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164209-1660227 55 x 40 x 18 cm

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210243-211109 16 x 20 x 14 cm

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145763-147167 20 x 20 x 20 cm

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WFG 31 55 x 55 x 30 cm

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WFG 02 14 x 90 x 25 cm

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WFG 01 19 x 32 x 72 cm

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The laps of time involves duration, repetition, transformation, circulation. It is continuous, repetitive and circular. the change always follows with the repetition and circulation. This time is along with nature as well as human. However, modern society increasingly separates it between human and nature, which has become the main cause of the alienation of human beings, and prevalent in modern society. In the boundary of art, a study of the laps of time is ultimately a study of the human.

Samuel Beckett revealed the laps of time in nature in his play ‘Waiting for Godot’, by the two main characters repeatedly waiting for the Godot. Beckett’s plays become the motives of my work and title. Working with the clay as a natural material is unifying the time of nature and human. The clay contains the time of duration, repetition, transformation and circulation.

And the artist inevitably harmonize himself with the laps of time in nature. and the one who work with have to match the time with it inevitably, in order to work with. I think the essentiality of the clay material is the laps of time, and worked through with the clay to reveal the laps of time. The continuos repetition of labor would be inevitable in order to visualize infinite of time because human is mortal. Putting the serial numbers and attaching tens of thousands of small blocks leads me to the stage of impassivity and makes super temporal experience.

I discover myself in super temporal experience. The experience of these can be passed through by the work made by constant repetition of labor, to the audience too.I tried to visualize and record the laps of time in nature by working with it. The continuing repetition of labor helps me to overcome with alienation of human beings and to discover myself by the super temporal experience. Recording the laps of time gets its meaning only when performed repeatedly for a long time and it can deliver to audiences.

So, I think the last three years of work experience is not me long. On the basis of what I have studied, I will try to get closer to the repetitive and circular time of nature by continuing repetition of labor. - BAE SE JIN

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Bae Sejin is a ceramicist based in Seoul. He received his B.F.A and M.F.A. from Seoul National University in 2010 and 2012, respectively.

In 2015, he received the bronze prize in the Taiwan Ceramics Biennale International Competition, silver in the Cheongju International Craft Competition and bronze in the Korea Ceramic Arts Award of Korea. He has also been selected for numerous other ceramic and craft competitions in Korea and Taipei.

He has participated in a number of group and solo exhibitions in the UK, the United States, Italy, Germany, and many more.

BAE SE JIN

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A varied group of buildings have been built where once stood a Diesel Engine Factory in Changchun, China. Designed by Beijing & Seoul based architects CHIASMUS, redevelopment of the site focused on the preservation of the existing spatial experience over the actual buildings. The result is a neighborhood that remembers its industrial past through its scale, layout and materials.

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In many ways the conversion of the old factory site in Changchun is a typical post-industrial redevelopment that includes saving some exemplar buildings and adding contemporary functions. These former factories seldom have a lasting architectural quality, but in spatial and dogmatic organization they represent a defining age in China worth keeping.

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Located in North-East China, Changchun - sometimes called the “Detroit of China” because of its automotive industry – has been an important industrial city for the last 100 year. The site is on the border of Changchun’s city center, one block east of the Yitsong river.

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Standing next to the East expressway the project is on a visually prominent position among a monoculture of new residential towers. By introducing a varied architectural group of buildings and functions organized around a pedestrian street CHIASMUS created a memorable civic space for nearby residents.

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James Wei Ke said: “With this project we developed a successful evolutionary neighborhood. The fact that a former industrial center can be transformed into a case study of how work and life can be combined in this post-industrial era represents a small triumph for the developer and the city.

Developed by Vanke in subsequent stages since 2011, each building was developed as an interdependent element. Representation is found in the materiality of the buildings: steel for the old factory, brick for the offices and plaster for the residential tower. A returning visual feature is the customized windows with high insulation glass that provide the buildings with a generous amount of daylight inside while deeper indoors intimate spaces allow for more privacy. This concept complements a variety of spatial qualities and creates comfortable places to work and live.

Chiasmus Partners is an atelier office founded in New York City in 2005. It is now based in Beijing and Seoul.

CHIASMUS

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This Recently completed Deep House (House with Deep Wall) is the culmination of 6-year-long pursuit and determination of its architect Homin Kim. Credit for successful completion of the daunting task goes to Kim’s ambitious vision to situate a modern and practical residence in challenging landscape backed by unwavering support and trust of the client. Most striking feature of the Deep House is its roof, slanted at an angle, which streamlines flawless as walls as a single unit.

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By opting against conventional use of the concept of roof and eaves and adopting exterior stone louvers, volume of the Deep House is dispersed in shallow depth throughout. Hollow space created underneath the slanted roof and the vertical walls is designed to serve not only as a layer of insulation improving the energy efficiency but also extra storage space.

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Another noticeable feature of the Deep House is its use of corner windows. Once the layout of the rooms was confirmed, corners of the rooms were left exposed by installing box-type windows. Rooms and the size of corner windows were strategically laid out to allow maximum benefit of the spectacular scenery from inside while minimizing adverse impact of chilly winter draft.

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It also manifests the most important element of spatial concept: micro space. Corner windows are ‘window space’ but also creates ‘room inside room’ not separated by any physical boundary of walls. The room may appear as one space, but we can clearly perceive that an independent space exists there. Kim was aware of people’s inclination to find corner space cozy and useful regardless of the size of their homes, and he wanted to utilize that instinct.

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Deep House project was a process of searching creative solutions to work around seemingly conflicting elements such as efficiency and style, function and form and necessity and redundancy. Factors that may seem irrelevant are assigned with critical functions in greater context. Kim highlighted that the Deep House project was his attempt to challenge the dogma of modernism that “Form follows Function” and propose creative alternatives.

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Architects : poly.m.ur Location : Seoul, South Korea Architect in Charge : Homin Kim Design Team : Sunki Hwang, Hyunju Lim Area : 647.71 m2 Project Year : 2016 Manufacturers : Rheinzink, Lime, pine-wood Contractor : Ean R&C Structural Engineer : Thekujo

Poly.m.ur







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