the window-wall opens to the site, Kim the view to the mountain, while nature continues inside use d c onc re t e the house. that contrasts the site with its stark Fig.5. Section, Tiltup presence and indifference. Kim res ponded to the irregularity of the site with framed concrete masses and Fig.9. Plan, Forest Garden their contrast with the site creates both As shown in Fig.8., in the existing site, the fluidity and tension vegetation was the main motive for saving the in the site. Due to topography in the house design. In addition, rainwater Fig.6. Whole View, Tiltup the steep slope, the collection is used to demarcate the boundary at the house is entered from below the pilotis and at the top entrance to the house. The C-shaped mass is used to of the site; the view opens to the mountain opposite. provide a sloped courtyard; the courtyard does not In addition, the performative relationship between the accommodate a designed garden, but its features inside and outside is achieved through the window- resemble the mountain and the courtyard space wall that climbs the site, corresponding to its slope. continues a path to the mountain. 3.3 The Contrast of Architecture and Topography - In addition, the overhanging structure of the Forest Garden (2006) mass operates as a visual frame that emphasizes the Forest Garden reminds us of Marcel Breuer's concept contrast between architecture and landscape. In the of the contrast between architecture and landscape. performative relationship between the inside and Kim Incheurl explains the relationship between a house outside, the lower concrete mass contrasts nature, and its site in reference to a Korean temple as follows: and the upper floor mass with the window-wall opens There is no reason to disrupt the topography to align views to the outside of the site. a visual axis of Muryangsujeon…Neither, the visual 3.4 Enframing of Architecture and Topography - axis orients towards a peak, Dosolbong. It is evident Lacustrine (2008) that the axial direction of the site determined the visual While Forest axis of Muryangsujeon. Garden did not Kim Incheurl utilize the full view suggested that the of the landscape, m i sa l i gnm e nt of the architectural the visual axis in frame opens to the Buseoksa is derived mountain behind. from neither Feng However, in order Shui theory nor the to access views such Fig.10. View of Living Room, view to the mountain as Muryangsujeon, Lacustrine peak, but from the the site needs to be natural topography leveled and open to all directions, such as the site of Fig.7. Site Condition, Forest Garden of the site and the Lacustrine, a house designed on a flat site with an open site's function. In Forest Garden, Kim applied this view to the outside. technique to the site with its 10-meter difference from 274 JAABE vol.14 no.2 May 2015 Hayub Song In his explanation Originally, the of L a c ust ri ne , middle of the site Ki m Inc he url was divided by referred to various the valley that characteristics of carried rainwater Korean architecture. to the bottom of He referred to the the mountain. multiple viewpoints Incheurl flattened i n t he Cha ngduk the site using the Fig.11. Entire View of Living Room, Fig.15. Rear View, Corridor Lacustrine Palace architectural cut and fill method, layout that responded transforming the site to the topography, as for construction and expressed in Jeong placed a rainwater Sun's well-known collector at the rear painting, In Wang Je of the site. The site Sek Do. Especially, then cut through the he inherited Jeong valley and created a Sun's painting horizontal viewpoint m e t h od of usi n g towards the vast area diverse viewpoints Fig.16. Plan, Corridor below the site. Since Fig.12. Site Plan, Lacustrine in one painting. the site is enclosed In addition, in its layout that follows the natural by woods at the topography, Changduk Palace differs significantly from sides, Incheurl lifted Kyungbok Palace. Kim Incheurl interpreted this as the house on pilotis representing the integration of life and topography. and created a narrow Lacustrine is 60-meter-long mass located on a flat site that followed the surrounded by a site regulation line lake and mountains. dividing the site. Fig.17. Entire View of Living Room, It is designed as a In his early Corridor single-row box that sc he m e , he has multiple visual suggested a much longer mass than that of the frames open to the completed house, and reduced the length to utilize only scenes of the site. one side of the site, creating the illusion that the mass Fig.13. Plan, Lacustrine The house itself is was jutting into the mountain. From the street below a tool for viewing multiple facets of the landscape on the site, the house appears to hover in the middle of the the site. Kim Incheurl mentions this diverse experience mountain and seems to have grown from the topography in a metaphoric comment: "Architecture shows its of the mountain. This shape contrasts that of house true meaning when natural light stops, and the internal development in these areas and works as a healing depth of spaces reveal." Kim incorporated multiple device for the site. In fact, the earthworks of the houses visual frames in order to create a certain relationship in this area that are built on sloped sites were more between architecture and landscape, and further damaging, where the steep slope was cut and the surface created multiple perspectives that have long-ranging was sprayed with concrete. This appeared to be very views toward the landscape and close views that show clumsy and the construction was unable to be finished. interior features. Kim Incheurl was aware of these problems and his 3.5 Therapeutic Relationship between Architecture house was proposed as an alternative solution that and Landscape – Corridor (2012) would heal the site. The intention of Corridor was to W hi le t he heal the site with minimum earthworks; the building houses discussed will be tested in the following years through the change above express the of weather and topography. approaches to the site The architectural feature of the window-wall discussed previously designed on pilotis in the Corridor signifies the in chapter 2, Kim's relationship between the site and the house. The recent house, 60m-long single-row house with windows on both Corridor, expresses sides creates a tension toward the mountain and an approach where the open yard. Walking through the hallway of the Fig.14. Front View, Corridor the site is used for Corridor house, one crosses the place of the original healing. valley, reminding us of the healing of the topography. JAABE vol.14 no.2 May 2015 Hayub Song 275 Table 1. Analysis of Relationship between Site and Houses Despite the expression of narrativity in Kim Houses Concepts Characteristics Incheurl's earlier houses, as previously mentioned the narrativity of the site was less obvious in his later Relation Syncronization of works and the physicality became more prominent. between Site architecture and Since the characteristic of platform and slope has and House topography already been considered here, the sustainability of the Performative Visual, physical site needs to be evaluated, as it is equally important. Relation connection between The sustainability of a site can be achieved through the through site and house through use of garden, recreational yard, and kitchen garden. Window windows and garden Tiltup Architectural historian, Joseph Rykwert has suggested Relation Contrast between an alternative concept of landscape whereby the site between Site architecture and becomes an "edible landscape" that has both visual and House topography aspects and sustainable aspects. In Kim Incheurl's houses, these sustainable values beyond aesthetic Performative Maximization of contrast values are not incorporated. Relation through visual opening 4.2 Life Practices: Spatial Structure of the Single- through in 2nd floor and visual Row House Window blocking at ground level Forest Garden Discussions on Kim's floor plans of houses can Relation Framed visualization elucidate the use of site and spatial depth that allows between Site of architecture and views to the outside. Similar to Korean traditional and House topography architecture, many contemporary Korean architects Performative use a single-row house structure. Traditional single- Connection discontinuity Relation of distant view and close row houses were constructed from timber structures. through view Lacustrine In the traditional Korean saying, "North window three Window friends" refers to the way noblemen would look out Healing Relation complementation of the window and enjoy three friends, the Korean between Site of architecture and harp, drinking, and poetry. Clearly, the single-row and House topography house provides much more immediate contact with Performative Same way as Lacustrine nature than the layered-row houses. Single-row houses Relation in the front/Expression that are built in an urban context do not provide an through Corridor of tension in the rear immediate contact with nature, but rather focus on the Window central courtyard. The large yard on the site restricts 4. Critical Analysis of the Relationship between the single-row house due to the increase of corridor Kim Incheurl's Houses and Topography space. Instead, layered-row houses were developed as This chapter discusses various themes related to a traditional Korean house type. Layered-row houses the performative relationship between architecture have short corridors and can provide a relatively larger and landscape in Kim Incheurl's house design. Three yard than that of the single-row house; they therefore themes will be discussed, site, life practices, and have developed into a typical urban housing type. architectural devices, that substantiate the mediative In the 1990s, architects proposed upgrading existing roles of architecture and site. single-row houses as an alternative to developing 4.1 Site: Sustainable Value beyond Aesthetics widely spread layered-row houses. Since then, house In all the above works, the sites were treated as design has tended to adopt the single-row housing type. canvases for the buildings. While the sites were However, on sloped sites, the single-row house does regarded as 3-dimensional spaces for the making of not provide a sufficient yard for outdoor activities. platforms for houses, recreational yards were seldom Especially, the single-row house does not allow a used on the sites. The natural vegetation of the site visual depth that can penetrate through interior spaces and the contrasting concrete wall did not express the to the outside. This means that the spatial quality can residents' functions since the exposed concrete wall become dull and less vibrant; Single-row houses often did not reveal the performative window-wall. Although cannot create deep views that originate from deep spots one can consider the fact that the above houses were inside a house. Deep views are typically utilized in built on sloped sites, and thus the use of flat areas many of the designs by master architects; these houses was difficult, Kim Incheurl's houses nevertheless simultaneously feature an interior view frame with a needed to incorporate areas for practical functions and long view frame. The creation of deep view is much garden cultivation. In his book "Space Opening", he easier in a layered-row house than in a single-row commented on the characteristic feature of Korean house, and in Kim Incheurl's houses, there is a need architecture of incorporating not only architectural to incorporate the delicacy of the deep space in the elements but also a well-designed garden and connection between the interior and exterior spaces. untrimmed landscape. 276 JAABE vol.14 no.2 May 2015 Hayub Song 4.3 The Development of the Performative Window- representative Portuguese house, whereby site-specific Wall through the Interaction between Architecture materials are used in a traditional or site-specific and Topography way. However, in De Moura's works, he used global From the 1990s, Kim Incheurl's architecture materials within a tight budget in order to provide a has focused on "The aesthetics of nothingness" well-performing house while retaining a certain spatial and the materiality of concrete and glass has been character. extended. His houses of concrete mass contrast De Moura with the undulating landscape and are often regarded suggests an approach as conceptual gestures. As suggested above, the t h a t g i ve s e q ua l performative window-wall should not be limited to importance to local concrete walls, but should be extended to the window- site-specific materials wall in order to create a spatial zone around the wall. and contemporary This concept is explained below with examples from high performance world architecture. materials from Firstly , the world-wide locations. combination of a To achieve the best Fig.20. Performative Window Wall, concrete wall with performance in the Front View, Baiao Weekend House woode n wi ndow- house, these materials walls suggests the are assembled in a comfort of life composite manner. practices around Local materials that the window-wall. are complemented Norwegian architect, by high performance Sverre Fehn, shows non-local materials Fig.18. Performative Window Wall, the complementary allow the house to Villa Busk relationship between function according a rc h i t e c t u r e a n d to the Portuguese Fig.21. Performative Window Wall, nature in Villa Busk. life style and to Indoor Stonework, Baiao Weekend Fehn expressed the accommodate out- House comfort of a single door activities. house through wood Kim's houses are mostly made of industrial materials and its tectonic and do not incorporate local materials. When the nature, which performance of non-local materials and the warmth contrasted with the of local materials are combined, the performance of c o n c r e t e wa l l o n window-walls can create much diverse interaction Fig.19. Performative Window Wall, the rock cliff at the between architecture and topography. Entrance, Villa Busk back of the house, evoking the symbolic image of standing on nature. 5. Conclusion The comfort of the wood structure and the roughness For house design, of rock and concrete are expressed as contrasting Kim Incheurl relies elements. This composite structure expresses both the neither on the practices of life and the complementary relationship narrativity of a site between architecture and landscape. Kim Incheurl nor on the genius does not utilize this technique in his house design. In loci . Instead, he Fig.22. Performative Window Wall, his concrete mass houses, it is difficult to feel warmth remains faithful Casa A Moledo or convenience. In Fehn's Villa Busk, the sense of to the factual and movement created by the wood windows makes the physical realities house convenient and warm. Kim Incheurl's houses of the site. Kim do not employ such window techniques. While his Incheurl interpreted windows provide a visual contrast to the concrete wall, Korean topography they would benefit from the warmth and convenience from an aesthetic as expressed in Fehn's Villa Busk. and ethical Fig.23. Performative Window Wall, Secondly, the materials and techniques could be viewpoint, similar Casa A Moledo used more liberally without being limited to local t o t he vi e wpoi nt and regional traditions. The Portuguese architect, used in the Chosun dynasty's painting technique which Eduardo Souto De Moura used this approach in his allowed multiple views of nature that reveal its deep house designs, Baiao Weekend House and Casa A structure. The four houses analyzed above illustrate Moledo. He classified the Baiao Weekend House as a the performative relationship between architecture and JAABE vol.14 no.2 May 2015 Hayub Song 277 topography: 1) the houses become the topography and References 1) Kim, Incheurl. (2011) Space Opening. Seoul: Dongnyuk. complement nature, 2) on sloping sites, the houses 2) Kim, Incheurl. (2012.3) Corridor. Architectural Culture. Vol. 370. shape multiple views toward the landscape, 3) on flat topography, the house is used as a frame to view 3) Kim, Incheurl. (2009.3) Lacustrine. Space. Vol. 496. nature, and 4) when the site is not easily inhabited, the 4) Kim, Incheurl. (2008.9) Forest Garden. Space. Vol. 490. (2008. 7) house plays the role of enhancing the site condition. Wide Architecture Report. 5) Kim, Incheurl. (2008.11) Tiltup. Space. Vol. 476. 318. Considering these features, three analyses are 6) Olaf Fjeld, Per. (2009) Sverre Fehn: The Pattern of Thoughts. New made here concerning deficiencies in Incheurl's house York: The Monacelli Press. design: 1) the lack of sustainable outdoor settings on 7) Esposito, Antonio. (2006) Eduardo Souto De Moura. New York: the site, 2) the lack of a deep structure of interior space Phaidon Press. by adjusting the single-row house type, and 3) the lack 8) Le Corbusier. (1993) The Poem of the Right Angle, New York. 9) Leatherbarrow, David. (2003) The Roots of Architectural of performative window-walls through the variation Invention. Philadelphia: Penn Press. of materials and opening design. The deficiencies of 10) Drew, Phillip (2010.5) Touch This Earth Lightly: Glenn Murcutt these elements are a prerequisite to the development of in His Own Words. Duffy & Snellgrove. architecture and topography. 11) Zumthor, Peter (2006. 6) Atmospheres. Birkhäuser Architecture. In conclusion, Kim Incheurl's houses suggest that 12) Song, H. Jeon, Y. and Yoon, S. (2015). Inner Spce in the City; Jose Luis Sert, Fumihiko Maki and Kyu Seung Woo's Search for Inner their residents must withstand the balance between Space. Journal of Asian Architecture and Building Engineering, 14 architecture and topography. These houses require (2), pp.233-240. the residents to spend a lot of time maintaining this relationship and the environment. According to the seasonal changes, one must perform tasks related to cleaning, repairing, and gardening in order to maintain a healthy environment. Kim Incheurl's houses facilitate this process and elevate our understanding about the performance of window-walls; the relationship between architecture, topography, and nature is therefore complementary. Notes Rykwert, Joseph (1991) On the Art of Building in Ten Books. Cambridge: MIT Press. Leatherbarrow, David. (2004) Topographical Stories: Studies in Landscape and Architecture. Philadelphia: Penn Press. Le Corbusier. (1993) The Poem of the Right Angle, New York (Original Publication, Le Poeme de l'Angle Droit, 1955). In the interpretation of Le Corbusier's poems, the emphasis on horizontality is selected for the purpose of this paper. Although Le Corbusier somewhat followed the concept of narrativity, since English Romanticism proposed narrativity much earlier, in this paper, Le Corbusier's poem A.3 will be emphasized as a historical example that proposed horizontality. Pope, Alexander. The Works of Alexander Pope, Esq: With Notes and Illustrations by Himself and Others, Vol. 8. (Google eBook). Secrest, Meryle (1998), Frank Lloyd Wright: A Biography. Chicago: University of Chicago Press. 53. Breuer, Marcel. (1955) "Architecture in the Landscape," Sun and Shadow, the Philosophy of an Architect. Ed. Peter Blake. New York: Dodd, Mead. 388. Seung, Hyo Sang. (2011) The Most Beautiful Ruin. JoongAng Ilbo (2011.04.30). Kim, Incheurl. (2011) Space Opening. Seoul: DongNyuk. The subjects of chapter 4.1 and 4.2 are theoretical, but chapter 4.3 shows exemplary cases. In the 1990s, Korean architects such as 4.3 Group preferred elevation design without decoration, as a foil to decorated buildings. Kim Incheurl used concrete structures in tall buildings and experimented with construction technology. However, in his house design, the concrete structure is stylized and used as a style. Olaf Fjeld, Per. (2009) Sverre Fehn: The Pattern of Thoughts. New York: The Monacelli Press. 209. 278 JAABE vol.14 no.2 May 2015 Hayub Song
Journal
Journal of Asian Architecture and Building Engineering
– Taylor & Francis
Published: May 1, 2015
Keywords: topography; Kim Incheurl; inner space; single-row house; performative window-wall
