Oma korean
![oma korean oma korean](http://4.bp.blogspot.com/-MULhkoiT-CY/Vb1kfH1LvTI/AAAAAAAAYR4/_0kM9mI8PNM/s1600/102.jpg)
Images, in the large, coarse tiles, barely approach representation. OMA does look at context, and that building, in fact, determines theirs in that it takes such a premise and does not give it to us, not without displacing it a bit or juicing or roughing it up. At any rate, we'd get a different crowd here, or different responses. A tradition would be preserved, and the bland cityscape would get an esthetic lift, along with a memory, perhaps inspiration. But it could be tastefully done, and I'd like to see it. Some might find such a building gimmicky or sentimental.
OMA KOREAN WINDOWS
Imagine this building with a more detailed and delicate landscape, such as the one above, which has a river that is actually a course of windows spiraling up around it but which are subtly articulated and embedded. Heaven, Earth, and Humanity are represented, by the mountain, river, and human figures, respectively. This gets tedious.īut once more, context doesn't give the architect much to work with.įor centuries in Korea, a rendering of a mountain and river (called Sansu in Korean) has always been more than a beautiful landscape it is also a profound philosophical and spiritual statement.
OMA KOREAN FREE
We live in a world so distant in its ironies that we float free of reference, where we make wry jokes without a punchline. What is the metaphor here and why should we care about it, not be pointlessly disturbed? I'm sure there's a point or a non-point in that, but the facade, at least from pictures, just looks muddy.Īnd I haven't been able to move away from my first impression, that the spiraling staircase looks like an excrescence, something that oozes out from the mass of the facade, as if squeezed. OMA's doing something and at the same time not doing something. The heavy pixelation obscures the representation. The mosaic "echoing" the nearby landscape-I wouldn't have known that unless told.
![oma korean oma korean](https://static.designboom.com/wp-content/uploads/2018/05/OMA-genesis-car-showroom-gangnam-store-seoul-korea-AMO-designboom-600.jpg)
It is "natural" in some refined, ironic sense. makes it a natural point of gravity for public life in Gwanggyo”-I'm still trying to decide what that means and why OMA chose that wording. Cultural historians may want to step in later. If either is "iconic," however, it is an iconology that has no substance or system and its essence is only commercial. Some might see virtue, others cause for criticism. There is a tradition here, and I'm reminded of Levete and Kaplicky's Selfridges, 16 years ago, at least in this respect, that the design's primary motive is to call attention to itself-and draw shoppers in. I'm not sure this one does much for either. I look forward to buildings that challenge my sense of what architecture is and what it can do. Gansam served as local executive architect.įind project drawings in the gallery below. The project was led by OMA Partner Chris van Duijn, Associate Ravi Kamisetti, and Project Architect Patrizia Zobernig. The route eventually leads to a roof garden. This distinct stone-like appearance “makes it a natural point of gravity for public life in Gwanggyo,” OMA says.Īs visitors walk along the public route that was “excavated” from the stone building, they will encounter retail spaces and cultural activities like exhibitions and performances that form a “Public Loop.” They can also peer through the multi-faceted glass facade to see views of Gwanggyo. The building features multi-faceted glass protruding from a textured mosaic stone facade, which echoes the landscape of the neighboring Suwon Gwanggyo Lake Park. After being commissioned in 2016, OMA recently completed the sixth and largest location for upscale South Korean department store Galleria in Gwanggyo, a new town just south of Seoul.