一个可感知的框架
金泰哲(东亚大学教授)
在Michel Gondry执导的化学兄弟乐队歌曲《Let Forever Be》的音乐录影带中，女主角不断从二维空间跳到三维空间，反之亦然，创造出独特的重复模式。这支音乐录影带显示了米歇尔-贡德里的独创性，他是电影《睡眠的科学》的著名导演，通过连接二维和三维世界创造了一种尴尬的效果。它的尴尬意外地刺激和鼓励观众参与，而不是让他们保持被动。
A Perceptible Frame
Kim, Taecheol (Professor, Dong-A University)
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.
间隔
一个建筑师如何开始设计一个项目？首先，建筑师致力于制作一个三维的结构，并以独特的方式强调它，以创造一个独特的空间。如果建筑师一开始就使用一般的三维空间，他或她不能不期待一个过于简单和明显的产出，而不容易设计。这就是为什么建筑师在设计阶段之初，将结构的线和面分开，而不是将它们正确匹配，并在以后再次连接这些线和面，使之成为一个三维的体量。建筑师对连接的思考方式，因人而异，发展成为一种原创的建筑理念。Sinwook Oh在墙上设置了一个与图片分离的框架，在它们之间留下一个空间。这是一个在二维框架和图片之间有意识地建立联系的装置，以创造一个三维的空间。观众需要将这两个元素重叠在一起，才能看到一个单一的空间。
Spacing
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.
一个可感知的框架
就像它周围的地区一样，建筑 “半屋 “显示了土地被一条新路切开的情况。它的名字可能意味着一个沿着道路切割和设置的二维外墙。然而，没有横截面，只有一个框架（皮肤），从墙上分离出来。事实上，这个框架是一个起着重要作用的成型结构。如果这所房子被设计成半结构，就像它的名字所暗示的那样，揭示出房子的横截面，它就会显得不完整。很好，它没有。让我们来看看后面的情况。这个建筑位于一个海边村庄的一群房子的中间。
A Perceptible Frame
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.
从后面看，形成一条预定的线，这些房子是沿着地籍图上的边界线建造的，所以它们与周围的环境相适应。虽然墙线被调整为平行于边界线的轴线，但它不与道路平行，而是与道路形成一个角度。通过这种经典的错位，这些房子试图实现一个交叉质量的组合。这种错位体现了现代主义的特点，即许多人都熟悉的几何美学。这似乎也反映了一种善意的意图，即让这些房子适应周围的环境，同时保持背景。然而，它显得过于平淡，这就是为什么建筑师将这个房子分为前面的框架（皮肤）和后面的图片（身体），并再次尝试用三维建模将两者连接起来。
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.
在建模过程中设计的窗户和开口为业主的日常生活增添了活力。一方面，包括不同形状的盆子放置在通往二楼的楼梯附近的零散空间，似乎暗示着主人的茫然。这个零散的空间阻碍了一个大规模的组合。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，有好风景的房间，二楼适合开派对的海景露台，以及简单便宜的材料，在情感上把房子和主人联系在一起，弥补了任何小缺点。屋主是一个谦虚和简单的人，他总是对这所房子心怀感激。
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.
考虑到 “可感知框架 “的概念，位于房子左前方的停车位入口的上部，是建筑的一个重要元素，应该被设计成独立框架的一部分。这个停车位显示了建筑师在设计框架时的犹豫不决，以及建筑师想把停车位的功能隐藏起来的意图。也许他在迁就住在房子里的人时试图表现得太好。有一点尴尬是可以的。事实上，如果它能像米歇尔-贡德里的作品那样尴尬，那就更好了。尴尬会吸引注意力。观众希望受到刺激并参与其中。我们参观完后，主人急匆匆地离开房子去上班了。在通过窗户看了他的独立框架后，我想，建筑师不一定要只做好人。
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.
Architects: Architects Group RAUM
Area: 75 m²
Year: 2012
Photographs: Yoon Joon-hwan
Manufacturers: LG Hausys, Climate ActivePaint
Construction: TAEBAIK
Structural Engineer: Daisung ENC
Mechanical Engineer: Dyne ENG
Design Team:Park Jeong-a., Ha Jeoung-un., Lee Young-sook., Kim Dae-won.
Electric And Communication Engineer:Youngsin ENG
Architect In Charge:Oh sin-wook
Partner Architect:No Jeong-min
Electronic And Communication Engineer:Youngsin ENG
City:Jangan-eup
Country:South Korea