-
Architects: 100A associates
- Area: 146 m²
- Year: 2022
-
Photographs:Jae-yoon Kim
-
Lead Architects: Kwang-il An, Sol-ha Park
Text description provided by the architects. After completing all the work, I write this short piece to reflect once more on what I aimed to communicate to my client as an architect. Perhaps, through this project, I desired to blend his space once again, just as his sensibilities had permeated into my inner self.
Spending time on this task was quite enjoyable and interesting, as it involved contemplating his world. His unique way of expression, revealing himself in a way vastly different from my previous experiences in architecture, made it so. I had noted down the powerful initial impression of his world as ‘a beautiful sound that shone like a star and danced like a cloud.’ I came to realize his world was filled with a mystique unlike anything I knew, and he was a person who communicated not with words but through something else, noticing how his serene and noble fragments deeply settled into my psyche.
I wished for the architecture, as the place where his fragments would be engraved, to be nothing, a state of absence. This was because I hoped it would act as a device that, grounded in restraint, would bring forth the intrinsic nature and the expression of intimacy, eliciting the fundamental human emotions that emerge from the gap between immersion and boundary, thus taking over the entire space. The existence of architecture was to make the architecture itself a scene that, by following a sequence and visually restraining itself, would facilitate the boundary of immersion. This approach occupies the landscape by blurring the distinction between the real and the illusion, negating the difference between the interior and exterior.
The thick and dark crevices between spaces and the depth of contours faced after climbing a winding and rugged path generate the resonance of sound, seeking the essential purity of a transitional space and encouraging immersion. The sequence of scenes is realized through a noble serenity, cleared of unnecessary elements. Color surfaces and ambiguous boundaries inscribe the spatiality of time and flow into the place with simplicity and honesty. The construction of space here is based on the construction of time.
The name of this project, ‘Permeate,’ represented my vision of his world. It’s a common expression used when something becomes indistinct at an unknown point, and its boundaries gradually fade. Most importantly, the expression ‘Permeate’ resonated with me because it perfectly described the situation when our fragments, like the air densely settling down to the earth, achieve a noble serenity that remains untouched by time.
