Architecture and Film
Edited by: Jono Yoo and Jin Kuk
Music: The breeders - Off you
Films Used:
Vertigo (1958) - Alfred Hitchcock Late Autumn (1960) - Yasujiro Ozu Vivre Sa Vie (1962) – Jean-Luc Godard An Autumn Afternoon (1962) - Yasujiro Ozu Metropolis (1927) – Fritz Lang Psycho (1960) – Alfred Hitchcock La Notte (1961) – Michelangelo Antonioni Last Year at Marieband (1961) – Alain Resnais Contempt (1963) – Jean-Luc Godard Playtime (1967) – Jacques Tati The Tenant (1976) – Roman Polanski Gattaca (1997) – Andrew Niccol Blade Runner (1982) – Ridley Scott Brazil (1985) – Terry Gilliam Akira (1988) – Katsuhiro Otomo Cinema Paradiso (1988) – Giuseppe Tornatore Sátántangó (1994) – Béla Tarr Ghost in the Shell (1995) – Mamoru Oshii The Fifth Element (1997) – Luc Besson Lost in Translation (2003) – Sofia Coppola Be With You (2004) – Nobuhiro Doi The Terminal (2004) – Steven Spielberg Antichrist (2009) – Lars von Trier Coraline (2009) – Henry Selick The White Ribbon (2009) - Michael Haneke Black Swan (2010) – Darren Aronofsky Inception (2010) – Christopher Nolan The King’s Speech (2010) – Tom Hooper Her (2013) – Spike Jonze Birdman (2014) – Alejandro G. Iñárritu The Grand Budapest Hotel (2014) – Wes Anderson La La Land (2016) – Damien Chazelle
Case study - Shopping mall and its parking lot, 2019
Such paradox in the consumer culture leads to a small case study on the double-sidedness of consumer spaces to investigate the counter-potential of consumption culture and hold out some hope as to the positive impact of such a culture in the “empty space” of democracy. The case study is a video footage that directly compares the two distinctive consumer spaces: between Sylvia Park shopping mall and the night market that happens weekly at the parking space of the mall. These two consumer spaces largely divide into an economically instrumental spectacle and a genuine communicative spectacle. These performative experiences are found separately in private and public centres. In the post-civil society, we have turned over public spaces which were once fertile ground for a genuine, creative spectacle to make room for ever-growing privatisation of space driven by commercial interests. We lament the end of ‘public’ space. Today, large urban enclosures managed by private authorities orchestrate a spectacle entirely based on economic agenda. Such closed system restricts free creative communication, regulating and enforcing rules that do not apply outside in the public realm. This creates a space that functions and is only allowed to function, for economic interests, generating barren land that cannot support free, fluid spectacle. In effect, users have no right to perform, only the right to observe an orchestrated scene. Vis-à-vis between the credit card and machine is more desirable than a social connection. Now, sidewalks beside these single enclosures are left empty. Streets and squares are increasingly abandoned to power commercial machines.
However, these forgotten spaces and wastelands can be reclaimed. Parking lots, for example, became key spaces which are open to the discovery of delightful, charismatic pockets of creative performance. Such pockets of creative performance are the one that brings a society disassociated with itself back together. Thereby, it facilitates dynamic encounters and shared experiences. A platform for genuine communication is re-established. In this sense, night markets are a powerful example of a transformed dead space. Marketspace follows the migration of South-East Asian and European cultures, each integrating and assimilating into the local cultural context. They re-define and enrich dull spaces into the centre of vibrant interaction.
Although the primary rationale of a night market is economical, the focus is on the fact that they became spaces “of play where the conventions of retailing are suspended, and where participants come to engage in and produce theatre, performance, spectacle and laughter” (Gregson and Creww, 1997, p87). In the open system of the market, a condition of social fluidity is achieved, breaking down rigid hierarchical structures of life in a privatised society. Market places encourage creative production and the consumption of performance, with vendors preparing food in front of the public with exaggerated flair, while conversing and exchanging jokes. The temporary suspension of private regulations give rise to a multitude of creative encounters and informal connections within the market as well as along its boundaries. The public is creator of communicative performances as much as the vendors in this ever-changing dynamic of spectacle and spectatorship. We become the creators of our own entertainment and our own creative social discourse within this space. The public willingly recognises open platforms and respond accordingly to welcome co-existence and co-creation where the definition of audience and performer is blurred, freely creating, freely participating and observing. Cues such as busking prove that a single creator can transform ‘forgotten space’ into a destination of creative spectacle. The creative revival of the urban city begins in transforming these wasted spaces flipping the table and making commercial enclosures seem dull in comparison. The counter-space(indeterminate space) resulted from the shopping mall(determined space) becomes an ‘assemblage’ of free interaction, performance and spectacle: an ever-changing constellation of heterogeneous elements of the complex ‘lines’ of the social fabric
Shelter for Spirits, 2016
Competition Entry for Sou Fujimoto Shelter Competition, 2016.
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2001, 2017
A page from my father's military service dairy digitally reimagined.
Nighthawks, 2019
Edward Hopper's Nighthawks digitally reimagined.
Planet PR-01, 2019
I love parmesan so much that I reimagined the cheese mountain from the movie Wallace and Gromit
Curating Indeterminacy, 2019
Thesis project for Master of Architecture, The University of Auckland.
Madonna and Bambino, 2021
Competition Entry for Brick Bay Folly competition 2021.
Human Castell, 2017
Evolo Skyscraper competition entry 2017
Honorable mention
Sans Serif (2020)
Uncanny familiarity and Virtual language.
created with Unreal Engine.
Priori, 2021
Images featuring beautiful garments crafted by New Zealand fashion designer Joon Yang.
Last set of images are some precedent studies done for the project. It has been a long journey from the beginning, having to abstract something I was never familiar with. Took me and my friend, Mick over 6 months to complete this project.
At the end of the day, the notion of architecture seems to be somewhat similar to clothing; layer between skin and outside world: layer between interior and exterior. They both yield a humble form of shelter for us from the externality...
Who knows.
You can find Joon's garments, along side our images, currently in store and displayed at @public_record_ for the rest of July.
Images by @A12
Garment & Styling: @joon__yang
Photography: @maikupark
Model: Sivan @self_agency_
Grey Lynn Kindergarten, Residential and Shared office complex, Academic work, 2017
Urban Nomad, 2020 / Digital Painting
Making our city softer for autonomous living. Exhibition Held on the 28th of November 2020.
Exhibited at @strange.haven
Curated by @kim_yun_tak
Across the River, 2018
Presented in Venice Biennale, 2018
Extra-territorial free space across the Korean DMZ,
Question: how the village could bring about the idea of reconciliation and how the extra-territoriality of free-space could re-interpret the idea of reconciliation.
The project, Across the River, follows a visionary narrative where the neutral border zone located in the Estuary of the Han River (borderland) is transformed into an extra-territorial area. In a sense, the very first conceptualization of the extra-territoriality is simply triggered by civilian fishermen trespassing across the border and building makeshift shelters on top of the river. The extra-territoriality suggests a new conception of place-ness in which the dwellers are allowed high freedom of interaction with others and space. This new place-ness re-interprets the act of trespass and transgression as creative recognition and perception of space in the neutral zone: an environment where hegemony and clear sovereignty from both sides is not practiced. Former local residents that have been evicted from this region in the aftermaths of the war are now enabled to re-appropriate this territory. The act of appropriation is initially practiced by fishermen from both North and South Korea by possibly instituting temporary collective amenities to satisfy their work necessity. The makeshift institutions may include fish centrals, with preservation, processing, market and research facilities. These temporary institutions incrementally transformed into a form of independently stabilized settlement grown over the time as informal inhabitations took place by each civilians’ micro engagement in exploiting the extra-territoriality in the divided system of Korea. The project suggests that perpetual practices of re-appropriation of the extra-territorial zone by mixed groups of people from the North and South may lead to an incrementally growing community on the river leading the borderline increasingly opaque and ambiguous. By deconstructing the strictly divided system, the hegemonic powers, and rigid borderline that once split the land can be decentralized and diminished. The extra-territoriality of the village autonomously leads to a new stateless district in-between the North and South and may serve as the bridge re-combining the civilians of the two countries and suggests a new possibility of reconciliation. And “This new possibility of reconciliation yields for the vacuum of two different political ideologies from each side, as concrete preconceptions created by states’ influences are meaningless in the extra-territorial zone that is initially formed by the innocent civilian fishermen.”
A12 Lookbook, 2021
Collection of commissioned works done by A12 Studio.
For more projects and Info: www.a12.work
Stolen City, Academic work, 2017
House of Knowledge, Academic work, 2016
The house of knowledge is about making interactions between two antithetical notions. They must co-exist together where none of them is dominance over another and interact to make up values for each other. “The inspiration comes from the quote “the power is an ultimate source of a system that motivates and fuels the system to operate” in ‘Discipline and punish’ by Michel Foucault.” From system/power, invisibility/visibility, solid/void to us and the space I wanted to make a beautiful harmony within them by giving a sense of flexible ambiguity throughout the house to create the spaces that blur into one another and have no definite boundaries and various possible ways of routes through them, required the user to create their definition through use.
Loop, Academic work, 2018
Revitalizing Wynyard Wharf through simple architecture
Wynyard is in a pivotal place, projecting as it does out into the Waitemata Harbor beside the Harbor Bridge. Wynyard Quarter wharf is currently under-developed and abandoned with dead silos left lost their purpose. But what could be built on the edge of the city can provoke an enormous impact on the waterfront of the city. This project aims to project an answer for revitalizing Wynyard Wharf through courteous architecture and urban design. The loop proposes excavating the end of Wynyard Wharf and replacing it with a big circular infrastructure that encloses a new urban beach and provides a place to promenade eliminating the dead ends of the conventional wharf. The loop aims to transform Wynyard Wharf into a vibrant interconnected destination that will serve as the accommodation of entertainment facilities while also providing cultural, retail, and restaurants that will attract the public. The beach facilities inside the loop accommodate a water-sport center, retail, and a civic pavilion. The key idea of the design is to keep it to the simplest gesture; a big circle at the end of the wharf –the least technical, least lyrical, and almost primitive geometrical solution. The loop itself is not the ‘event’ in the harbor but becomes a generous platform that can house diverse events of the city. It aims to provide a new identity on Auckland’s waterfront that will encourage the revitalization of Wynyard Quarter both communally and commercially as the heart of attraction of Auckland CBD.
Denim Stand, 2020.
Imagined project for Levi's jeans pop store.
Rethinking clothing stores through the architecture of archiving.
In collaboration with @koh1jng