performing arts center seoul

As expected, the desire of exceptionality won our internal competition. However, how could we materialise quality or immateriality in a symbol? On the contrary, the almost grotesque loss of ability to find a form materialised that would not become a ´daring´ joke or an outright funny game at the same time. The magic formula of separation of the envelope from the content repeated in different forms almost automatically. In the end, we set down sufficiently clear principal premises: 1) island = symbol of separation – bridge = symbol of connection 2) two centres connected and separated at the same time 3) harmony between the artificial world of a city (built environment) and the natural order. The design was woven and tied in a loop in the form of an endless envelope sheet; in a continuously continuing transmutation transforming in a roof, wall, window, door, fence, staircase, chair, walkway, and so on. It was an ever-repeating returning to the beginning where the top becomes the bottom, where closed areas convert into open ones. As expected, the desire of exceptionality won our internal competition. However, how could we materialise quality or immateriality in a symbol? On the contrary, the almost grotesque loss of ability to find a form materialised that would not become a ´daring´ joke or an outright funny game at the same time. The magic formula of separation of the envelope from the content repeated in different forms almost automatically. In the end, we set down sufficiently clear principal premises: 1) island = symbol of separation – bridge = symbol of connection 2) two centres connected and separated at the same time 3) harmony between the artificial world of a city (built environment) and the natural order. It was, at the same time, a reflection of the impossibility to embrace the scope of the brief (50,000 square meters) and the client’s evident though nowhere spoken desire to imitate and to top the Sydney Opera complex. Its role also played the understanding of the hardly imaginable – the context of the lace and cultural tradition … We did not win. The design was woven and tied in a loop in the form of an endless envelope sheet; in a continuously continuing transmutation transforming in a roof, wall, window, door, fence, staircase, chair, walkway, and so on. It was an ever-repeating returning to the beginning where the top becomes the bottom, where closed areas convert into open ones. After the results of the competition had been published, the spheres of ideas and topics showed out stunningly similar. It was, at the same time, a reflection of the impossibility to embrace the scope of the brief (50,000 square meters) and the client’s evident though nowhere spoken desire to imitate and to top the Sydney Opera complex. Its role also played the understanding of the hardly imaginable – the context of the lace and cultural tradition … We did not win.