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Rhythm of the Red luster 1403, 2014, Ottchil, hemp cloth, 50 × 50 × 50 cm

Rhythm of the 5-Color Luster, the largest of his works, reveals the artist’s insight into light and the origin of color through repetitive reflection on a typical form that has intense color and rhythm created from dozens of layers of lacquer coating. The work represents traditional yet modern aesthetic value with a simple form, technical perfection, and vivid Obangsaek, the five directional colors (red, blue, yellow, white/green, and black) known as the traditional colors of Korean folk culture.

This piece represents the Korean affection or sentiment for sure. It is not only based on the original (very traditional) technique (skill and method), material (high quality sap, ramie, hemp) but also the spirit of the Korean folk culture (which related to the doctrine of the five natural elements of the positive and negative – Yin and Yang). These five elements symbolize earth, fire, water, tree, metal, which refer to topology, the worship of the nature and fortune telling.

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Rhythm of the Black luster 1501, 2015, Ottchil, hemp cloth, 35 × 35 × 35 cm

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Rhythm of the Black luster , 2015, Ottchil, hemp cloth, 25 × 50 × 50 cm

Chung practices the very traditional Ott-chil (Korean lacquer) technique. He has transformed this technique into a modern form to reveal the color and light of the Ott-chil. While most of the artisans who work with lacquer(ware) focus on the traditional style, he tries to create a unique form that is both traditional and contemporary.

In the Ott-chil technique, objects that are made or varnished with lacquer which is filtered, refined, and obtained with the sap from lacquer trees, native to Korea, China, Japan, and the Southeast Asian region. With its superb adhesiveness, water and heat resistance, durability, and function as a natural preservative, lacquer had been used on the surface of almost every material, such as metal, wood, porcelain, and even paper.

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The oldest lacquerware extant today is a small piece of varnish that dated back to the 3rd century BCE. However, artifacts in the complete form can be found from the 1st century BCE. These include black lacquer ancestral rites utensils, weapons, musical instruments, and jewellery. From the three kingdoms, the largest amount of lacquerware relics were for daily use (coloured lacquerware during the Silla period (57 BCE – 935 CE).

Out of the three kingdoms, unified Silla Kingdom (676-918) inherited a tradition called the pyungtal technique which emerged before the 7th century. Pyungtal was a popular technique in Tang China of crafting designs on gold and silver plates, after which new layers of lacquer were applied, dried and then ground away, so the surface could be polished to reveal the golden or silvery patterns beneath.

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This technique and design later evolved to Najeon chilgi or lacquerware with mother-of-pearl inlay that was made in the Goryeo Dynasty (918-1392). During the Joseon Dynasty (1392-1897), use of decorations were discouraged due to Confucian influence, but lacquer was often used on wooden furniture and vessels because the clear lacquer finish showed the natural attributes of wood. Lacquer was used mainly as furniture varnish up until the early 20th century and it was not until the Korean War (1950-1953) that a renaissance arrived for lacquerware with art departments of universities researching and making lacquerware.

How a lacquer vessel was made - In this film Chung Hae-Cho takes us through the laborious and intuitive process of making a lacquer vessel.

CHUNG Hae-cho (b. 1945) studied wood lacquer craft at Hongik University. As a modern lacquer artisan, he conducted extensive research on lacquer craft at Kanazawa (Japan) and Ho chi mihn (Vietnam) and continuously strived to preserve, inherit, and develop traditional lacquer craft.

Also an emeritus professor at PaiChai University, he is known for creating formative works with lacquer coated on fabric frame, which is made by pasting many layers of hemp with rice glue. Chung uses a technique called Hyeop-jeo-tae which involves more than 50 layers (this time 100 layers more) of hemp with Ott-chil and after vanishing/polishing in each layer. Work make this way should last more than 1,000 years.

Chunghae Cho

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Donna FW17

“Quietness is the word that keeps resurfacing in my mind when I think of Forme d’Expression. There is quietness in its fabrics. They are luxurious, but never luxe. There is quietness of design; even when Park’s pieces are dramatic, and some of them definitely are, there is a certain restraint to them.”

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Donna FW17

The life work of couture trained Umbrian designer Koeun Park can be seen in the fragility and the poetic interplay between garment and wearer. Her belief is the two are symbiotic: the garment should never impose. In 2005 the house name Forme 3’3204322896 or Forme d’ Expression was created by decoding numeric orders of the “Helvetica-Fraction” font. Before sewing, each garment is hand cut, fused, marked, and prepped by Koeun.

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Uomo FW17

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Donna SS17

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Donna SS17

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Donna SS17

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Donna SS17

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Donna SS17

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Uomo SS17

Forme d'Expression designer Koeun Park was born in Seoul and studied Haute Couture workmanship at the Ecole de la Chambre Syndicale de la mode Parisienne, in Paris, before becoming a Master at Instituto Marangoni in Milan in 1998. She began the label in Italy in 2005.

The meticulous approach to construction, followed by many layers of post work exemplify the brand's philosophy of having the clothing be real, and familiar even before the wearer slips the garment on. Quietly elegant and real, the label aims to create different forms of human expression through fashion.

Forme D’Expression

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The weather is strong, it dominates jeju life, it is very windy quite often, and weather changes instantaneously. The basalt rocks are everywhere, demarcating fields, and individual houses. The orum, which is like a little hill, is everywhere, more than 350 of them in jeju island. It creates a scene. The island is sort of an exotica among Koreans, weather and vegetation reminds them of tropics. In the past, it was home for many exiles from the mainland. Time flows rather differently here. Weather is the ruler.

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The secretive life-style of the client is presumed and imagined by the architect. Thus the bunker like home trenched into the earth, with an atrium in the middle was the first plan. The horizontal slit like villa savoye cut the home in half, one submerged, the other floating. The unbearable lightness of the heavy being is an aspiration to be held hostage to the idea of anti-gravity.

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The humble low lying curved roof paid much homage to the traditional homes of jeju. Many times a well agreed upon scheme is dropped due to sudden mood changes of the well-off clients. This was another one of those cases.

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A rather showy and extravagant gesture was called upon to the mood changes of the client. The final form is a complete antithesis of the first design, therefore the effect is nullifying if you witness both of them simultaneously. The initial 1 storey home was dug up, and made to stand vertically. The dimension change brought about a very linear space stacked on top of each other, providing three storeys with an opening right in the middle of the 2nd floor.

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The erected houses now boasted much presence, but needed something more to give it a distinct character. Then the strong wind and rain started cracking the floors, and slowly three floored and rotating home came into existence. Too much wind gave nausea and anxiety. Something had to be done, thus the binding structures between the end points to other points.

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The rotation has brought multiple view points to the living spaces. It also gave birth to many large verandas where different outdoor functions could be accommodated. Finally the client’s wish is fulfilled, and the architect is also quite happy, because he has been to two extremities of spatial qualities and experiences.

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Architects : Moon Hoon Location : Jeju-si, South Korea Area : 206.0 m2 Project Year : 2017 Design Team : Kim jaekwan, Kim haeree, Park jeonguk, Song giwon, Tomasz Kisilewicz Structure : RC Client : JJ Site Area : 714m² Building Area : 133.48 m2 Gross floor area : 206.40 m2 Building scope : 3F Height : 11.05m Building to land ratio : 18.70% Floor area ratio : 28.90%

Moon Hoon







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