Poignantly positioned in accordance with the laws of metaphysics, Busan Times provides a window into the mind of lead architect Moon Hoon. Speaking on the divine co-ordination of art, architecture, and science, Hoon says “Architecture opens up your spectrum of knowledge from the science to the arts to philosophy...if you learn architecture, through architecture, you can learn the world.” His sketches are straight out of a graphic novel, loaded with high contrast hues, other-worldly constellations and a third eye of insight. He doesn’t deny the fantastical element of his imagination, which means his creations manifest from a place of untethered, dream-like lucidity. In Hoon’s original sketch for Busan, there are hidden messages and meaning at every edge of illustration, in the shading of sketches and the parsing of words, symbols and sentences. Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub Busan Times Moon Hoon Architects © Shin Kyungsub His design depictions are prophetic, as futuristic shapes materialise fulfilling the endless curiosity of his clients. Busan’s client works in surveillance, and enjoys the watchful inner presence embedded at the heart of his home; a soul of protection and purpose. Hoon’s projected visions help others to picture what the world would look like on a magic micro-scale; imagined in connection with concepts beyond the grasp of strictly scientific intelligence. Busan holds precision within its angles; unflawed in so far as it stands tall, towering above the surrounding land. Hoon’s original sketch shows three transformer-like characters, allied together as an architectural force of nature; a neighbourhood watch team of machines who understand their fundamentally fallible human elements; their own corruptible nature as living organisms, trying their best to take care of the life that lives inside them. Busan has been called the Owl as its eyes open wide as windows, providing reflective depth into the infinitude of time, a never ending looking back and forth that continues as long as time is understood purely as a pragmatic, social construct. The structure places the concept in a realm of surreality, bringing back the fact that time itself may be based on a set of beliefs that have the power to inspire and energise, or drain and depersonalise. For Hoon, there is no gap between an original idea and its exhaustive execution; as he squashes any imagined time zone between the two states so that his buildings can breathe in and out an endless supply of global air. His clients wishes seem to sync with his own; to subvert time and mess it up so much that hands on watches begin to tell a different story; one where there is no pre-judgement for impending events, no adverse affect on acts of divine timing, and ultimately, no ending. Text by Emily Stoker
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