Paju Book City – with Florian Beigel and Philip Christou

It was such an experience revisiting a place with architects who have been involved with the aspirations of Paju Book City for so long. Hearing such informed opinions of the whole project, allowed me to fully appreciate the influence of the landscape on the new city. We concentrated on the three buildings that Beigel and Christou designed; Phase 1 and 2 of YoulHwadang, and Positive Thinking.

We were asked to study the buildings concentrating on three scales: landscape infrastructure, envelope and detail which presented two days later. I looked with a critical eye, thinking especially about how the buildings are relevant for my project in Seoul. Firstly though, it is important to put the idea of Paju Book City in context. It is called a ‘city’ but zoning policies in Korea are different to the UK. Housing and industrial areas are generally separated, due mainly to land values. Paju was originally only allowed to include industrial buildings (for publishing). However, the government later agreed to allow apartments on the two upper levels of buildings, a small but useful concession meaning more integration of workplace and living was made possible.

1 Landscape infrastructure

Socio-political context: publishers who came immediately after military rule brought with them a purposeful move away from the prior regime. Some of them had previously published books or magazines that were banned during the military rule, and some we imprisoned for it. The whole philosophy of Paju looked forward in a new way.

Site section East-West: landscape informs city strata

Geographical context: the land was originally a flood plain but a motorway was built along the wetland in the 1980s, now the main road which leads north towards the South-North Korean border. The motorway is on a raised embankment, eight metres above the river level protecting land to the east from flooding. Next to the motoway is Paju Book City. Due to Paju’s close proximity to the border, military observation of the River Han (which runs through both countries) from Simhak mountain (on the opposite side of Paju) is crucial. The landscape influences the form of buildings creating a maximum height (14m) to allow a view of the river from Simhaksan. There is a second strata which is the same level of the motorway thus allowing a view of the river to the east from second storey roof terraces. Paju is divided into the following strata: below embankment, embankment (and fill/ground) level, above embankment. Roads patterns also follow the contours of Simhak mountain. Roads take up 20% of the overall scheme, arguably too much resulting in a lack of pedestrian spaces.

Street view: a lack of pedestrians, a similar comparison to my site where there is little human activity, with parking taking up most of the street

2 Envelope (structure)

Youlhwadang phase 1 – 2003
- The form of the building began as cube which then had chunks cut out of it. The cut outs are clad in glass, and the rest in black timber. This reminds me of excavating the earth to create a new landscape via retaining walls.
- Construction: concrete frame with timber rainscreen cladding and translucent glass facades (multi-layered polycarbonate provide transparent insulation). Concrete block infill and steel lightweight studwork, waterproof membrane on external wall behind cladding.

Concept diagram, detail showing transparent and opaque facades

Positive Thinking – 2007
- Construction: Originally a solid brick wall but this changed due to new Korean regulations which follow Japanese earthquake construction. This states that buildings over two storeys cannot be built with load-bearing brick construction. Therefore, there are concrete walls with external brick cladding. ARU wanted to ensure tectonic clarity, that the building was read as cladding, and not pretend to be load bearing. Steel rail bolted to concrete wall in grid, and bricks are laid into grid.
- Windows all stand on the floor, like French doors – figurative. Internal balustrades become like balconies when doors open. Similar ideas to Youl Hwa Dang phase 2.

YoulHwaDang phase 2 2009

'Miracle at San Lio' by Mansueti (1494) compared to the blackness of a retaining wall

- Façade: this was approached very much as a city building, quite different from phase 1. Therefore the building tries to have a relationship with the city. It offers ‘gift to the city’ with the public space. ‘Miracle at San’ Lio (1494) by Mansueti shows people in almost every window looking out to religious ceremony taking place in the square. All windows in phase 3 come to the floor, with French doors and balustrades allowing the room extend into the city. Street-like lighting and the ‘elephant’ teahouse, autonomous from the main building create a city scenario. It is interesting to compare the ‘blankness’ of a retaining wall to both phase 1 and 2 of YoulHwaDang – could there be a similar approach in order to improve the  adjacent ground conditions which is often public space?

Section, YouHwaDang 2: interior to public space, a gift to the city. What can my site offer to the city?

- Construction: In-situ concrete walls. “Phenolic’ (plastic) layer on plywood formwork enables a smooth concrete finish. External stain on concrete exterior is insulating. It is sprayed on and penetrates the façade. Slabs need additional waterproofing in this scenario but it is adequate for walls as they are vertical. In principle, it is best to have insulation on the outside because it keeps the building warm and the structure doesn’t alter or contract with temperature changes.

3 Detail

YoulHwaDang phase 3
- Facades the overall façade is broken down into four smaller facades, giving the impression of a series of small houses. This is similar to Summerson’s concept of aedicules being stacked up to form a city. The façade is broken up by a series of reliefs which divide up the façade according to importance of the interior spaces

I will continue to study and explore certain aspects as my project continues..