Galleria Department Store Gwanggyo

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Editorial: Department Store A and Department Store A
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We have to talk about the rules of a universal department store.
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The method that modern space artists have practiced. To put it simply, if we speak a little critically, it means, 'I have conceived this way, how about writing it this way?' In a little more detail, the function of the space is structured in this way. If you look at this as a department store, you can say, 'I made people look around and buy things. So it should be written that way.'
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Many people know the department store's rule of 'going around and looking at things'.
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First, department stores do not have windows and clocks. This is a method of making a complete cut off from the background of the city the moment you enter the space, preventing you from recognizing the concept of time. That is why it is impossible to recognize how much time has passed while fantastic commercial spaces are pleasing to the eye. For example, if there are no windows and clocks in the office space, it can be said that the workers will not know when it is time to leave the office.
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Second, the main vertical movement space of the department store is located in the middle of the space. Literally, it is a structure that makes at least half a turn around the space by placing the escalator on the opposite side. On the way to the top, you will encounter a commercial space like a street in an urban space. It is a way to enjoy events created by various commercial spaces.
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These two are the universal promises and rules of Department Store A. Then, we classify department store A, department store B, and department store C as department stores from a universal point of view. However, department store A, like today's space, should be viewed as recognizing similarities from differences in identity and recognizing numerous differences to reduce its universality to pure value. This concept can be seen through the concept of 'difference' by the famous French philosopher Gilles Deleuze.
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In summary, I want to say 'it shows independent novelty'.
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Today's space is the work of world-famous space artist Rem Koolhaas. I'll take a brief look at the space throughout his book, but I want to focus on telling the story by dealing with the story of the XL part in the book 'S, M, L, XL'.
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'We are becoming crippled, obsessed with dangerously exhausted rhetoric and vocabulary.'
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He criticizes 'Modernist spaceists in the 1960s forsaken their functions' [quote 2]. It is interpreted that space artists who closely monitor social changes and draw a new space suitable for and effective in the future do not do so, but act like a custom or correct answer from the past, citing the rules of low temperature space, rejecting change and ignoring newness themselves. do.
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The XL that he talks about through this book is that there is a new scale of space in which the language used by space artists is no longer meaningful in this oversaturated and highly commercialized modern city. We are dealing with a story that we have to discuss whether we should see it as a city or as a building.
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At the same time, he is answering the question of 'Does the role of a space artist no longer exist?' with his own work.
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Today's space is very huge. It is a super-large commercial facility with a large amount of capital, making the elements of space that have been practiced since modern times meaningless. For example, the metaphor of the interior space scene through the face of the space [expression that the actual function of the interior will be composed through the face of the space] or the composition of scenes of a single space [the expression that the scene shown by the space is the wall and the room] The method of showing only one scene divided into units] is destroying the various languages.
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Some of the things mentioned above seem to apply to this building, but more than half don't follow it at all. Space destroys the rules of a universal department store. There is an escalator, a moving space that moves vertically in the center, and it is right to make it go round, but it turns asymmetrically and destroys the static movement. If this is an overpriced department store, only elevators in corners and escalators in the right way are the only means to move floors up and down, but as soon as you enter this space, you ignore the characteristics of the universal department store and walk through the department store right outside the building. We suggest a climbing method from the entrance.
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When you enter a corner of the department store, a wide and high transition space appears with a huge escalator on the left rather than being concentrated in the center space. Rather than seeing the internal movement, it naturally faces the vertical movement that rises along the exterior surface of the building on the left. Its function is unknown. The feeling of just walking out of the city and walking through the city again in succession is dominant. Today's space, which is read as a huge mass from an urban point of view, is continuously wrapped around the outer surface of the glass tube. As you climb this road, you will encounter something strange. It appears as if it is not connected to the interior space of a department store, but appears in the same type as the street in the city, which is a public space. You can see benches arranged along the way, and you can meet a cafe. At the same time, a small square appears and enjoys the space for no purpose. It is also a unique experience to enjoy the view of the city from the outside. Interestingly, however, if you turn your attention a little to suit the commercial purpose of a department store, you can break down the boundaries into the commercial realm again. It breaks down the cognitive boundaries and breaks down the functional boundaries between commercial and public spaces by repeatedly weaving and unraveling the properties of space through free and complex movement lines.
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When you experience the glass pavilion like this, you wonder if this is a department store. A series of similar observatories, cafes, road shops, bookstores, and open spaces with the character of a free public space seem more like an urban experience than an attribute of a department store. But it is still a department store. If you go out of the glass tube that wraps around the mass of the building and go to the center of the mass, you can see the rules of a traditional department store again. At the same time, through the still open glass tube, the background of the city is drawn into the interior, and a new sentiment is thrown into the universal department store.
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If you were asked to list common public spaces in a city, 'plazas, parks, and streets' could be mentioned. In the light of Korean society, it can be judged that there are very few places where this place is working well, but if you look at it from a global point of view, there are certainly many places that do the job well. However, if we look at the background of Korea as well, the message that this space sends to us becomes stronger now that the climate in which commercial space solves the absence of effective public space is rather prevalent.
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Purposeless wandering and various ways people enjoy space in public are often observed here. The element of the city bench is combined with the transportation method of the escalator, and as a result of overhearing and examining the various types of commercial spaces that you encounter while walking, small groups also use it as a meeting place, Michel Foucault's *Heter It also seems to have a topian character. [*It is a real space, but it is expressed as a mythical space. It is a nonexistent utopia, but it does exist and is an expression of a mythical place for individuals and small groups.]
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In such a huge space, the public space plays a significant role by meeting the element of space that helps vertical movement and the concept of 'Very open [VOID]'. But is this a space that could be expressed in a modern context? I want to answer 'no' to this question.
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The sentence 'the image of a constructed abbreviated city' is even more relatable.
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Is it a single building or a city? I am actually leaning towards one side of thinking about this, but I still think this is close to a difficult problem where everyone has to think together and make their own arguments.
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This is a special department store with independence. #Gwanggyo Galleria Department Store.
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Location _ 124, Gwanggyojungang-ro, Yeongtong-gu, Suwon-si, Gyeonggi-do
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Business hours _ Mon-Thu [ 10-20 ], Fri-Sun [ 10:00 – 20:30]
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full parking lot
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Design _ Rem Kolhaas [OMA], Gansam Architects & Engineers
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references
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S, M, L, XL _ Rem Cole Haas
Modern Architecture and Secret Representation _ Jeong In-ha
Limitations and Significance of Rem Koolhaas' BIGNESS Concept _ Jeong Hye-jin, Kim Kwang-hyun [June 2013]
A Study on Differences in Spatial Boundaries in Rem Koolhaas Architectural Design _ Kim So-young, Lee Dae-gyeom
A study on the nonrepresentation of space based on Gilles Deleuze's 'difference' _ Lim Min-taek [June 2018]
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PS. This content is an editorial and is the personal opinion of the author, and informs you that you agree with other opinions indefinitely.