In Seoul Cheongdam-dong, Tokyo Omotesando, and New York Times Square, the architecture seems to shout "Look at me!" The power of capitalism fuels the trend, with buildings of all kinds filling the streets, each more elaborate and eye-catching than the next. The same applies to architecture graduation exhibitions. Students aim to showcase 'perfect' models, drawings, and 'philosophical and profound' works, consolidating their efforts and thoughts from the past four years. The desire to present something more impressive and eye-catching, and the aspiration to win awards at the graduation exhibition, intensifies this competition.
However, for young architects, graduation exhibitions are somewhat disappointing since they don’t involve constructing actual buildings. The significant gap from reality means that the audience—including professors and future clients—cannot fully grasp the story behind the work. Nevertheless, students, driven by the desire to attract more attention to their work, end up creating increasingly extravagant and impressive renderings and presentations. Isn’t this process just making students one step closer to the harsh reality?
Yet, in reality, most viewers primarily take photos, briefly glance at any accompanying text (not always reading it in full), and may look at diagrams or visual aids but often not in detail. They may sign the guestbook and leave. The fact that a project prepared over a semester or more is shown in merely one minute is truly disheartening. The same applies to portfolio creation. How can one effectively convey their story in such a short amount of time?
However, for young architects, graduation exhibitions are somewhat disappointing since they don’t involve constructing actual buildings. The significant gap from reality means that the audience—including professors and future clients—cannot fully grasp the story behind the work. Nevertheless, students, driven by the desire to attract more attention to their work, end up creating increasingly extravagant and impressive renderings and presentations. Isn’t this process just making students one step closer to the harsh reality?
Yet, in reality, most viewers primarily take photos, briefly glance at any accompanying text (not always reading it in full), and may look at diagrams or visual aids but often not in detail. They may sign the guestbook and leave. The fact that a project prepared over a semester or more is shown in merely one minute is truly disheartening. The same applies to portfolio creation. How can one effectively convey their story in such a short amount of time?
How can the architectural design process be expressed? It fundamentally involves drawings. Drawings are not merely about depicting the plan, section, and elevation of a building; they also serve to convey the design process and provide information on proportions. Sketches, which create these drawings, are also an excellent mode of expression. Sketching is one of the first tools encountered in architectural education and can be the most practical method, conveying the basic ideas of spatial organization while revealing the architect's personality and style.
Architectural models, on the other hand, move beyond the 2D representation on paper to provide a tangible sense of space that can be seen and touched. This allows for an understanding of the physical laws and structural aspects of the actual building. Renderings are a useful tool for predicting the future of a project and effectively communicating a believable image to clients. Thus, various media give rise to a multitude of expressions, and innovative diagrams or drawings may emerge when combined with art. This is a product of remarkable creativity. However, whether even the most perfect illustrations can fully capture the deep thoughts held by architects is questionable.
Conversely, might we be confined by these ‘frameworks’ of expression? Expression in architecture is a process where hands and minds interact intricately. We think, create, and communicate with others. Yet, we follow established frameworks for creating drawings, modeling, making models, and producing renderings. It is worth questioning whether these ‘frameworks’ hinder the expansion of existing ideas. Perhaps it is time to transcend these ‘frameworks’ and seek new forms of expression that allow us to truly experience actual architecture.
Architectural models, on the other hand, move beyond the 2D representation on paper to provide a tangible sense of space that can be seen and touched. This allows for an understanding of the physical laws and structural aspects of the actual building. Renderings are a useful tool for predicting the future of a project and effectively communicating a believable image to clients. Thus, various media give rise to a multitude of expressions, and innovative diagrams or drawings may emerge when combined with art. This is a product of remarkable creativity. However, whether even the most perfect illustrations can fully capture the deep thoughts held by architects is questionable.
Conversely, might we be confined by these ‘frameworks’ of expression? Expression in architecture is a process where hands and minds interact intricately. We think, create, and communicate with others. Yet, we follow established frameworks for creating drawings, modeling, making models, and producing renderings. It is worth questioning whether these ‘frameworks’ hinder the expansion of existing ideas. Perhaps it is time to transcend these ‘frameworks’ and seek new forms of expression that allow us to truly experience actual architecture.
The architecture and film industries are similar yet different. In the film industry, like in architecture, numerous stakeholders are involved, none of whom are superfluous. Films require stories and actors to perform them. Cameras are needed to shoot the actors, and the editing process of the captured footage is essential. High-level performances often require various techniques on set, and the editing process involves technology, with visual effects sometimes needed depending on the story. Countless other tasks are involved, culminating in the creation of a single 'film' as the final product.
Architecture is similar. It starts with observing cities, incorporating deep philosophical thought, and combining various elements such as drawings, modeling, structural technology, and interior design to create a single 'building.' The difference between these two industries appears in the way their results are delivered. Films are distributed not only in cinemas but also through various media like iPads and streaming platforms such as Netflix. Since many people can experience films in various ways, the film industry continues to expand. Even if a film is not viewed in a theater, its essential elements like the screen and sound are delivered without loss through other media. In other words, people can fully enjoy films wherever they are.
On the other hand, buildings are fixed in specific locations on the earth and cannot be copied or pasted. To fully experience architecture, one must visit the location and feel it; otherwise, fully experiencing the architecture is challenging. It is practically impossible to build an architectural work at full scale if it is not yet completed or still in the study phase, so we create scaled models and take multiple renderings that resemble the real thing. However, there are still limitations in experiencing the most crucial element of architecture—'spatial sense'—not just visually but physically. Architectural models, renderings, and videos may force people to experience architecture in a manner that may not fully convey its essence.
Architecture is similar. It starts with observing cities, incorporating deep philosophical thought, and combining various elements such as drawings, modeling, structural technology, and interior design to create a single 'building.' The difference between these two industries appears in the way their results are delivered. Films are distributed not only in cinemas but also through various media like iPads and streaming platforms such as Netflix. Since many people can experience films in various ways, the film industry continues to expand. Even if a film is not viewed in a theater, its essential elements like the screen and sound are delivered without loss through other media. In other words, people can fully enjoy films wherever they are.
On the other hand, buildings are fixed in specific locations on the earth and cannot be copied or pasted. To fully experience architecture, one must visit the location and feel it; otherwise, fully experiencing the architecture is challenging. It is practically impossible to build an architectural work at full scale if it is not yet completed or still in the study phase, so we create scaled models and take multiple renderings that resemble the real thing. However, there are still limitations in experiencing the most crucial element of architecture—'spatial sense'—not just visually but physically. Architectural models, renderings, and videos may force people to experience architecture in a manner that may not fully convey its essence.
What makes architecture, architecture? According to Olgiati's unreferenced architecture, space stimulates a common human desire through a fundamental experience called 'spatial experience.' So, how can 'spatial experience' be generated? 'Space' refers to the third dimension, and within this 3D space, we overlay memories, thoughts, and stories onto the current place to ‘experience’ them. This 3D space is not just a physical place but a result of careful thought and design by the architect.
The problem is that without visiting the place directly, it cannot be fully felt. In a modern society where information is rapidly shared and confined to frameworks like Instagram, while films can convey almost everything through various media, architecture cannot fully be appreciated through mere photos or snapshots. It is disheartening that the efforts put into conceiving and realizing architectural projects are undervalued. Moreover, it is unfortunate that architectural concerns are sometimes reduced to mere models or renderings. It is also regrettable that architects invest more time and effort into formal 'frameworks' rather than fundamental concerns.
In the digital age, what new expressions can allow us to embrace new spaces and fully appreciate and reflect on the hard work of those who have created them through richer senses? The answer is Extended Reality (XR). XR allows for the experience of spatial sense, reduces concerns about formal ‘frameworks,’ and lets us feel the effort of people and the traces of architects on site. While visiting and experiencing the space of a building is the best approach, XR provides a means to convey all stories in one format when visiting impossible locations, unfinished buildings, sharing architecture with others, or planning projects.
The problem is that without visiting the place directly, it cannot be fully felt. In a modern society where information is rapidly shared and confined to frameworks like Instagram, while films can convey almost everything through various media, architecture cannot fully be appreciated through mere photos or snapshots. It is disheartening that the efforts put into conceiving and realizing architectural projects are undervalued. Moreover, it is unfortunate that architectural concerns are sometimes reduced to mere models or renderings. It is also regrettable that architects invest more time and effort into formal 'frameworks' rather than fundamental concerns.
In the digital age, what new expressions can allow us to embrace new spaces and fully appreciate and reflect on the hard work of those who have created them through richer senses? The answer is Extended Reality (XR). XR allows for the experience of spatial sense, reduces concerns about formal ‘frameworks,’ and lets us feel the effort of people and the traces of architects on site. While visiting and experiencing the space of a building is the best approach, XR provides a means to convey all stories in one format when visiting impossible locations, unfinished buildings, sharing architecture with others, or planning projects.