- DDP - accidental wonder
DDP - accidental wonder
This "flexible sociality" is a good fit with the architectural design principle with which Zaha Hadid made the DDP, that of "parametricism," which, simply put, is the idea that a building's spaces should be not only designed with flexible uses in mind, but that the uses of the space should naturally follow the needs of the people using them. This is why the DDP building has no hard edges, no real rooms with beginnings or endings, no defined spatial limits. This is how the building allowed the street fashion scene to "take over" the Seoul Fashion Week (SFW) event that is ostensibly designed as a showcase for high fashion runway shows, their designers, buyers and the press. But within a space that has no up or down, inside or out, or even clearly defined rooms, the formerly disenfranchised paepi who were literal outsiders at the former location of SFW have become its most powerful insiders. Those at the periphery have become the main players, the main event. In combination with organizational problems with SFW and structural shifts in the fashion industry, the DDP has allowed a group of kids with little social capital to flip the entire field completely, since now the long, wide ramp that descends down from outside ground level to inside and underground and which turns SFW's high runway shows into window dressing for the true main event ― the street fashion "runway." That the DDP has turned a bunch of kids who formerly had to wait in the parking lot into the stars of the entire event is the true proof of how DDP has allowed the pre-existing flexible sociality of Seoul to become amplified by the building's parametric power into an international explosion of renown that is now the reason WWD, Vogue, The New York Times, and other media outlets such as Vice, Hypebeast, and Highsnobiety now pay close attention to Korean fashion in a way they never did before the opening of DDP in 2012 and the resultant rapid quickening and maturation of the Korean street fashion scene. The flipping of the fashion field is the proof of Zaha Hadid's notion of parametricism as a design principle, and Seoul city planners' ultimate decision to choose to construct the ultimate example of parametricism in the world.
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