Cultural Globalization Embodying Cultural Identity Through Emerging Digital Tectonics Hong Joon Yang December 2013 Submitted towards the fulfillment of the requirements for the Doctor of Architecture Degree School of Architecture University of Hawai‘I at Manoa Doctorate Project Committee Clark Llewellyn, Chairperson Byong Won Lee Ma Ry Kim Johnson Lance Walters Abstract This research focuses on the reinterpretation of Gayageum, a traditional Korean string instrument as it relates to traditional and contemporary digital design technology (e.g.: CAD/CAM). I chose Gayageum as the existing cultural symbol to focus my research on because its structural system contains elements similar to those of architecture. My hypothesis is as follows: Regardless of the complexity of the initial ‘design’ phase of Gayageum, by reducing the complexity of the Gayageum’s assembly and construction, its form, function, structure and other essential functions can be reinterpreted as a new cultural symbol organized with digital assembly logistics in relation to a specific interpretation of everyday life (i.e.: eastern Taoism) and digital tectonics, then the meaning of humans’ every day existence can be found in digital tectonics as related to the design-build of local architecture, which embodies cultural identity. I propose a possibility that merges disappearing local cultures and emerging digital cultures together through my hypothesis. The goal of my design-build experiment is to create a new cultural symbol by reinterpreting existing symbols using a digital assembly logistics to incorporate design, culture, tradition, and contemporary architecture. It is a connection between traditional identity and global digital technology. I plan to incorporate a variety of designs, cultures, traditions, and contemporary architectures by using digital assembly logistics. As a design methodology, I reinterpret Korean lifestyle including Korean paintings, Korean rice paper and even Korean sport, to guide the development of a form-finding process. Table of Contents List of Figures …………………………………………………………………………… 09 0. D.ARCH. Design Project Process …...……………………………………………. 26 1. Introduction and Historical Review: Design and Culture ………………...... 27 1.1 Reinterpretation of Gayageum ......…………………………...…... 27 1.2 The Origin of Design and its Meaning ….…………..….….………. 30 1.3 Design and Life ………………….……………………………….…..... 33 1.4 Hypothesis and Goal of Design Project ……….……...………….. 34 1.5 Research Overview ………………………………………….…….…. 36 2. Traditional Gayageum.................…………………………………………….……. 38 2.1 History of Gayageum ……………………………………………. 38 2.2 Manufacturing Process of Gayageum …………………………... 45 2.3 Structure of Gayageum ……………………………………………. 45 3. Background and Evolution of Modified Gayageum ……..………………… 53 3.1 Controversy about the Necessity of Modified Gayageum …... 53 3.1.1 Criticism of the Necessity of Modified Gayageum ..... 53 3.1.2 The Background of Modified Gayageum’s Appearance ………………………………………………………………………. 54 3.1.2.A The Background of Modified Instruments ….… 54 3.1.2.B The Background of Modified Gayageum ….… z6 3.2 Types of Modified Gayageum …………………………………… 58 3.3 Modified Gayageum and Variations in Aesthetics and Attitudes ……………………………………………………………………………….. 62 3.4 Historical Data of Traditional Gayageum and Modified Gayageum ……………………………………………………………………………...…. 63 3.5 Inquiries to Design New 12-Stringed Instrument ....………………. 65 4 Background and Evolution of Digital Design Fabrication .……………….... 67 4.1 Emergence of Digital Tectonics and Cultural Influence ……... 67 4.2 Contemporary Digital Fabrication Techniques ……………….…. 69 5 Case Studies: Examples that Created a New Tradition by Interpreting History and Tradition as a Means to Fit Modern Lifestyle …..……………………...... 76 5.1 Clothes of Wind Designed by Hanbok Designer, Young-Hee Lee ……………………………………………………………………………….. 76 6 Gayageum 3.0: Experiments of the Reinterpretation of Gayageum …..... 86 6.1 Introduction ………………………..…………………………….…….... 86 6.2 Gayageum 3.0 ………………………………………..……...………. 88 6.3 Design Methodology and Lifestyles in Korea …………..……….. 91 6.3.1 Lifestyle: Porous Boundary ….…………………………..….. 92 6.3.2 Lifestyle: Sentiment .………………………………………….. 94 6.3.2.A Taking and Throwing Away ..……………………………… 95 6.3.2.B Depiction of Strength ………………….……..…………….. 96 6.3.2.C Harmony ………………………………..…………………….. 97 6.3.2.D Large Space and Small Space …………..………………. 98 6.3.2.E Looseness and Dense ……………………………..……... 99 6.4 Concept ………………………………………………………….…... 100 6.5 Form ……………………………………………………………..………. 101 6.5.1 Perception of Modern People ………………………… 101 6.5.2 Form Design Framework …………………………………... 102 6.5.3 Form Design Process ………………………………..... 102 6.6 Structure and Pattern ……….………………………………………. 109 6.6.1 Structure and Pattern Design Framework .…..….... 109 6.6.2 Voronoi Diagrams …………………………………………… 109 6.6.3 Structure and Pattern Design Process ….……………. 112 6.6.3.A Points Selection ...…………………………….…… 112 6.6.3.B Distribution of Points ….………………………….. 113 6.6.3.C From Points to 3D Voronoi Structure ….………. 114 6.6.3.D The Pattern of Sound Holes ……………………. 116 6.7 Digital Fabrication …………………….……………………..….…... 118 6.7.1 Laser Cut Layout ..………………………………………... 118 6.7.2 Assembly Logistics ………………..…….………………...... 119 6.7.3 Surface Geometry ……………..…………………………… 123 6.8 Skin: The Layer of Spirit ………………….……………….…….…. 125 6.9 Structural Adaptation ………………..……………………...…... 129 6.10 Movable Bridges ……………………………………..……….…. 131 6.11 Sound Test: Waveform of Sound Reverberation ..……...……… 134 6.12 Gayageum 3.0 Play ………………………………………….……… 140 7 Conclusion: The Tradition, Gayageum 3.0 and the Future ……………….. 142 8 References ...................................................................................................... 144 Appendix A: Parametric Ukulele: Reinterpretation of Traditional Ukulele Using Tessellation Tectonics ……………………………………………………….......... 149 A.1 Abstraction of Nature ……...……………………………………………...... 149 A.2 Conclusion ……......…………………………………………………….......... 156 Appendix B: 3D Voronoi Cell with Structural Frames: Assembly Logistics for Structural Frames of Voronoi Cell Using Folding Tectonics ………………....... 157 B.1 Fabrication of 3D Voronoi Cell by Folding and Assembling each Structural Frame …..………………………………………………………….. 157 B.2 Conclusion ……….....…………………………………………….................... 162 Yang 9 List of Figures Images and diagrams are by the author unless noted otherwise. Figure 1.1 TV Bra for Living by Nam June Paik. Image last accessed at http://blog.naver.com/PostView.nhn?blogId=tlsdlstj6850&logNo=20 005554886 on December 10, 2013 . ...…….……………………….. 28 Figure 2.1.1 Map of Korea. Image last accessed at http://www.beforebc.de/600_fareast/Map.of.the.FarEast.html on December 09, 2012 ……………………………….……….………….. 38 Figure 2.1.2 Gomungo. Image last accessed at http://news.donga.com/Culture/Music/3/0710/20091217/24870346/ 2on December 09, 2012 ………………………….………………....... 40 Figure 2.1.3 Gayageum. Image last accessed at http://ask.nate.com/qna/view.html?n=4389718 on December 09, 2012 ….………………………………………………………………….. 40 Figure 2.1.4 Hyangpipa. Image last accessed at http://blog.daum.net/tkatjd4724/6046515 on December 09, 2012 ……………………………………………………………………………….. 40 Figure 2.1.5 Daegeum. Image last accessed at http://ratharn.netne.net/10.html on December 09, 2012 ..……………………………………………. 40 Yang 10 Figure 2.1.6 Sogeum. Image last accessed at http://kroffice.co.kr/shop/shopdetail.html?branduid=35655 on December 09, 2012 ….................................................................. 41 Figure 2.1.7 Drawings of Gayageum in Akhak kwebom, 1493, Korea. Image from Contemporary Kayagum Music in Korea: Tradition, Modernity and Identity by Hee-Sun Kim, 2008, page 53 ..……………………. 42 Figure 2.1.8 Chongak Gayageum in a genre painting, painted by Il-Sang Jeon, 18th century, Korea. Image last accessed at http://kayakum.blogspot.com/2012/01/blog-post_29.html on December 09, 2012 ….……………………………………..……….. 43 Figure 2.1.9 Chongak Gayageum in a genre painting, painted by Yun-Bok Shin, 18-19th century, Korea. Image last accessed at http://blog.ohmynews.com/js1029/269284 on December 09, 2012 ………………………………………………………………………….……. 43 Figure 2.2.1 Paulownia tree. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 ………………………………………………………..…………. 45 Figure 2.2.2 Weathered at least three years. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 …..………………………………………………………….… 46 Figure 2.2.3 Planing. Image last accessed at Yang 11 http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 …..……………………………………………………………... 46 Figure 2.2.4 Adjusts planing by checking resonance. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 ........................................................................................... 46 Figure 2.2.5 After planning. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012…………………………………………………………………….. 47 Figure 2.2.6 Scorching with an iron. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 ..……………………………………………………………….. 47 Figure 2.2.7 Boiled twisted silk. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 …..………………………………………………………….….. 47 Figure 2.2.8 Installing movable bridges. Image last accessed at http://www.youtube.com/watch?v=mku6-Lx_MFc on December 09, 2012 ..………………………………………………………………... 48 Figure 2.2.9 Connection between coils and loops of colored cords. Image last accessed