The project is based on the idea of converting the limit of the old and new Seul, in a point of reference and connection of both areas, Dongdaemun-gu district or district of the great East Gate.Be part of a required program, a Hipermonastery of knowledge or a center of thought, culture and technology, where is the social relationship and the concept of progress of great importance. We are trying to strengthen relations between South Korea and Spain, along with other countries of Europe, Asia and America.Seul is in the process of becoming a reference city for the whole world, by high demographic index and its incessant development towards a new technological era (which already begins to highlight). Different countries can mutually benefit from this development and provide a new performance system and a new way of understanding the future. Seul is the second largest in the world and its religions are diverse, including Buddhism, Protestantism and Christianity. There isn't a State Religion, so the study of the relationship between them, by a space is very interesting for individual or collective meditation where discussing various issues and share opinions.In the environment in which we find ourselves, the vegetation and the walls along with the Eastern Door mark the place; a place of great historical interest and of great landscape value that we need, not only to maintain but enhance architecture of Past and Future.
The work begins with a thorough analysis of the environment, the slope of the terrain, heights and boundaries, the required services and duplicates. To work in a place so conditioned, I chose a quote from Leopardi who helped me (as well as helped to José Selgás and to Lucía Cano in the Palace of Congresses of Badajoz) to realize the difficulty of acting in this place, was in fact something "simple": " Last grade of knowledge is to recognize that everything you were looking for was always in front of our eyes". This sentence made me realize that the most evident action was actually the best choice: encourage the landscape literally. So the idea of the project arises from a wall of 1.5 meters thick, to become a "new wall" of 7 meters thick, and, from there, raise it on the first go carving it depending on the needs of the program and the place. Created a wall of the future, which is placed parallel to the original, and being friendly with it, without actually touching it.
The situation of the block stands out as the beggining of a climb to Mt. Naksan, so every 8 meter climbing approximately a meter in height. The wall accompanied this rise, creating a double wall of the exterior for the containment of the lands. The project will be placed to widen the wall and generating spaces of interest within it, causing a revitalization of the same. The arrival to the building by this space on a slope will be made with a series of terraces from which look to the city and to the East Gate.
This was the mindset that I had to start working. From it, I was working with various strategies that allowed me to get results: strategies of volume, program, spaces, and connection dimensions.
With a plot of the slope and wanting the building to connect different dimensions of the land, it was clear that part of it should be buried, and part high on the wall as a sign of the future.Here comes a very powerful idea in the project: the division of the program into two parts, the wordly agenda and the divine, the buried and the air.In addition, this connection of dimensions allowed me to generate a platform game that will lead the tour the building perimeter and create different access at multiple points, giving rise to another important idea: a new porous wall, as a symbol of the future and the new concept of the wall.
The process of carving of the new wall became a porous system half-buried, with multiple routes and connections on which they would fly 3 imposing boxes with the main program (library, meditation room and residence), reflecting the past while show themselves the future.
The result is a very interesting space, for its great diversity of situations, scenarios, spatial relationships, variable heights...
The work begins with a thorough analysis of the environment, the slope of the terrain, heights and boundaries, the required services and duplicates. To work in a place so conditioned, I chose a quote from Leopardi who helped me (as well as helped to José Selgás and to Lucía Cano in the Palace of Congresses of Badajoz) to realize the difficulty of acting in this place, was in fact something "simple": " Last grade of knowledge is to recognize that everything you were looking for was always in front of our eyes". This sentence made me realize that the most evident action was actually the best choice: encourage the landscape literally. So the idea of the project arises from a wall of 1.5 meters thick, to become a "new wall" of 7 meters thick, and, from there, raise it on the first go carving it depending on the needs of the program and the place. Created a wall of the future, which is placed parallel to the original, and being friendly with it, without actually touching it.
The situation of the block stands out as the beggining of a climb to Mt. Naksan, so every 8 meter climbing approximately a meter in height. The wall accompanied this rise, creating a double wall of the exterior for the containment of the lands. The project will be placed to widen the wall and generating spaces of interest within it, causing a revitalization of the same. The arrival to the building by this space on a slope will be made with a series of terraces from which look to the city and to the East Gate.
This was the mindset that I had to start working. From it, I was working with various strategies that allowed me to get results: strategies of volume, program, spaces, and connection dimensions.
With a plot of the slope and wanting the building to connect different dimensions of the land, it was clear that part of it should be buried, and part high on the wall as a sign of the future.Here comes a very powerful idea in the project: the division of the program into two parts, the wordly agenda and the divine, the buried and the air.In addition, this connection of dimensions allowed me to generate a platform game that will lead the tour the building perimeter and create different access at multiple points, giving rise to another important idea: a new porous wall, as a symbol of the future and the new concept of the wall.
The process of carving of the new wall became a porous system half-buried, with multiple routes and connections on which they would fly 3 imposing boxes with the main program (library, meditation room and residence), reflecting the past while show themselves the future.
The result is a very interesting space, for its great diversity of situations, scenarios, spatial relationships, variable heights...
The building is composed as we have seen a semi-underground floor, a foreign tour on it and 3 boxes of program cantilever on the wall.Everything is distributed along a central axis that materializes and marked by the structure of reinforced concrete porches, that you make up a hard core thoroughout the journey. This axis is home to the communications and building services, and gives access to the sides, the different rooms and halls.The first floor is made up in the outdoor area, a platform for access to dimension + 31.00 meters (the lowest level of the terrain) and, inside, a system of services to this platform and a set of multipurpose classrooms and classroom support. It's characterized by its separation from the wall, variable between 6 and 2 meters, allowing that they appear patios between this and the building (green line of the axonometria).
The second floor is characterized by its platform to dimension + 35.00 meters. The level itself is at an altitude of + 35.84 meters, and it covers longitudinally throughout the building. It's the platform of foreign travel under boxes, and serves as a link between the basements and these ones. It's accompanied by multiple platforms that will be communicating it with the dimension of the land and space for operations supply and loading and unloading. It is mostly garden and along its route offers very different situations and interesting ones: views towards the inside on the outside perspectives on the wall and access to patios, sedentary rest areas and access to upper and lower floors.
The image on the right is the view from one of the terraces of this floor. The different situations that can be found with respect to the old existing wall can be seen in it.
Then appears the first floor of the boxes. This level is essential, as a link between the mundane and the divine. It does not belong to one or to another world, but it serves as a mattress, an indoor-outdoor, recreational programme, that is also related to the previous floor by terraces on the wall which, again, generate great interest perspectives (these terraces are viewable also in the picture on the right). This floor has an enclosure different than the rest of each box; a more porous enclosure that allows intuit an inner world different but still very public as prospects.
This top floor gives access to the inside of boxes itself. The central box is intended for the library, located on the north side, with a clearance by 4.5 meters floor. The library is supplied just like the rest of the building in the central area of porches, where a system of platforms is situated halfway up that gives access to the more specific books. The rest of books find in the own room or the southern route which I will explain then. Similarly the Northwest case organizes, of meditation, which I call Trippitaka Box. This is because it will house the Korean Trippitaka, the Bible of Buddhism so to speak. It is a set of 80.000 wooden planks that have been carved the most relevant and explanatory Buddhist texts. These files are currently in Busan, in the temple of Haeinsa, to the South of Korea in the South. The proposal in this sense means to approach some of these texts to the capital, so that they can be studied, debated and shared by the entire population Buddhist, Christian or Protestant. Finally, a last Southeast box houses the residential area, aimed at students, visitors, doctors or monks staying in small periods.
Boxes' programme is divided into three horizontal layers: collective meditation, individual meditation zone area, and central zone. The area of collective meditation is conceived as an ascent to wisdom an upward stroke along interior platforms filled with books, where a polished basalt lattice generates a natural lighting very interesting and to talk, analysis and intellectual debate.
At the top of each box is the facilities floor, a technical floor that serves as energy core of each box. Ducts go down glued to heavy facade, the polished basalt one on the South side.
One of the strong ideas of the project was to generate a route upward, from the mundane to the divine, on the inside of the building, as a path toward knowledge. This takes place on the South side of the boxes, accompanied by polished basalt lattice. It's a journey through stairs and freestanding platforms, alowing the visitor to go resting at various points, browse books and files, engage in dialogue with other skateholders on various subjects: science, technology, philosophy, religion, culture, news...In turn, these interior platforms are giving way to the largest of the north face, the library rooms and the Trippitaka individual meditation rooms.
All of this is seen in the image on the left. It is a very interesting and ratio, transit and constant stay under the perforated facade.
The southern facade of the building is polished basalt, from near Jeju Island, to the South of Korea, of great volcanic activity. It consists of a few trigrams that generate large gaps. This allows entry of southern natural light controlled during the day, and an output of artificial light at night making it recognizable to the building.
In the interior space, the impact of this facade is reflected in this travel upward. The holes work as a direct relationship between the outside and the inside of the boxes. They have enough size to look through them without being seen and generate a broken light, reflecting the deconstructed trigrams from the Korean flag on the floor of the tour, which enhances even more the idea of relationship between different cultures.
The second floor is characterized by its platform to dimension + 35.00 meters. The level itself is at an altitude of + 35.84 meters, and it covers longitudinally throughout the building. It's the platform of foreign travel under boxes, and serves as a link between the basements and these ones. It's accompanied by multiple platforms that will be communicating it with the dimension of the land and space for operations supply and loading and unloading. It is mostly garden and along its route offers very different situations and interesting ones: views towards the inside on the outside perspectives on the wall and access to patios, sedentary rest areas and access to upper and lower floors.
The image on the right is the view from one of the terraces of this floor. The different situations that can be found with respect to the old existing wall can be seen in it.
Then appears the first floor of the boxes. This level is essential, as a link between the mundane and the divine. It does not belong to one or to another world, but it serves as a mattress, an indoor-outdoor, recreational programme, that is also related to the previous floor by terraces on the wall which, again, generate great interest perspectives (these terraces are viewable also in the picture on the right). This floor has an enclosure different than the rest of each box; a more porous enclosure that allows intuit an inner world different but still very public as prospects.
This top floor gives access to the inside of boxes itself. The central box is intended for the library, located on the north side, with a clearance by 4.5 meters floor. The library is supplied just like the rest of the building in the central area of porches, where a system of platforms is situated halfway up that gives access to the more specific books. The rest of books find in the own room or the southern route which I will explain then. Similarly the Northwest case organizes, of meditation, which I call Trippitaka Box. This is because it will house the Korean Trippitaka, the Bible of Buddhism so to speak. It is a set of 80.000 wooden planks that have been carved the most relevant and explanatory Buddhist texts. These files are currently in Busan, in the temple of Haeinsa, to the South of Korea in the South. The proposal in this sense means to approach some of these texts to the capital, so that they can be studied, debated and shared by the entire population Buddhist, Christian or Protestant. Finally, a last Southeast box houses the residential area, aimed at students, visitors, doctors or monks staying in small periods.
Boxes' programme is divided into three horizontal layers: collective meditation, individual meditation zone area, and central zone. The area of collective meditation is conceived as an ascent to wisdom an upward stroke along interior platforms filled with books, where a polished basalt lattice generates a natural lighting very interesting and to talk, analysis and intellectual debate.
At the top of each box is the facilities floor, a technical floor that serves as energy core of each box. Ducts go down glued to heavy facade, the polished basalt one on the South side.
One of the strong ideas of the project was to generate a route upward, from the mundane to the divine, on the inside of the building, as a path toward knowledge. This takes place on the South side of the boxes, accompanied by polished basalt lattice. It's a journey through stairs and freestanding platforms, alowing the visitor to go resting at various points, browse books and files, engage in dialogue with other skateholders on various subjects: science, technology, philosophy, religion, culture, news...In turn, these interior platforms are giving way to the largest of the north face, the library rooms and the Trippitaka individual meditation rooms.
All of this is seen in the image on the left. It is a very interesting and ratio, transit and constant stay under the perforated facade.
The southern facade of the building is polished basalt, from near Jeju Island, to the South of Korea, of great volcanic activity. It consists of a few trigrams that generate large gaps. This allows entry of southern natural light controlled during the day, and an output of artificial light at night making it recognizable to the building.
In the interior space, the impact of this facade is reflected in this travel upward. The holes work as a direct relationship between the outside and the inside of the boxes. They have enough size to look through them without being seen and generate a broken light, reflecting the deconstructed trigrams from the Korean flag on the floor of the tour, which enhances even more the idea of relationship between different cultures.
The project culminates with the closing of the boxes. This enclosure is of two types: a solid facade and a slight one (South and North respectively). This applies with all its consequences, so even the facilities go down only by the solid facade. The resulting elevations on the one hand show the relationship of the old and the new with materials related to the environment, and on the other they reflect the place's history leaving evidence of the shift towards the future. This panel shows the relationship between the two.
As seen in the diagrams, the building is hung by pendulums of a central nucleus which decomposes in porches with a postesed beam with a head of great height (4.5 m)The construction process of the building is in reverse (from top to bottom) through a mobile platform that descends. At the time that descends, the different floors are created and porches core head begins to work in flex.
To correct the descent that inevitably will suffer the floors, this main structure of concrete is postensed by leads entered into arc-shaped pods located in the center of the upper beam. This is later seen in the diagrams of the process.
The pendulums are covered of an intumescent paint for resistance to fire RF-90.
To resist efforts against the wind the substructure that enables the support of stone plates, works as a vertical strut, diagonalized at certain points.
The structural core of the building, as well as communications and services welcomes the downspouts of the water system and distributes most of the facilities. It also connects the outside area with the interior installation and divides the circuits to avoid a complete loss of power in case of error.The type of enclosure that unfolds to cover also allows cross-ventilation and a overhead lighting.In the meditation hall provides play of light of great interest.Thanks to the double skin that we have seen, inserted in this structural system, the building can ventilate and the lattice can be closed in winter.
Three main programme boxes are oriented in search of positions of the light. The houses are placed in a more East-West orientation, while the main blocks are rotated in search of a North-South one for the various interior spaces. These boxes are also oriented in search of other three perspectives of the city. The Northern facades reflect the environment in three different points: garden area and vegetation (Trippitaka), old urbanized area (library), main avenue and connection with the Eastern Door (housing).
The INTERIOR GLAZING is placed on UPN and L profiles ranging welded to plates which hug the pendulums. It's fixed with horizontal tires of stainless steel, that they are screwed. Then the glass ribs that have a stainless steel frame.
The EXTERIOR POLISHED BASALT ENCLOSURE is placed by a few welded anchors to the generated substructure along with the pendulums.
The EXTERIOR GLAZING mirrored glass, is placed on a few UPN and L profiles ranging welded to steel cross pieces that allow the separation between both enclosures, interior, exterior.
As seen in the diagrams, the building is hung by pendulums of a central nucleus which decomposes in porches with a postesed beam with a head of great height (4.5 m)The construction process of the building is in reverse (from top to bottom) through a mobile platform that descends. At the time that descends, the different floors are created and porches core head begins to work in flex.
To correct the descent that inevitably will suffer the floors, this main structure of concrete is postensed by leads entered into arc-shaped pods located in the center of the upper beam. This is later seen in the diagrams of the process.
The pendulums are covered of an intumescent paint for resistance to fire RF-90.
To resist efforts against the wind the substructure that enables the support of stone plates, works as a vertical strut, diagonalized at certain points.
The structural core of the building, as well as communications and services welcomes the downspouts of the water system and distributes most of the facilities. It also connects the outside area with the interior installation and divides the circuits to avoid a complete loss of power in case of error.The type of enclosure that unfolds to cover also allows cross-ventilation and a overhead lighting.In the meditation hall provides play of light of great interest.Thanks to the double skin that we have seen, inserted in this structural system, the building can ventilate and the lattice can be closed in winter.
Three main programme boxes are oriented in search of positions of the light. The houses are placed in a more East-West orientation, while the main blocks are rotated in search of a North-South one for the various interior spaces. These boxes are also oriented in search of other three perspectives of the city. The Northern facades reflect the environment in three different points: garden area and vegetation (Trippitaka), old urbanized area (library), main avenue and connection with the Eastern Door (housing).
The INTERIOR GLAZING is placed on UPN and L profiles ranging welded to plates which hug the pendulums. It's fixed with horizontal tires of stainless steel, that they are screwed. Then the glass ribs that have a stainless steel frame.
The EXTERIOR POLISHED BASALT ENCLOSURE is placed by a few welded anchors to the generated substructure along with the pendulums.
The EXTERIOR GLAZING mirrored glass, is placed on a few UPN and L profiles ranging welded to steel cross pieces that allow the separation between both enclosures, interior, exterior.
