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Space exists as “devoid”. Nevertheless, any work proving the substance of a space is the same as the coercion of a confession. If we are obliged to argue that “devoid” should exist, we will have to make clear the limits of existing and non-existing first.

What cannot be sensed is known as devoid. However, such cognition assumes that the virtual may be the real. It might be more persuasive to present material evidence than argue for a conviction. We may get a confession by presenting evidence of experience. An absolute raison d’etre for the devoid is created by the senses.

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It may well be a pun to suggest a fact about devoid, dismissing common sense about the state of being devoid. I attempt to create a situation with the framework of common sense excluded in order to create an absolute situation deviated from it. If the void of common sense should be eliminated, its substance would show up.

Therefore, a space only with a minimally functional opening would look like it is closed tightly. However, the weight, malleability and texture of the resultant space is not closed at all. For the essence of the space discovered cannot be locked in up.

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Loaction_ Seogyo-dong, Mapo-gu, Seoul Site area_ 342.60㎡ Building area_ 181.65㎡ Total floor area_ 1,122.04㎡ Building scope_ B2F, 5F Structure_ RC Structure Exterior finishing_ Exposed Concrete Design period_ 10.2002~01.2003 Construction period_ 03.2003~09.2004 Photographer_ Youngchae Park

Archium

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Design: studio asylum Architect: Hun Kim Location: Jongno-gu, Seoul Site Area: 488.50㎡ Building Area: 285.78㎡​​ Total Floor Area: 913.64㎡​ Structure: R.C Finish Material: Limestone Project Year: 2012 Photographer: WanSoon Park

studio asylum

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MVRDV has completed construction on The Imprint, a new 2-building art-entertainment complex in close proximity to Seoul’s Incheon Airport. Featuring a nightclub in one building and indoor theme park in the other, the windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.

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MVRDV’s The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea’s largest airport.

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Given the proposed programme of the 2 buildings – a nightclub and indoor theme park – the client required a design with no windows, yet one that still integrated with the other buildings in the complex. The design of The Imprint therefore arises from a simple question: can we design an expressive façade that connects with its surroundings even though it has no windows?

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The design achieves this by projecting the façades of the surrounding buildings in the complex, which are ‘draped’ over the simple building forms and plazas like a shadow, and ‘imprinted’ as a relief pattern onto the façades.

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“By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours,” says Winy Maas, principal and co-founder of MVRDV. “This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city.”

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In order to achieve the desired ‘imprint’ of the surrounding buildings, the façade of The Imprint is constructed of glass-fibre reinforced concrete panels. As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV’s 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design.

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As Winy Maas explains: “Two months ago most of the cladding was done and client said, ‘this is an art piece. What is interesting about that is that they are looking for that momentum—that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm down.”

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Architects : MVRDV Location : 186, Yeongjonghaeannam-ro 321beon-gil, Jung-gu, Incheon, South Korea Principal-in-charge : Winy Maas, Jacob van Rijs Partner : Wenchian Shi Design Team : María López Calleja with Daehee Suk, Xiaoting Chen, Kyosuk Lee, Guang Ruey Tan, Stavros Gargaretas, Mafalda Rangel, Dong Min Lee Area : 9800.0 m2 Project Year : 2018 Photographs : Ossip van Duivenbode Co-Architect : GANSAM Architects & Partners, South Korea Facade Consultant : VS-A Group Ltd Panelization Consultant : WITHWORKS GFRC : Techwall
 Lighting : L’Observatoire International

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The golden spot is the project’s most obvious and attention-grabbing expressive element, even catching the eyes of passengers coming in to land at Incheon Airport. The golden colour is achieved simply, by using gold paint instead of white, and is reinforced by the lighting of the facades at night: while the majority of the façade is lit from below, the gold spot is highlighted from above.“Even in the night, visitors from abroad, landing in Incheon, are welcomed by this ray of light”, says Maas.

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The entrances, where the façades are lifted like a curtain to reveal mirrored ceilings and glass media floors, exude a sense of the excitement happening inside. “Reflection and theatricality are therefore combined,” concludes Maas. “With our design, after the nightly escapades, a zen-like silence follows during the day, providing an almost literally reflective situation for the after parties. Giorgio de Chirico would have liked to paint it, I think."

MVRDV is a Rotterdam, Netherlands-based architecture and urban design practice founded in 1993. The name is an acronym for the founding members: Winy Maas (1959), Jacob van Rijs (1964) and Nathalie de Vries (1965). Maas and Van Rijs worked at OMA, De Vries at Mecanoo before starting MVRDV.

MVRDV







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