Heyri Artists Village

All references from Germany-Korea Public Space Forum: Heyri Art Valley: The Emergence of an Architectural Guideline, Kim Jong Kyu

Prior to Heyri, recent urban planning in Korea consisted of a simple formulaic sequence. This began by selecting an area, then establishing zoning laws divided according to function, and finally building a structure. Towards the mid-nineties though, the public started voicing the their opposition to these government-controlled developments. Instead, they called for ‘the need to create communities which supported a common purpose and vision among residents’. So, Heyri became reality.

Heyri is an artists village which includes houses, cafes, galleries. For the project, an architectural guideline was devised which allowed architects designing individual buildings enough freedom to be creative whilst maintaining a coherent composition over the whole site - ‘an urban contextual framework that can accommodate and anticipate the condition of unpredictable expansion and growth’. The relationship to, and integration of, the landscape was a priority from the start. For example, placing the artificial elements (i.e. buildings) only in areas which are appropriate to the landscape thereby retaining a certain amount of natural space. Two types of public space are repeated across the site; ‘untouched natural areas, and ‘artificial plates’. The latter provides spaces which future buildings can be built on.

From Germany-Korea Public Space Forum
L-r: Patch / Bar-type - follows topographical flow of site, Gate House - includes residential-block concept, Stepped patch / Podium type - slope means buildings must be elevated on podium or plinth to retain horizontal continuity (retaining wall unavoidable), Plate / Object-type - provided where it is not suitable to define area

In plan, a poetic description resembling an open hand is convincing. The topography of mountains and valleys determines how the buildings are located and orientated; the properties are mainly located on flatter parts, six hills envelop the site and the waterway connects with the swamp.

Upon arrival, crossing a bridge under which the natural landscape has been preserved was a good start. Looking past, the whole area felt more natural, and less ghostly, than Paju Book City. There were cyclists searching maps, children laughing and stylish arty-types sipping coffee.

My memories of the varying landscape surfaces - car parking / gravel, natural, untended, overgrown

However, with my eye fixed predominantly on the relationship to the landscape, I felt a little perplexed. Besides the mature natural areas mostly around the stream, are gravel squares – presumably car parks, buildings overgrown with weeds, and untended grass patches. Rather than feeling natural, some parts felt uncared for, unfinished, left over. Indeed, it was the architectural intention to allow space for future buildings but a village shouldn’t feel like it’s waiting for more, with something missing, should it? Perhaps the planned ‘natural’ areas between buildings need to be treated as artificial entities – we plan them, so we need to take care of them?

Referring back to the article:

            ‘A proper balance between the natural and artificial topography was paramount. Surface covering was reduced to a minimum, with artificial elements used to give order to areas without visually dominating them’.

The principles seem correct, as we should treat new villages nestled in Korea’s mountainous landscape. Heyri responds to the topography but the edge condition – between the artificial and the landscape – requires, in my opinion, more attention than simply leaving it to nature.

Abandoned building overgrown

Car park, gravel surface

Edge condition - between natural and artificial