위원회활동
인상적인 한국의 도시와 건축문화
Impressions on Architecture and Urban Culture in Korea
Historical Parallel
It is always a stunning experience to witness the dynamics of contemporary architecture across Asia. Korea is no exception. Skyscrapers of Seoul's dimension with the top sometimes stretching to the clouds as if in search of the mystical proximity to heaven, would be difficult to imagine in Germany. Are we literally more down-to-earth? Let us first look back to the post-war era, when Korean and German architecture was closely related. Both countries were confronted with extensive destruction of their cities. Thus, the entire infrastructure had to be rebuilt. It was necessary to wipe the slate clean.
German development
After the Second World War, German architecture was influenced firstly by a certain need to co-exist with the widespread eclecticism of the end of the nineteenth century and the remnants of much older city centres. Behind it was the desire to keep as much of the architectural styles of the past as possible and to merge it with a new era. And secondly, the Bauhaus style influenced the post war architecture. Bauhaus' main objective was the unification of art, craft and technology in an interdisciplinary manner. In this regard, modern flat roofs were used and generous amenities like gas, electric light, and bathrooms were installed into buildings.
The Nazis alienated and dehumanised both these architectural traditions. The monstrous dimensions of Speer's projected Volkshalle for Berlin are a striking example of gigantic scales unthinkable before. Most Nazi architecture was original neither in style nor concept. Different traditions were copied and further enlarged, multiplied and exaggerated causing the distinct lack of any detailing at a human scale.
With this historical background in mind, it will be understood that German architecture sought to be humble after the Second World War. The post war era can be characterised by a swift return to human dimensions. Eclecticism with its too many decorative elements was avoided and the Bauhaus traditions were modified in order to become more reticent. A great number of the buildings in the style of the 1950s are being re-discovered today and they are loved for their subtleness in modern simplicity.
Apart from historical reasons, which rejected the Nazis' gigantic outlook, a lack of resources in post-war Germany favoured an architecture that was about to be functional and adequate for daily human needs. Accordingly, the primary objective of post-war architecture was an economically effective functionalism. Already existing techniques, which were integrated in the buildings of the Bauhaus era during the Weimar Republic, like central heating systems and water supply lines could be retained and were advanced. Hence, Bauhaus was newly defined and enhanced.
In addition, efforts were put into the preservation of the remaining historical parts of our old cities and into the renovation of existing big and comfortable apartment buildings. As a consequence, a great variety of eclectic decorative elements survived in the German cityscape. Germans, after all, remain greatly attached to their old romantic city centres with their typical central squares, churches and city halls around.
Decided Modernism in Korea
Korean architecture differed in some ways because of dissimilarities in the basic structure of the fabric of buildings.
Traditional Hanoks, the precious heritage of Korea, could hardly be restored without high cost for living purposes because it was difficult to integrate new technologies, such as electricity, gas and water supply systems that fulfil the needs of a modern and fast growing society. The revival of hanoks today is all the more remarkable and deserves support. However, with the exception of historic monuments, temples and palaces, existing houses could only be maintained on a limited scale. Entirely new buildings sprout. Consequently, Korean architecture developed more autonomously from the already existing traditional way of construction and new and modern elements were used quickly. Korean architecture in the post-war era, it seems to me, was eager to catch up and to realize the spirit of modernism.
After the Korean War, mainly the grand enterprises dominated the city reconstruction in Korea. Smaller construction projects or the typical red-brick individual houses generally did not have the chance to influence Korean architecture remarkably. First and foremost, the big companies, among them the chaebols, undertook huge building projects serving the need of the people to achieve a decent living standard.
Furthermore, there are almost no retro influences and no nostalgic elements in Korean post war architecture, as they can be found in German eclectic traditions in today's post-modernism. Korean architecture even appeared to be reluctant to post-modernism and decorative elements. Instead it is embossed by a design of distinct lines and tends to a traditional liking of minimalism rather than decoration.
New Modernism
The German post-modernist architecture was imprinted by its “fit-in” character. Historic facades remained and were renovated. They were then enriched by corresponding buildings and new elements, which generated a sense of aesthetic cosiness.
Nowadays, German architecture rather seems to distance itself more from that development and an architectural trend with fresh ideas is emerging. I think that this new development can be explained by three observations:
First, German contemporary architecture remains reluctant to huge building projects. This reflects a continuing aversion to the dehumanisation during the Nazi regime. Gigantic houses quickly arise suspicions that there is too much planning and the individual gets dwarfed by an authoritarian invisible hand. Urban planning, however, providing rules for measure and harmony in the size of buildings, the shaping of squares and streets is considered to be important though many find a too bureaucratic and setting undue limits for architects.
Second, there is a strong tendency to care for harmony between the individual and the environment. In distinction to the construction of high- rise buildings, integrated housing with a main focus to energy efficiency is considered as preferable. Today, city planning pays growing attention to green the cities and to protect the environment by ecologically sustainable concepts.
Third, German architecture is marked by an ongoing strong individualism. Strong competition exists between architects and also between construction companies eager to realize new, innovative trends and therefore favouring new techniques and designs to develop their own styles. Trends may change quickly, fashions come and go. The community of architects seems to more creative than ever.
I find it difficult to say that there is a specifically German modernism. I can only find the difference in that the majority of Germans generally do not like to live in high skyscrapers and prefer lower buildings embedded in a welcoming city-landscape. We should accept that globalisation gave rise to an interaction of styles and ideas reflecting the cultural diversities and at the same time merging them all over the world. One of the striking examples of the open access to foreign trends and visions is the rebuilding of the Reichstag-Building in Berlin, centre of national legislation, home of the Bundestag, by Sir Norman Foster, a renowned British architect. European cooperation and the exchange of ideas are including architecture and design. Aesthetic and structural standards are nowadays being formed by similar housing preferences and tastes, which have always existed in Europe. It dates back to the early Greek civilisation. The time of distinct national conceptions has long been overcome. A new internationalism arises which blurs the distinctions of the past. Let us not forget: a Japanese architect designed the pyramide in front of the Louvre, an Iraqi architect will build a park in Seoul and German architects are providing new housing concepts to China.
Final Remarks
During my stay as an ambassador in Seoul, I followed the Korean process to embellish their cityscapes with great interest and sympathy. Starting with big convention centres and skyscrapers, nowadays urban culture in Korea seems to change towards a creative Metropolis. Korean cities are characterized by modern designs and I am convinced that more exciting architecture is still to come. Looking back at the post war development toward an unloaded and contentiously modern architecture, I think that Korea is in the comfortable situation to be prepared and even desires to make another important step towards modern innovative architecture.
Seoul as the World Design Capital 2010 and events such as the Gwangju Design Biennale, the Seoul Design Festival, the Seoul Design Olympiad account for a strong feeling in favour of Avantgarde in Korea. The existing cooperation between Europe and Asia is more than fascinating and enriches both sides reciprocally not only because of the common starting point regarding the post war rebuilding period of our cities, but also because of our differences still existing in urban planning. A good example for the fruitful cooperation is the design of Ms. Schemel and Ms. Stankovic for the Nam June Paik Museum in Yong-In, which looks as one of the most interesting new museum buildings in the early 21st century.
I am confident that we have the capability to promote exchange, build mutual understanding and can enrich our cultural ties also in the field of architecture and city planning.
Norbert Baas
Former German Ambassador
Dr. Norbert Baas
1946.Apr.29 | born in Hamburg, |
1968-1970 | various internships in machine factories, studying engineering and economics in Hamburgand at the Technical Universityin Berlin |
1970-1975 | studying economics at the Technical University in Berlin |
1975-1976 | Johns-Hopkins-University Bologna |
1976-1978 | research and PhD (history) at the European University Institute Florence |
1978 | entry into the Federal German Foreign Service, Bonn |
1980-1982 | Foreign Office, Department “Conference on Security and Cooperation in Europe (CSCE)” |
1982-1985 | OECD-Mission, Paris |
1985-1986 | German Embassy, Baghdad |
1987-1991 | Foreign Office, private Secretary to State Minister Möllemann and State Minister Schäfer |
1989 | Royal College of Defence Studies, London |
1991-1995 | German Embassy Moscow (political department) |
1995-1998 | Ambassador to Georgia |
1998-2001 | Foreign Office, Head of Department for Central Europe |
2001-2003 | Foreign Office, Ambassador-at-large for security policy and Co-Chairman of the German-Polish Intergovernmental Commission on Regional Cooperation |
2003-2006 | Foreign Office, Ambassador, Special Envoy and Director for Eastern Europe,Central Asiaand Caucasus |
07.2006-09.2009 | Ambassador to the Republic of Korea |