MMAL

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	<pubDate>Wed, 25 Mar 2026 05:07:06 +0000</pubDate>
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		<title>ZERO HOME</title>
				
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		<pubDate>Mon, 30 Mar 2020 03:45:03 +0000</pubDate>

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		<title>Red Vessel Musuem</title>
				
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		<pubDate>Wed, 25 Mar 2026 05:07:06 +0000</pubDate>

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Museum of Koreets , Namyangju고려인 박물관 , 남양주


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삶의 터전 위에 놓이는 박물관


A Museum within the Grounds of Family Life


건축주가 오랜 시간 가꿔 온 대지에는 삼대에 걸친 가족의 삶이 담긴 세 채의 건물이 흩어져 있었다. 이제는 노인이 된 건축주가 노모를 모시고 살기 위해 직접 지은 작은 집, 아들이 성장하여 지은 작은 찻집, 그리고 쌓아 온 지혜를 나누기 위한 작은 학교. 저마다 다른 시대와 상황 속에서, 서로 다른 목적과 구조로 지어진 건물들이었다.


Scattered across the grounds the client had tended for many years stood three buildings holding the lives of three generations: a small house he had built himself to live with his elderly mother, long before he reached old age himself; a small teahouse his son built after growing up; and a small school for sharing the wisdom he had gathered. Each was built at a different time and under different circumstances, with its own purpose and structure.


건축주는 국립국악원장을 역임하던 시절, 중앙아시아에 흩어진 고려인들을 위로하기 위해 공연을 열었다. 고려인들은 자신들의 삶이 깃든 물품과 사진, 그림을 건넸다. 이를 고이 간직해 온 건축주는 그 기억을 나누기 위해 박물관을 짓기로 했다. 그들의 삶의 흔적들이 한 가족의 시간이 쌓인 땅 위에 자리하게 되었다.


During his tenure as director of the National Gugak Center, the client organised performances to offer solace to ethnic Koreans dispersed across Central Asia. They gave him everyday objects, photographs and paintings that carried traces of their lives. Having carefully preserved these gifts, he decided to build a museum to share the memories they held. The traces of their lives would find a place on land where one family’s own history had accumulated.


박물관은 서로 다른 기억을 받아들이는 보편적 공간이면서도, 방문자에게는 특별한 장소여야 했다. 동시에 이 땅에서는 가족의 일상이 이어지고 있었다. 우리는 건물이 방문자에게 분명하게 인식되되, 그 아래에서는 가족의 삶이 이어지기를 바랐다. 전시 공간을 들어 올리고 저층부를 비워, 익숙한 길과 생활이 건물 아래를 관통하도록 했다.


The museum was to be a universal space capable of receiving different memories, yet a particular place for those who visited. Meanwhile, the family’s everyday life continued on the grounds. We wanted the building to have a clear presence for visitors while allowing family life to continue beneath it. By raising the exhibition spaces and leaving the ground level open, we allowed familiar paths and daily activities to pass through underneath.


숲속의 존재감: 담기 위한 그릇


A Presence among the Trees: A Vessel Waiting to Be Filled


고려인들의 삶이 깃든 장소들을 따라가다 보면, 그 사이를 이어 온 길이 드러난다. 우리는 기억을 담는 방과 그 방에 이르는 길을 함께 만들고자 했다. 전시를 마주하는 순간뿐 아니라 걷고 머무는 시간까지 박물관의 경험이 되기를 바랐다. 건축주가 가꿔 온 정원은 긴 여정에서 만나는 오아시스처럼 그 걸음을 받아 준다.


Following the places that hold the lives of these Korean communities reveals the paths between them. We wanted to make both rooms for their memories and paths leading to those rooms. Walking and pausing along the way would become as much a part of the museum experience as encountering the exhibits themselves. Like an oasis on a long journey, the garden the client had cultivated offers a place to pause.


붉은 외피는 수목 사이에서 건물의 윤곽을 선명하게 드러낸다. 내부에는 콘크리트의 면과 타설의 흔적이 남고, 가느다란 난간과 둥근 조명, 테이블과 의자가 놓인다. 육중한 구조 안에 일상의 사물들이 들어오면서 공간은 사람의 크기를 얻는다. 기억을 간직한 장소에 차를 마시고 대화하는 오늘의 생활이 쌓인다.


The red exterior gives the building a distinct outline among the trees. Inside, concrete surfaces retain the traces of their casting, alongside slender railings, round lights, tables and chairs. As everyday objects enter the massive structure, the space acquires a human scale. Present-day life - drinking tea and talking - accumulates in a place that holds memories.


‘붉은 질그릇’이라는 이름에는 무언가를 담고 기다리는 건축에 대한 생각이 들어 있다. 그릇의 윤곽은 분명하지만, 그 안에 담길 장면까지 정해져 있지는 않다. 건축은 오래 남을 구조와 그 사이의 여백을 마련한다.


The name “Red Earthenware Vessel” expresses an idea of architecture that holds and waits. The vessel has a clear outline, but the scenes that will unfold within it remain undetermined. Architecture provides a lasting structure and the room left between its elements.


특수성이 지지하는 보편적 공간: 다가성


Universality Supported by Specificity: Polyvalence


이 프로젝트는 고유한 성격과 위계를 유지하면서도 특정한 쓰임에 한정되지 않는 보편적 공간을 탐색한다. 서로 다른 크기와 깊이, 빛과 경계를 가진 장소들이 각자의 성격을 통해 다양한 생활을 받아들이는 것이다. 이러한 다가성은 쓰임에 맞추어 형태를 바꾸는 유연성과 구별된다. 형태는 유지되지만, 그 안에서 여러 행위와 해석이 가능하다. 공간의 특수성은 이처럼 보편성을 지지하는 조건이 된다.


This project explores a universal space that retains its particular character and hierarchy while remaining open to uses beyond any single purpose. Places of different dimensions and depths, with distinct qualities of light and enclosure, accommodate varied forms of life through their individual character. This polyvalence differs from flexibility, in which form changes to suit a use. Here, form remains, while allowing multiple activities and interpretations. Spatial specificity thus becomes a condition that supports universality.


네 개의 속 빈 기둥과 두 개의 브리지는 건물을 지탱하면서 공간 사이의 관계를 조직한다. 기둥은 계단과 작은 방을 품고, 브리지는 그 장소들을 연결하며 걷고 머무는 넓은 공간을 만든다. 전체를 지탱하는 구조와 그 안의 방들, 방들을 잇는 길은 서로 다른 층위를 이룬다. 위계는 남아 있지만, 그것이 생활의 중요도나 사용 방식을 결정하지는 않는다.


Four hollow columns and two bridges support the building while organising the relationships between its spaces. The columns contain stairs and small rooms; the bridges connect these places, creating generous spaces for walking and staying. The structure supporting the whole, the rooms within it and the paths connecting them form distinct levels of a hierarchy. This hierarchy remains, but it determines neither the relative importance of the activities nor how the spaces must be used.


벽에 둘러싸인 방은 조용히 머무는 일을, 빛과 풍경을 따라 이어지는 공간은 걷고 바라보는 일을 불러낸다. 사람은 그 성격을 읽으며 자신의 자리를 찾는다. 건축은 공간의 관계를 분명하게 세우면서도, 그 안의 생활에는 여지를 남긴다.


An enclosed room invites quiet occupation, while a space extending along light and views invites walking and looking. People read these qualities and find their own place. Architecture establishes clear relationships between spaces while leaving room for the life within them.


구조가 이루는 장소


Structure as Place


기둥은 계단과 작은 방을 품을 만큼 커지고 사람은 그 안으로 들어가 층을 오른 뒤, 다시 밖으로 나와 다리 위를 걷는다. 다리의 깊은 가장자리는 바닥을 지탱하면서 몸을 둘러싸고, 창가에 앉아 쉬는 자리가 된다. 지지하는 것과 이동하는 것, 머무는 것이 하나의 구조적 요소 안에 포개진다.


The columns grow large enough to contain stairs and small rooms. People enter them, ascend and emerge again to walk across a bridge. The deep edges of the bridge support the floor while enclosing the body and offering a place to sit by the window. Support, movement and rest come together within a single structural element.


두 브리지 사이에는 층들을 관통하는 빈 공간이 남는다. 위에서 들어온 빛은 콘크리트의 깊은 면을 따라 내려오고, 서로 다른 높이에 있는 사람들의 시선은 이 틈을 가로지른다. 아래에서는 머리 위에 걸린 바닥의 무게를 느끼고, 위에서는 가장자리에 기대어 아래의 일상을 바라본다. 층마다 나뉜 생활은 빛과 시선, 사람의 기척을 통해 이어진다.


Between the two bridges, a void extends through the levels. Light from above descends along the deep concrete surfaces, while the gazes of people at different heights cross this opening. From below, one senses the weight of the floor overhead; from above, one leans against its edge and looks down upon everyday life. Activities on separate levels are connected through light, sight and the sensed presence of others.


계단의 어둠을 지나면 창 너머로 나무가 펼쳐지고, 작은 방을 벗어나면 여러 층이 한꺼번에 보이는 내부와 만난다. 건축의 질서는 한눈에 읽히지만, 그 안의 풍경은 걸음에 따라 조금씩 드러난다. 같은 벽에 기대고 같은 틈으로 빛을 바라보는 일이 반복되는 동안, 구조로 이루어진 공간은 경험과 기억이 깃든 장소가 된다.


Beyond the darkness of the stairs, trees unfold through a window. Leaving a small room, one encounters an interior in which several levels become visible at once. The architectural order can be understood at a glance, yet the scenes within reveal themselves gradually as one walks. Through the repeated acts of leaning against the same wall and watching light through the same opening, a space formed by structure becomes a place imbued with experience and memory.


Client: Private
Project type: ArchitecturePrincipal use: Museum, CafeLocation: 

Namyangju, South Korea

Project status: BuiltProject period: 2024-2026in collaboration withFLUXYSYISESTUDIOPhotographystandingpoint

kimyongsu


aquinaslee


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		<title>House with Three Volumes</title>
				
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		<pubDate>Fri, 09 Jan 2026 16:49:14 +0000</pubDate>

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House with Three Volumes, Muan세개의 볼륨을 갖는 주택, 무안


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01&#38;nbsp;

건축주를 처음 만나 대상지가 놓인 주택지를 돌아다녔을 때의 기분은 매우 오묘했습니다. 마치 아무런 좌표점도 없는 바다 위에 독립된 섬들이 둥둥 떠 있는 느낌이었습니다. 그래서 처음으로 이 대지 위에 놓일 건축물의 태도는 매우 중요하다고 생각했습니다. 점점 마을이 되어갈 이 땅에 처음으로 놓일 이 건축물이 어떤 표정을 짓고 있느냐에 따라 이 마을의 표정이 달라질 것이라 느꼈습니다.
When we first met the client and walked around the residential area where the site was located, the feeling was rather strange. It was as if isolated islands were floating in a sea without any coordinates. From the beginning, we felt that the attitude of the first building to stand on this land would be important. As the area gradually grew into a village, we believed that the expression of this house could influence the expression of the village to come.


02 단독주택 필지들이 정렬된 마을의 일반적인 풍경은 거대한 담벼락과 넓은 마당, 그리고 모든 기능을 담아낸 하나의 덩어리로 이루어져 있습니다. 그러나 이러한 집들이 반복된다고 해서 마을이 만들어지는 것은 아닙니다. 어쩌면 수직으로 쌓인 아파트를 땅 위에 병렬적으로 펼쳐놓은 또 다른 아파트일지도 모릅니다. 그래서 우리는 하나의 닫힌 집보다 주변과 관계를 맺을 수 있는 집을 만들고자 했습니다. 길을 향해 낮은 대문을 두고, 대지의 일부를 내어 사람들이 잠시 머물 수 있는 벤치를 만들었으며, 마당의 풍경이 완전히 닫히지 않도록 작은 틈을 남겼습니다. 틈을 통해 바람이 흐르고 서로가 서로를 바라볼 수 있는 작은 마을의 풍경을 만들고자 하였습니다.


The typical landscape of a residential district made up of detached-house plots is quite clear: large boundary walls, generous yards, and self-contained volumes packed with every necessary function. Yet the repetition of such houses does not necessarily make a village. It may be little more than another form of apartment housing, with what is usually stacked vertically simply spread out horizontally across the ground.
We therefore wanted to make a house that could form relationships with its surroundings rather than remain closed within itself. We placed a low gate toward the street, gave part of the site over to a bench where people could pause, and left small openings so that the courtyard would not be completely concealed. Through these gaps, we hoped to create the landscape of a small village, where air could pass through and where one could look toward another.


03 우리는 이 집에서 ‘연결’과 ‘관계’라는 성질을 드러내고자 했습니다. 그러나 돌이켜보면, 이를 위해 필요한 것은 근사한 다리를 먼저 디자인하는 일이 아니라 다리가 연결해야 할 서로 다른 지점들을 만드는 일이었습니다. 그래서 우리는 아름다운 공간들을 수집했고, 건축주의 삶 위에서 재배열해 보았습니다. 흩어진 덩어리들은 도시의 조건, 단독주택지라는 환경, 모서리 대지의 성격, 그리고 공적 영역과 사적 영역 사이의 관계를 따라 자리를 잡았고, 그러고 나서 비로소 그것들을 잇는 다리들을 디자인할 수 있었습니다.

In this house, we wanted to reveal the qualities of “connection” and “relationship.” Looking back, however, what this required was not to design an elegant bridge first, but to design the different places that the bridge would eventually connect.&#38;nbsp;So we collected spaces we found beautiful and rearranged them around the life of the client. The dispersed volumes gradually found their positions in response to the conditions of the city, the detached-house district, the corner site, and the relationship between public and private realms. Only then could we begin to design the bridges that would connect them.


04 우리는 그렇게 가족들 각자의 방이 모인 사적인 볼륨, 가족들이 모이는 거실과 주방이 놓인 공적인 볼륨, 가족들이 개인적으로 작업을 하거나 손님을 맞이하는 독립적인 볼륨으로 세 개의 채를 구성하였습니다. 그리고 이 세 개의 채를 이어내기 위한 공간을 설계하였습니다. 전통건축에서의 마루들이 비워진 듯 살며시 기능하며 다양한 방들을 이어내듯, 우리는 복도와 복도에 연결된 다양한 전이 공간들을 통해 개인의 방들을 연결하며 다양한 삶의 모습을 그려낼 수 있도록 섬세하게 조정하였습니다. 때로는 너비를, 때로는 높이를 변화시키며 이 전이 공간들은 방의 일부가 되었다가 거실의 일부가 되기도 하며 마당으로 확장되기도 합니다.


We arranged the house as three separate volumes: a private volume containing the individual bedrooms, a shared volume containing the living room and kitchen, and an independent volume for personal work or receiving guests. We then designed the spaces that would connect these three buildings.&#38;nbsp;Much like the maru of traditional Korean architecture, which seems almost empty yet quietly connects different rooms, the corridors and transitional spaces of this house were carefully adjusted to connect individual rooms while allowing different scenes of everyday life to emerge. By changing their width and height, these in-between spaces sometimes become part of a room, sometimes part of the living space, and at other times extend outward into the courtyard.


05 이어진 공간을 통해 가족들이 모이듯, 각각의 볼륨들은 처마를 중정으로 모으고 있습니다. 처마에서 흘러내린 빗물은 중정의 작은 텃밭 마당으로 모여 새로운 생명을 싹트게 합니다. 이처럼 우리는 이어내고 모이는 것의 소중한 가치를 계절의 변화와 시간 가운데 다시금 심고자 하였습니다. 그리고 마당에는 독립적인 볼륨 하나가 우뚝 서 있습니다. 이 덩어리는 가족들의 삶을 길게 이어내는 복도의 유리를 통해 어느 곳에서도 보입니다. 독립되었지만 어느 곳에서도 인식되는 공간은 건축주와의 대화에서 매우 중요했습니다. 그것은 아이들이 독립하여 세상으로 나갔을 때 가족을 떠올리며 느낄 수 있는 매우 소중한 감각이기 때문입니다. 그렇게 이 공간을 함께 설계한 건축주는 아내로서, 어머니로서 가족을 잇고 싶어하셨습니다.

Just as the family gathers through the connected spaces, the eaves of the separate volumes gather toward the central courtyard. Rainwater running from the eaves is collected in the small garden at its centre, where it helps new life to grow. In this way, we wanted to plant the value of connecting and gathering once again within the changing seasons and the passage of time.
And in the courtyard stands one independent volume on its own. Through the glass of the long corridor that connects the life of the family, this volume remains visible from throughout the house. The idea of a place that is independent yet always perceptible was very important in our conversations with the client. It seemed to hold a precious sensation that the children might one day carry with them when they leave the family and step into the world on their own. The client with whom we designed this house wished, as a wife and as a mother, to keep her family connected.


Client: PrivateProject type: ArchitecturePrincipal use: HouseLocation: Muan, South KoreaProject status: BuiltProject period: 2025-2026

in collaboration with
Jeong-geol Lee


Photography kimyongsuaquinaslee


</description>
		
	</item>
		
		
	<item>
		<title>Checkered Cottage</title>
				
		<link>https://mmal.kr/Checkered-Cottage</link>

		<pubDate>Mon, 28 Oct 2024 04:39:08 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/Checkered-Cottage</guid>

		<description>
	

Checkered Cottage , Gwangju바둑무늬 별장, 광주


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&#60;img width="1362" height="1668" width_o="1362" height_o="1668" data-src="https://freight.cargo.site/t/original/i/0ca4fce896905ad1c831682eb438370df44968c991e6868d325aafaf1300c6e8/KakaoTalk_20241030_231522848.jpg" data-mid="220584134" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/0ca4fce896905ad1c831682eb438370df44968c991e6868d325aafaf1300c6e8/KakaoTalk_20241030_231522848.jpg" /&#62;


위계가 소거된 입면, 그 위에 새겨진 관계의 질서

A Facade Stripped of Hierarchy, Inscribed with an Order of Relationships


현대 건축의 입면에서 과거의 구조적 위계는 더 이상 유효하지 않다. 두꺼운 단열재와 마감재 뒤로 구조체는 숨어버렸고, 내부와 외부의 관계를 읽어낼 수 있는 단서는 오직 '개구부'뿐이다. 우리가 건물의 스케일이나 용도를 짐작할 수 있는 것은 오직 창문의 크기가 주는 익숙한 비례감 덕분이다. 구조가 침묵하는 시대에 비로소 입면은 관계를 서술하는 캔버스가 된다.


On the facades of contemporary architecture, the structural hierarchies of the past are no longer legible. Structure has disappeared behind thick layers of insulation and finish, leaving the opening as the only clue through which the relationship between inside and outside may be read. We infer the scale and use of a building largely through the familiar proportions of its windows. In an age when structure has fallen silent, the facade becomes a canvas upon which relationships are inscribed.

     
오프닝의 스케일에서 증식된 추상 패턴

An Abstract Pattern Grown from the Scale of an Opening


유일하게 내부의 관계를 드러내는 창문의 크기는 입면을 조직하는 기준 모듈이 되어, 전체 외피에 거대한 바둑판 패턴을 생성한다. 흥미로운 점은 이 패턴의 생성 원리가 앞마당 텃밭이 땅에 새겨지는 방식과 닮아 있다는 것이다. 우연히 얻어온 씨앗의 개수가 텃밭의 구획을 결정하듯, 창문의 필요에 의해 결정된 패턴은 대지의 서사와 무관한 듯한 피상적 태도로 건물을 덮는다. 그러나 역설적이게도, 땅의 논리와 무관하게 시작된 이 우연한 패턴은 건물이 땅 위에 존재하는 방식을 규정하며, 마침내 그 장소의 새로운 정체성으로 치환된다.


The window—the sole element that reveals something of the life within—provides the scale from which the facade is organised. Its dimensions become a module, proliferating across the entire envelope to form a vast checkered pattern. Curiously, the way this pattern comes into being resembles the way the vegetable garden in the front yard is inscribed upon the ground. Just as a chance handful of seeds may determine the first divisions of a garden, the pattern born from the necessity of the windows spreads across the building with an almost superficial indifference, seemingly detached from any deeper narrative of the land. And yet, paradoxically, this arbitrary pattern—begun without reference to the logic of the ground—comes to determine how the building stands upon it. What first appeared incidental eventually takes root, becoming a new identity for the place.

&#38;nbsp;
&#38;nbsp;

효율적 재료를 통한 관계 입히기: 기쁨의 연기

Clothing Relationships in an Efficient Material: Performing Joy


건축은 필연적으로 산업에 의존한다. 산업은 구축의 논리를 다루는 과정이기에, 현대 건축의 태생은 필연적으로 이 거대한 흐름에 의존적이다. 의존은 단순한 도구의 사용을 넘어 과정에 대한 '신뢰'를 기반으로 한다. 우리는 효율성만을 위해 태어난 이 산업재(스타코)들이 자신의 존재 방식을 드러낼 수밖에 없음을 인정해야 한다. 그렇다면 우리는 이 빈약한 재료의 탄생을 비참해할 것인가, 아니면 즐거워할 것인가? "너는 피투성이라도 살라(Ezekiel 16:6)"는 성경의 말씀처럼, "벽지가 종이임을 부끄러워 말라" 는 아돌프 로스의 선언처럼, 이 효율적 재료는 자신의 얇음을 부끄러워하는 대신 패턴이라는 옷을 입고 '기쁨'을 연기한다. 그것은 거짓된 위장이 아니라, 가장 가벼운 방식으로 삶을 긍정하는 건축적 유희다.


Architecture is inevitably dependent upon industry. Industry governs the processes and logic through which things are made; contemporary architecture is therefore born into dependence upon this immense current. Such dependence extends beyond the mere use of tools. It requires trust in the process itself. We must acknowledge that industrial materials such as stucco—materials born primarily out of efficiency—cannot help but reveal the conditions of their existence. Should we lament the meagreness of such a material, or might we instead rejoice in it?

As in the biblical command, “Live, even in your blood” (Ezekiel 16:6), and in Adolf Loos’s insistence that wallpaper need not be ashamed of being paper, this efficient material refuses to be ashamed of its thinness. Instead, it puts on the pattern like a garment and performs joy. This is not a deceitful disguise. It is an architectural playfulness that affirms life through the lightest means available.


숨겨진 사치로서의 보이드, 그리고 이면의 정직함

The Void as Hidden Luxury, and the Honesty of the Other Side


장식적 입면 뒤로는 거대한 보이드가 있다. 빽빽하게 채워진 기능이 미덕인 농가에서, 비워냄으로써 채워지는 이 공간은 집이 부릴 수 있는 유일하고도 가장 큰 사치다. 입면의 패턴은 마치 이 내부의 사치를 즐거워하듯 외피 위에서 춤을 추며 짜여진다. 그러나 그 유희적인 표피가 건물의 이면으로 돌아가는 순간, 춤추듯 얽혔던 두 가지 색채는 무심한 듯 덩어리로서의 방들의 볼륨에 맞춰 차분히 자리를 잡는다. 앞에서는 환희를 연기하고, 뒤에서는 묵묵히 기능을 수행하는 것. 이것이 이 얇은 피막이 건물의 안팎을 대하는 이중적인 태도다.


Behind the ornamental facade lies an immense void. In a farmhouse, where the dense packing of function is ordinarily considered a virtue, this space—filled precisely through its emptiness—is the house’s single greatest luxury.

The pattern woven across the facade appears to dance upon the surface, as though rejoicing in the luxury concealed within. Yet the moment this playful skin turns the corner and reaches the other side of the building, the two colours that once danced together grow quiet. There, they settle into place according to the volumes of the rooms, which stand as calm and indifferent masses. 
At the front, the skin performs delight. At the back, it silently carries out its work. This is the double attitude through which the thin membrane addresses the inside and outside of the building.

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질서를 깨뜨리는 뻐꾸기 창: 시선의 돌출

The Cuckoo Window That Breaks the Order: The Gaze Projected Outward


텃밭을 마주하는 입면에는 완벽한 바둑판의 기하학적 질서를 과감하게 깨뜨리는 '뻐꾸기 창'이 있다. 그것은 내부의 거대한 보이드를 뚫고 나온 2층의 작은 방의 외화이다. 이 방은 텃밭 주인의 방으로, 그는 건축물의 입면 밖으로 무심한 듯 튀어나온 이 창을 통해 텃밭을 조망하기 원했다. 우리는 그 요구에 의존하여 기꺼이 자신이 만든 질서를 흐트러뜨리기로 하였다. 패턴을 찢고 툭 튀어나온 이 창을 통해, 건축은 추상적인 '오브제'에서 구체적인 삶을 담는 '그릇'으로 회귀한다.


On the facade facing the vegetable garden, a cuckoo window boldly disrupts the perfect geometry of the checkerboard. It is the outward projection of a small room on the upper floor, piercing through the immense void within. The room belongs to the keeper of the garden, who wished to look out over the ground he tends through a window projecting, almost nonchalantly, beyond the building’s facade. Dependent upon this desire, we willingly allowed the order we had created to be disturbed. Tearing through the pattern and thrusting itself outward, the window returns the architecture from an abstract object to a vessel for concrete life.

Client: PrivateProject type: ArchitecturePrincipal use: HouseLocation: Gwangju, South KoreaProject status: 

Built


Project period: 2024-2025


in collaboration with 
studio531B


Photography

standingpoint

aquinaslee


</description>
		
	</item>
		
		
	<item>
		<title>Photographer's Atelier</title>
				
		<link>https://mmal.kr/Photographer-s-Atelier</link>

		<pubDate>Sun, 14 Mar 2021 14:56:06 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/Photographer-s-Atelier</guid>

		<description>
	

Photographer's House, Hadong사진가의 집 , 하동


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대지 주변에 흐르는 천 일대에는 오래된 건축물이 많이 남아 있었다. 지금은 상당수가 리모델링되었지만, 그렇지 않은 건물들은 하나같이 옥상에 얇은 지붕을 얹은 모습을 하고 있었다. 옥상방수를 해결하지 못한 채 보수비용을 계속 치르느니 차라리 물을 흘려보내는 쪽을 택한 디자인이었다. 저층부의 구조와 재료가 무엇이든 그 위에 이질적으로 올라탄 지붕은 낯설기보다 아름다웠고, 우리는 이를 이 마을이 스스로 찾아낸 해법으로 읽었다. 산업 매뉴얼이 끝나는 곳에서는 새로운 적응이 시작되었다.


Along the stream near the site, many old warehouse buildings still remained. Although a considerable number had since been renovated, those left untouched almost invariably carried a thin roof added above the original rooftop. Rather than continuing to pay for repairs without ever fully resolving the problem of waterproofing, the buildings had simply chosen to let the water run off. Regardless of the structure or material of the lower volume, these roofs sat on top with an apparent foreignness. Yet rather than seeming awkward, we found them strangely beautiful, and came to read them as a solution the village had discovered for itself. Where the industrial manual ended, a new form of adaptation began.


추상화된 일상의 풍경 뒤에는 엄격한 시스템과 그로부터 이탈한 변이 사이의 느슨한 영역이 숨어 있다. 이러한 현상을 향한 관찰은 효율성과 엄격함을 부여받은 건축의 시스템이 변이적 오류들을 어떻게 품어내는지, 그리고 그것들을 품어내는 과정에서 어떤 새로운 가능성이 발견되는지를 보여줄 수 있다. 우리는 주변의 혼란을 단순히 복제해 덧대기보다 체계화된 새로운 언어로 번역해야 한다. 이 과정을 통해 우리에게 익숙한 일상의 공간적 풍경은 새로운 기능을 부여받고, 삶의 새로운 가능성을 열어낸다.


Behind the abstracted landscape of everyday life lies a loose territory between rigid systems and the variations that depart from them. Observing such conditions can reveal how architectural systems, defined by efficiency and precision, might accommodate anomalous variations, and what new possibilities may emerge in the process of absorbing them. Rather than simply reproducing or adding to the disorder around us, we believe it should be translated into a newly structured architectural language. Through this process, the familiar spatial landscapes of everyday life can be given new functions and open up new possibilities for living.


이 프로젝트의 건축주는 사진작가이다. 그는 자신에게 영감을 주는 빛을 다양하게 받아들일 수 있는 작은 작업실을 원했다. 따라서 건물은 외부의 빛을 거의 차단한 지하, 풍경을 받아들이는 개구부를 가진 1층, 사방으로 빛을 받아들이는 2층으로 계획되었다. 그리고 우리는 2층에 빛을 받아들이는 방식을 만들기 위해 이 마을에 남겨진 덧대어진 지붕을 새롭게 가져오기로 하였다. 그렇게 육중한 콘크리트 매스와 지붕을 분리함으로써 수평적인 '틈'을 만들었다. 지붕은 가벼운 철골에 지지되어 떠 있고, 상층부는 마치 옥상과 같은 개방감을 가진다.


The client of this project is a photographer. He wanted a small studio capable of receiving light in different ways, allowing him to encounter the kinds of light that inspire his work. The building was therefore organised as three distinct conditions: a basement almost entirely shielded from external light, a ground floor with openings that frame the surrounding landscape, and an upper floor that receives light from all directions.&#38;nbsp;To create this condition on the upper floor, we chose to reinterpret the added roofs found throughout the village. By separating the heavy concrete mass from the roof above, we created a horizontal ‘gap’ between the two. The roof is supported by a lightweight steel structure and appears to float above the concrete volume, while the upper floor takes on the openness of a rooftop.


이 수평적 틈은 서로 다른 두 시스템이 만나는 접합부이자, 그 둘 사이에 남겨진 중요한 여지적 공백이다. 이를 더욱 분명하게 드러내기 위해 콘크리트 구조는 지붕의 그리드가 시작되기 전에 자신의 질서를 멈춘다. 두 구조 사이에는 어느 쪽에도 완전히 속하지 않는 영역이 남는다. 이 영역에서 2층은 마을의 옥상과 같은 인상을 갖게 되며, 그 경계를 따라 놓인 철제 난간은 마을의 옥상에서 흔히 볼 수 있던 차가운 난간의 기억을 다시 불러온다. 난간 아래로는 1층의 풍경이 내려다보이고, 들린 지붕의 틈으로는 외부의 풍경이 스며든다. 그렇게 일상의 풍경과 새로운 공간은 느슨하게 접속된다.
 

This horizontal gap is both the joint between two different systems and an important marginal void left between them. To make this condition more explicit, the concrete structure deliberately comes to an end before the structural grid of the roof begins. Between the two systems remains a territory that belongs fully to neither.&#38;nbsp;Within this in-between space, the upper floor begins to take on the character of the village rooftops. Along its edge, a cold steel balustrade recalls the railings commonly found on those roofs. Beyond the railing, the ground floor can be seen below, while through the lifted edge of the roof, the landscape outside enters the space. In this way, the everyday landscape and a new spatial condition are loosely joined.


새롭게 정제된 건축 어휘들이 만들어내는 느슨한 시스템은 추상적인 가능성에 머무르지 않고 실제 건축주의 요구와 관계를 맺는다. 콘크리트 매스와 지붕 사이에 만들어진 수평적 틈은 일반적인 '집'의 공간에서는 마주하기 어려운 외부의 빛을 받아들이는 장치로 작동한다. 이 틈을 통해 들어온 빛은 보이드 깊숙이 관입하며 콘크리트의 거친 물성과 대비를 이룬다. 두께를 가진 콘크리트 벽의 개구부를 통해 들어오는 빛과 구조와 구조 사이의 텍토닉한 틈을 통해 들어오는 빛은 서로 다른 특성을 지니며, 시간에 따라 공간을 다채롭게 변화시킨다. 이는 다양한 빛을 받아들이고 싶다는 작가의 바람에 대한 건축적 응답이다.


The loose system formed by these newly refined architectural elements does not remain an abstract possibility; it also responds directly to the client’s needs. The horizontal gap between the concrete mass and the roof becomes a device for admitting a kind of external light rarely encountered within the conventional space of a house. Light entering through this gap penetrates deep into the void, contrasting with the rough materiality of the concrete.&#38;nbsp;Light entering through deep openings in the thick concrete walls and light arriving through the tectonic gap between one structure and another possess distinctly different qualities. Together, they transform the space continuously over the course of the day. This became an architectural response to the photographer’s desire to encounter light in many different forms.


Client: Private
Project type: ArchitecturePrincipal use: HouseLocation: 

Hadong, South KoreaProject status: in progressProject period: 2023-Photography

Joel Moritz

aquinaslee


</description>
		
	</item>
		
		
	<item>
		<title>A House Dreaming a River </title>
				
		<link>https://mmal.kr/A-House-Dreaming-a-River</link>

		<pubDate>Mon, 28 Feb 2022 15:21:19 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/A-House-Dreaming-a-River</guid>

		<description>
	A House Dreaming a River, Jesongseon
강을 그리는 집, 정선

	
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일상의 해체: 마을 속의 마을


Deconstruction of Daily Life: A Village within a Village


이 프로젝트는 농촌의 집들이 왜 단일한 볼륨 안에 필요한 모든 프로그램을 담기보다, 그것들을 흩어뜨리는 방식을 선택해왔을까라는 질문에서 시작했다. 이를 계획의 부재로 보는 다소 부정적인 판단도 가능하지만, 지역의 삶을 관찰하다 보면 이웃과 공유하는 삶을 담아내기 위해 대안적 공간이 필요했던 순간들이 있었다는 생각이 든다. 우리는 이 대안적 공간의 가능성을 재현하기 위해 집을 풍경으로 해체했다. 거대하고 단일한 볼륨을 설계하는 대신, 기존 마을의 결을 따라 집을 여러 볼륨의 군집으로 나누었다. 그렇게 우리는 경계를 허물고, 시골의 풍경이 생활 공간의 틈새로 흐르는 작은 마을을 만들고자 하였다.

This project began with a question: why have rural houses often chosen to scatter the necessary programs of domestic life, rather than containing them within a single volume? One might interpret this as a lack of planning. Yet, by observing the life of the region, we came to think that there must have been moments when alternative spaces were needed in order to hold a life shared with neighbours. 
To reproduce the possibility of these alternative spaces, we deconstructed the house into a landscape. Instead of designing one large, singular volume, the house was divided into a cluster of smaller volumes following the grain of the existing village. In doing so, we sought to loosen boundaries and create a small village in which the rural landscape flows through the gaps between living spaces.

기획된 결핍과 의존적 공간이 만드는 가능성: 다양성의 공존


Curated Deficiency and Dependent Space: The Coexistence of Diversity


이웃을 포용하기 위한 대안적 공간이 공공성을 띠기 위해서는 매끈한 기능들을 삭제하고, 의도적으로 불편함을 설계해야 했다. 특히 하나의 집에 필요한 필수 기능들을 서로 다른 볼륨으로 분리함으로써, 각 볼륨과 외부 환경에 대한 의존성을 만들고자 했다. 기존 주거에서 가장 공공성이 강한 주방과 가장 사적인 목욕 공간을 과장된 볼륨으로 분리함으로써, 북적이던 주방은 홀로 남은 고립의 공간이 되기도 하고, 가장 사적인 욕실은 함께 발을 담그는 환대의 공간이 되기도 하는 새로운 가능성을 제안하고자 하였다.


For an alternative space capable of embracing neighbours to gain a certain public character, seamless functions had to be removed, and discomfort had to be intentionally designed. In particular, by separating the essential functions of a house into different volumes, we sought to create a dependency between each volume and the external environment. By separating and exaggerating the kitchen, conventionally the most public space of the house, and the bathroom, conventionally the most private, the project proposes new possibilities. The once-bustling kitchen may become a space of solitude, while the most private bathroom may become a space of hospitality where people gather and soak their feet together.


환대적 장치: 덧대어진 풍경


Devices of Hospitality: Added Landscapes


우리는 농촌 사회에 존재하는 다양한 삶의 모습을 담아내기 위해, 필요가 생길 때마다 덧대어져 온 지붕과 같은 여러 환대적 장치들을 설계하였다. 지역에서 흔히 보이는 골강판과 같은 재료는 마을에 존재하는 다양한 이웃과의 관계를 담아내는 공간이 낯설지 않게 받아들여지도록 하는 데 중요한 역할을 한다.


To hold the diverse forms of life found in rural society, we designed various devices of hospitality, such as roofs that seem to have been added whenever a need arose. Materials commonly found in the region, such as corrugated metal sheets, play an important role in allowing spaces that receive relationships with different neighbours to feel familiar rather than foreign.


과장된 구조의 변주: 안과 밖의 모호함


Variations of Exaggerated Structure: The Ambiguity of Inside and Outside


과거 가장 사적인 공간으로 여겨져 온 욕실을 과장된 하나의 볼륨으로 배치함으로써, 우리는 이 공간이 마을의 작은 욕장처럼 쓰이기를 바랐다. 비가 오면 흐르는 작은 개울 위에 놓이며 생겨나는 출입 계단과, 실내로 진입하며 감각되는 높은 층고는 내밀한 안식처에 대한 익숙한 감각을 낯설게 만든다. 또한 물을 담아내는 무거운 콘크리트 구조 위에 지역에 잘 어울리는 경량 철골 프레임을 더하는 구조적 변주를 통해, 작은 내부로 들어오는 변화하는 빛은 공간을 더욱 신비롭게 만들고, 내밀한 공공성이라는 새로운 가능성을 제시한다.


By placing the bathroom, once understood as one of the most private spaces, within an exaggerated independent volume, we hoped it could be used like a small bathhouse for the village. The entrance stair, formed as the volume is placed above a small creek that flows when it rains, and the high ceiling felt upon entering the interior, make the familiar sense of an intimate sanctuary feel strange. Furthermore, by adding a lightweight steel frame suited to the local context above the heavy concrete structure that holds water, the project creates a structural variation. The changing light entering the small interior makes the space more mysterious and proposes a new possibility of intimate publicness.


&#38;nbsp;


여지적 공간의 풍경: 깃듦


Landscape of Margins: Dwelling


이 프로젝트는 형태 그 자체보다 볼륨과 볼륨 사이의 공간들, 즉 벽 사이, 덧대어진 지붕 아래, 마당을 가로지르는 작은 물길 등이 더 중요해지는 프로젝트이다. 이 프로젝트에서 발견되는 미묘한 틈들은 빠른 기능과 효율로만 구성된 삶에서 벗어나, 다른 속도의 풍경을 품어내기 위해 느슨하게 남겨진 공간이다. 시스템의 기능에서 빗겨난 이 공간은 다양한 생물들에게 생명줄이 될 것이며, 동시에 우리에게도 목적 지향적인 프로그램으로 채워진 공간이 아니라 과정과 쉼을 사유할 수 있는 치유적 공간으로 기능하기를 바란다.


This project is less concerned with form itself than with the spaces between volumes: the gaps between walls, the areas beneath added roofs, and the small waterway crossing the courtyard. The subtle gaps found in this project are loosely left spaces intended to hold landscapes of a different pace, beyond a life organized only by fast function and efficiency. These spaces, displaced from the functional logic of the system, may become lifelines for various living beings. At the same time, we hope they will function for us not as spaces filled with goal-oriented programs, but as healing spaces in which process and rest can be contemplated.


&#60;img width="2362" height="3340" width_o="2362" height_o="3340" data-src="https://freight.cargo.site/t/original/i/6e71a55bdc3f111f04176c853f5a30f9f7a850ff971b5a533ca873eed2365305/_-_small.png" data-mid="251913614" border="0"  src="https://freight.cargo.site/w/1000/i/6e71a55bdc3f111f04176c853f5a30f9f7a850ff971b5a533ca873eed2365305/_-_small.png" /&#62;

Client: Private
Project type: ArchitecturePrincipal use: HouseLocation: 

Jeongseon, South Korea

Project status: BuiltProject period: 2023-2025

in collaboration with 
Kwon Hyuksung 
FLUXYSSTUDIO&#38;nbsp;CHOSHINSUNGPhotography

standingpoint

aquinaslee


</description>
		
	</item>
		
		
	<item>
		<title>Coffee House</title>
				
		<link>https://mmal.kr/Coffee-House</link>

		<pubDate>Wed, 06 May 2020 00:58:34 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/Coffee-House</guid>

		<description>
	

Coffe House, Geoje Island커피 하우스, 거제도


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&#60;img width="930" height="607" width_o="930" height_o="607" data-src="https://freight.cargo.site/t/original/i/7d2febc270ac20d1ffe626c6f46f210979e0f7adfacc4fb483d6f55ce155cd78/20-24---Erechtheion.jpg" data-mid="118085134" border="0"  src="https://freight.cargo.site/w/930/i/7d2febc270ac20d1ffe626c6f46f210979e0f7adfacc4fb483d6f55ce155cd78/20-24---Erechtheion.jpg" /&#62;

By &#38;nbsp;Mariza Daouti , &#38;nbsp;Published November 27th 2020&#38;nbsp;
 (https://www.buildingonthebuilt.org/)


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조건에 의존하여 형태를 얻다


Finding Form through Dependence on Conditions


바리스타인 건축주는 원두 제조 공장과 커피숍, 바리스타 교육장, 그리고 자신의 집이 함께 있는 작은 상가주택을 짓고자 했다.


The client, a barista, wanted a small mixed-use building that would bring together a coffee roasting facility, a café, a barista training space, and a home.


서로 다른 쓰임을 담아낼 대지는 좁고 길었다. 이 태생적 조건은 건축물에 필연적인 ‘결핍’을 부여한다. 우리는 짧은 면과 긴 면의 큰 차이를 어떻게 하나의 건축물로 엮을 것인지, 그리고 좁은 폭으로 반복되는 구조의 배열을 어떻게 보완할 것인지 고민하였다.


The site intended to accommodate these different uses was narrow and long. This inherent condition imposed a necessary ‘lack’ on the building. We considered how the pronounced difference between its short and long elevations could be reconciled within a single architectural whole, and how a structural arrangement repeated along such a narrow footprint could be reinforced.


우리는 이러한 제약을 형태를 발견하는 조건으로 받아들였다. 구조를 보완하는 요소가 외부 공간을 만들고, 서로 다른 지면의 높이가 입면의 변주를 만들며, 멀리 놓인 산이 건물의 방향을 조정하도록 했다. 건물의 형태는 이 조건들에 의존하면서 구체화되었다. 우리에게 있어 상황적 의존은 건물이 성립하기 위한 전제이자, 스스로의 질서만으로는 얻을 수 없었던 공간을 만드는 방법이었다.


We accepted these constraints as conditions through which form could be discovered. Elements introduced to strengthen the structure would create outdoor spaces; differences in ground level would generate variations in the elevations; and a distant mountain would adjust the building’s orientation. Its form took shape through its dependence on these conditions. For us, dependence on circumstance was both a prerequisite for the building’s existence and a means of creating spaces that its own internal order alone could not have produced.


서로 다른 높이에서 땅을 만나다


Meeting the Ground at Different Heights


건축물이 앉을 대지는 진입로를 중심으로 매우 다양한 높낮이를 가지고 있었다. 자체의 형식적 완결성을 우선하는 건축이라면 흙을 밀어내고 평탄한 땅을 확보하여 독립된 형상을 드러냈겠지만, 이 프로젝트에서 우리는 굴곡진 대지에 몸을 맞추는 방식을 택했다.


The site varied considerably in level along the approach. An architecture prioritising its own formal completeness might have pushed the earth aside, secured a level platform, and asserted its independent form. Here, we chose to fit the building to the undulating ground.


복잡한 지형과 여러 제단을 엮어내기 위해 다양한 바닥 레벨을 수용했던 그리스의 에렉테이온 신전처럼, 건축물은 대지의 단차를 입면의 요소로 흡수하며 땅에 기댄다. 우리는 건물이 땅을 지배하며 꼿꼿하게 서 있는 것이 아니라, 지형이 가진 힘의 논리에 의지하며 도시 안에서 공간적 오리엔테이션을 형성하길 바랐다. 즉, 건물 전체를 대표하는 하나의 정면에 집중하기보다, 서로 다른 높이에서 건물을 만나는 장면들을 만들고자 하였다. 그리고 그 접점들이 내부의 쓰임을 외부로 드러내면서, 사람들이 도시 안에서 자신의 위치와 향할 곳을 가늠하게 하는 단서가 되길 바랐다.


Like the Erechtheion in Greece, which accommodated different floor levels to bring together complex terrain and multiple altars, the building absorbs changes in ground level into its elevations and leans upon the land. We wanted it to draw on the logic of the terrain and offer spatial orientation within the city, rather than stand upright as an assertion of dominion over the ground. Instead of concentrating on a single principal façade, we sought to create encounters with the building at different heights. These points of contact would reveal the uses within, helping people locate themselves and understand where they might go.


구조가 만드는 머무름의 자리


Structure Makes Room for Staying


좁고 긴 매스 안에서 구조의 배열이 일직선으로 반복될 때 발생하는 가장 치명적인 약점은 횡력에 취약하다는 것이다. 그리고 우리는 이 횡력에 대응하기 위해 건축물과 대지가 만나는 접점들 중 광장으로서의 성격을 지니는 지점들을 택했다. 우리는 그 지점들의 매스를 횡력에 저항하는 선들로 잘라내고, 마치 매스의 일부를 과감히 뜯어낸 듯한 표정을 만드는 돌출된 기둥들을 배열했다. 이 기둥들은 고딕 건축의 부벽처럼 강력한 구조적 엣지를 형성한다. 이것은 조형적 유희나 장식이 아니다. 생존을 위해 대지를 짚고 버티는 구축적 필연성이며, 절박한 ‘의존’의 결과물이다.


The most critical weakness of a structural arrangement repeated in a straight line within a long, narrow volume is its vulnerability to lateral forces. To address this, we selected points of contact between the building and the site that had the character of small public squares. At these points, we cut into the volume along lines of resistance to lateral forces, arranging projecting columns that appear as though parts of the mass have been forcefully torn away. Like the buttresses of Gothic architecture, these columns form emphatic structural edges. They are neither formal play nor ornament. They arise from a tectonic necessity to brace against the ground in order to stand- a pressing dependence given form.


흥미로운 것은 이 빗겨난 기둥들이 대지와의 접점에 만들어낸 공간이다. 벽과 기둥이 떨어진 자리에는 내부에 속하면서도 외부를 향하는 여지가 생긴다. 1층에서는 카페의 문을 열고 나와 머무는 테라스가 되고, 2층과 3층에서는 각 층의 공적인 프로그램이 바깥과 관계를 맺는 가장자리가 된다. 지지하는 것과 머무는 장소를 만드는 일이 하나의 건축적 행위 안에 겹쳐진 것이다.


What interests us is the space these displaced columns create where the building meets the ground. Where wall and column separate, a margin emerges that belongs to the interior yet reaches outwards. On the ground floor, it becomes a terrace where visitors can step out of the café and linger. On the two floors above, it forms an edge through which the more public programmes engage with the outside. Supporting the building and making a place to stay become part of the same architectural act.


 분리된 면들을 이어내는 수평띠


Horizontal Bands That Bind Separate Faces


구조적 변주로 깊어진 입면에는 서로 다른 부분들을 연결하는 질서가 필요했다. 특히 좁고 긴 대지로 인해 의도치 않게 생겨난 좁은 면과 긴 면을, 입면 전체를 감싸는 수평의 띠 패턴을 통해 그 이질성을 넘어 하나의 건축물로 통합하고자 하였다. 여기서 스타코로 마감된 이 스트라이프는 단순한 표면적 무늬로 기능하지 않는다. 그것은 얇고 긴 매스가 수평으로 버텨내는 힘의 결을 드러내며, 재료가 켜켜이 쌓여 중력에 눌리는 듯한 무게감을 불러일으킨다. 생존을 위해 밖으로 돌출된 버트리스 기둥이 수직적인 힘과 긴장감을 보여준다면, 벽면을 따라 흐르는 스트라이프 패턴은 묵직하고 차분하게 대지를 향해 가라앉으며 기둥과 강렬한 구축적 대비를 이룬다.


The elevations, deepened by structural variation, needed an order capable of connecting their different parts. A pattern of horizontal stripes wraps around the building, bringing its short and long faces into a single whole despite the pronounced differences arising from the narrow site. These stripes in the stucco finish do more than decorate the surface. They articulate the grain of a slender volume holding its length and evoke the weight of material stacked in layers, as though compressed by gravity. While the projecting buttress columns convey vertical force and tension, the stripes running along the walls seem to settle heavily and quietly towards the ground, establishing a strong tectonic contrast with the columns.


또한 축이 틀어지는 코어에서는 이 반복을 멈추고 하나의 색채로 마감했다. 수평으로 이어지는 몸체와 수직성이 강한 코어가 각자의 성격을 드러내면서, 건물은 통일성과 긴장감을 함께 갖게 된다.


This repetition stops at the core, where the building’s axis turns. Here, the elevation is finished in a single colour. The horizontal body and the strongly vertical core each retain their own character, allowing coherence and tension to coexist.


산을 향한 변곡, 내부로 이어지는 깊이


Turning towards the Mountain, Deepening the Interior


건물 북쪽의 세 봉우리는 건축주에게 중요한 풍경이었다. 풍수지리를 깊이 공부해 온 그는 각 층의 진입 공간에서 봉우리들을 순차적으로 바라볼 수 있기를 바랐다. 우리는 수직 코어를 나와 다음 공간으로 들어가는 전이 영역에서 건물의 축을 틀었다. 외부의 풍경에 대응한 이 변화는 내부에서 새로운 공간적 관계를 만든다.


The three peaks to the north held particular significance for the client. Having studied pungsu, the Korean tradition of geomancy, in depth, he wanted the entrance spaces on successive floors to face the peaks in sequence. We turned the building’s axis at the transition between the vertical circulation core and the spaces beyond. This response to the distant landscape establishes a new set of relationships within.


좁고 긴 매스가 축이 틀어진 코어 구조와 충돌하는 지점에서는 마치 좁은 협곡을 지나는 듯한 즉물적인 공간감이 생겨난다. 틀어진 각에 의해 발생한 이 팽팽한 긴장감은 건물의 최상부인 4층 주택에 이르러, 다락을 튼 복층 단면들과 교차하며 폭발한다. 홀로 고고하게 서기를 포기하고 땅과 외력에 철저히 의존함으로써, 이 건축은 비로소 인간의 삶을 담아내는 가장 풍요롭고 정직한 배경으로 완성된다.


Where the long, narrow volume collides with the angled core, the interior acquires the palpable spatial intensity of a narrow gorge. In the home on the uppermost level—the fourth level above ground—the tautness generated by this angular shift intersects with double-height spaces opened up to the attic, releasing its full force. By relinquishing the ambition to stand in proud isolation and depending instead on the ground and the forces acting upon it, the building finds its fulfilment as a rich and honest setting for human life.


Client: Private

Project type: ArchitecturePrincipal use: 

Cafe, Office and House

Location: 

Geojedo, South KoreaProject status: BuiltProject period: 2020-2022in collaboration with

ROH architects


 Seungyoung OH

Photography

Joel Moritz

aquinaslee


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	<item>
		<title>House of Relation</title>
				
		<link>https://mmal.kr/House-of-Relation</link>

		<pubDate>Wed, 15 May 2019 15:55:56 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/House-of-Relation</guid>

		<description>
	

House of Relation, Hongcheon관계의집, 홍천


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단순함 속에 엮어낸 다층적 삶의 궤적


The Trajectory of a Multi-layered Life Woven into Simplicity


개발자인 건축주가 꿈꾸던 이상적인 삶의 형태는 평면 위에서 매우 간결하게 나타났다. 그가 처음 제안한 레이아웃은 큰 거실 하나와 그 주변에 바짝 달라붙은 아주 작은 실들이 전부였으며, 그 사이를 자연스럽게 이어주는 완충이나 서비스 공간은 전혀 존재하지 않았다. 우리는 이 단선적인 평면을 실제적이고 풍요로운 건축으로 구현하기 위해, 오히려 외부의 다양한 상황과 맥락을 내부로 섬세하게 끌어들이는 방식을 택했다. 거실이라는 중심 공간 안에서 모든 공간적 요소들이 날실과 씨실처럼 정교하게 얽히도록 하는 '직조적 설계'를 제안했다. 외부 입면에서부터 드러나는 다양한 재료와 선들의 짜임은 이러한 건축적 의도를 시각적으로 대변하는 첫 번째 단서가 된다.


The ideal lifestyle envisioned by the client, an IT developer, appeared highly simplified on the floor plan. The initial layout he proposed consisted entirely of a large living room and very small adjacent rooms, with no buffer or service spaces connecting them. To translate this linear plan into practical and rich architecture, we chose to delicately draw various external conditions and contexts into the interior. We proposed a 'woven design,' where all spatial elements intricately interlace like warp and weft within the central space of the living room. The weave of various materials and lines visible on the exterior facade serves as the first clue visually representing this architectural intention.


경계의 재해석과 '여지'의 발견

 Reinterpretation of Boundaries and the Discovery of 'Marginal Voids'


이 프로젝트의 중요한 모티브는 대지가 위치한 마을을 걸으며 발견한 독특한 지형적, 역사적 인상에서 비롯되었다. 농촌에서 도시 지역으로 그 성격이 변모하는 과정에서 이루어진 지적조사는, 땅의 경계를 집주인들 간의 복잡한 협의의 산물로 만들어 놓았다. 그 결과 건물과 대지 경계 사이에는 불규칙하고 의도치 않은 '여지의 공간'들이 생겨났고, 주민들은 이를 각자의 방식대로 다양하게 활용하고 있었다. 우리는 이 마을이 가진 자생적 가능성과 우연성을 이 프로젝트로 적극적으로 끌어들였다. 건물의 축을 대지의 어느 한 방향에도 순응시키지 않고 의도적으로 틀어 배치함으로써, 건축물을 둘러싼 자투리 공간들이 자연스럽게 새로운 정원과 마당으로 기능하도록 유도했다.


A crucial motif for this project originated from the unique topographical and historical impressions discovered while walking through the village where the site is located. The cadastral surveys, conducted as the area transitioned from a rural to an urban character, left the property lines as a product of complex negotiations among homeowners. Consequently, irregular and unintentional 'marginal voids' emerged between the buildings and site boundaries, which the residents were actively utilizing in their own diverse ways. We actively brought this spontaneous potential and contingency of the village into the project. By intentionally twisting the building's axis rather than conforming to any single direction of the site, we induced the residual spaces surrounding the building to naturally function as new gardens and courtyards.


독립과 통합을 이루는 세 개의 볼륨

Three Volumes Achieving Independence and Integration


대지 주변에 위치한 건축물들은 그 용도가 무척 혼재되어 있었고, 땅의 레벨 또한 상당한 차이를 보이고 있었다. 이처럼 파편화되고 흩어진 주변의 공간적 성격과 물리적 단차를 어떻게 하나의 거실 안으로 끌고 들어와 하나의 유기적 공간으로 완성해 낼 것인가가 설계의 핵심 과제였다. 이를 해결하기 위해 대지 위에 각자의 고유한 기능을 담은 세 개의 독립된 볼륨을 얹고, 그 볼륨들의 끝 벽이 거대한 하나의 통합적 거실 볼륨을 지지하는 구조를 고안했다. 다양한 레벨 위에 독립적으로 놓인 세 개의 볼륨은 거주자의 다채로운 삶의 역할을 수용하는 동시에 구조적인 지지체가 된다. 또한 대지 경계와 엇갈린 방향성으로 흩어진 볼륨들은 각자의 성격에 맞춘 다양한 물성의 작은 정원들을 만들어냈다.

The buildings surrounding the site had highly mixed uses, and the topographical levels of the land also varied significantly. The core challenge of the design was how to draw these fragmented spatial characters and physical level differences into a single living room, completing it as an organic space. To resolve this, we devised a structure placing three independent volumes, each containing its own specific function, on the site, while the end walls of these volumes support a massive, integrated living room volume. The three volumes, resting independently on different levels, accommodate the various roles of the residents' lives while simultaneously acting as structural supports. Furthermore, the scattered volumes, with orientations misaligned with the site boundaries, created small gardens with various materialities tailored to the character of each volume.


산업재의 유려한 조합과 다각적 입면의 전개

Elegant Combination of Industrial Materials and Multilateral Facade Development


거리에서 바라본 '관계의 집'은 마치 작은 볼륨들이 유기적으로 층층이 쌓여 있는 듯한 실루엣을 보여준다. 외장재로는 비교적 저렴하지만 다양한 조합이 가능한 산업재들을 적극적으로 활용하여 입면의 풍요로움을 이끌어냈다. 대지가 가진 다단한 레벨과 주변의 복합적인 성격을 그대로 투영한 지붕의 단 차이, 그리고 내부 공간의 성격에 맞춰 섬세하게 조율된 개구부의 크기는 이 건축물이 단순히 정면만을 갖는 것이 아니라 4면 모두에서 다각적인 표정을 지니며 주변 환경과 소통하고 있음을 선명하게 드러낸다.


Viewed from the street, the 'House of Relation' presents an active silhouette, as if small volumes are organically stacked upon one another. For the exterior finish, we actively utilized industrial materials—which are relatively inexpensive yet offer diverse possibilities through combination—to bring richness to the facade. The variations in roof levels reflecting the site's multi-tiered topography and the complex character of the surroundings, along with the meticulously tuned sizes of the openings corresponding to the interior spaces, clearly reveal that this building does not merely have a front facade, but communicates with its surroundings through multilateral expressions on all four sides.


광장이 된 거실, 날것의 물성이 빚어내는 조각적 풍경

The Living Room as a Plaza, a Sculptural Landscape Forged by Raw Materiality


흩어져 있는 3개의 볼륨에서 문을 열고 나오면, 복층으로 수직 확장된 거실 공간을 다각도에서 경험할 수 있는 시선들이 교차한다. 이 다층적인 시선들 사이로 기둥이나 계단실 같은 건축적 엘리먼트들이 마치 조각처럼 놓이는 풍경을 만듦으로써, 거실이 단순한 주거 공간을 넘어 더 도시적인 광장의 성격을 갖도록 계획했다. 특히 각 볼륨 영역의 일부이자 거실의 복층 벽을 지지하고 있는 구조 기둥들은 그 구축적 의미를 가감 없이 드러내기 위해 의도적으로 마감을 벗겨내었다. 피복 두께를 훼손하지 않는 선에서 정교하게 진행된 콘크리트 폴리싱 작업은 콘크리트 본연의 마감을 구축적으로 드러낸다. 이 과정을 통해 완성된 거실은 마치 낱개의 기둥들로 구성된 작은 마당 같은 독특한 공간감을 만들어낸다.


Stepping out of the doors from the three scattered volumes, gazes cross, allowing one to experience the vertically expanded, double-height living room space from multiple angles. Amidst these multi-layered gazes, architectural elements such as structural columns and staircases are placed like sculptures, planning the living room to transcend a simple residential space and take on the character of an urban plaza. In particular, the finishes of the structural columns—which are part of each volume's domain and simultaneously support the double-height walls of the living room—were intentionally stripped away to unabashedly reveal their tectonic meaning. The concrete polishing work, meticulously executed to avoid compromising the cover thickness, tectonically exposes the raw finish of the concrete. The living room, completed through this process, creates a unique spatial quality, resembling a small courtyard composed of individual columns forming a forest.


Client: Private
Project type: ArchitecturePrincipal use: HouseLocation: 

Hongcheon, South KoreaProject status: BuiltProject period: 2019-2020PhotographyJoel Moritzaquinaslee


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	<item>
		<title>House for three generations</title>
				
		<link>https://mmal.kr/House-for-three-generations</link>

		<pubDate>Wed, 06 Feb 2019 11:34:40 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/House-for-three-generations</guid>

		<description>
	House for Three Generations, Hongcheon삼대가 사는 집, 홍천


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홍천에 위치한 대지는 남측으로 먼 원경의 분지를 바라보고, 동서로는 완만히 북측으로 올라가는 두개의 산자락을 가까이 마주하고 있다. 이 프로젝트에서 가장 중요한 고민은 땅과 자연스러운 관계를 맺어주는 것이었으며, 이를 위해 건물은 다양한 거리에 존재하는 풍경들을 다채롭게 실내 공간으로 끌어와 건물의 영역을 보다 넓은 곳까지 확장되도록 디자인 되었다.


The site in Hongcheon looks southward across a distant valley, while to the east and west it closely faces two gentle mountain slopes rising toward the north. One of the central concerns of the project was how the house could establish a natural relationship with the land. In response, the building was designed to draw landscapes at different distances into its interior in different ways, allowing the perceived territory of the house to extend far beyond its physical boundaries.


남측의 원경은 다이닝 공간에서 액자와 같이 담을 수 있도록 계획하였고, 거실은 동서로 열리며 두 산자락을 느낄 수 있는 공간이다. 또한 각 침실은 정사각형 창문을 통해 서측에 있는 산자락의 자작나무 숲의 풍경을 담아낸다. 그리고 집의 대부분의 공간은 T자 평면이 만들어내는 마당을 향해 열려지며, 정적인 풍경이 아닌 보다 동적인 마당이라는 또다른 형태의 외부공간을 실내에서 누릴 수 있도록 계획되었다. 마당은 적절한 높이의 담으로 외부와 단절된 듯 보이지만, 그 높이 너머에 있는 가까운 거리의 숲을 끌어온다.


The distant southern landscape is framed like a picture from the dining room, while the living room opens toward both east and west, bringing the two nearby mountain slopes into view. Each bedroom, meanwhile, frames the birch forest on the western slope through a square window. Most spaces in the house also open toward the courtyard formed by the T-shaped plan, allowing another kind of exterior space—more dynamic than the distant, static landscape—to become part of everyday life inside the house. Although the courtyard appears to be enclosed from its surroundings by walls of a carefully considered height, the nearby forest beyond them remains visible, visually drawing the landscape back into the house.


 우리는 주거 공간의 실내는 가장 작은 솔리드한 단위가 되는 요소로 인지하며, 가족 구성원 사이의 관계를 이해하고 그에 반응하여 실들을 배치하였다. 그리고 그 배치가 만들어내는 사잇공간들은 보다 사회적인 공간으로 주방, 다이닝, 거실로 계획하였다. 이 공용공간은 사적인 침실과는 달리 정적이기보다는 동적이며, 가변적인 곳이며, 가족 구성원 간은 물론 외부 방문자와도 관계를 맺는 곳이기에 부다 유기적으로 디자인되었다. 


We understood the private rooms of the house as the smallest solid units within the plan. Their positions were determined in response to the relationships between individual members of the family. The spaces that emerged between these solid rooms were then developed as more social spaces: the kitchen, dining room, and living room. Unlike the private bedrooms, these shared spaces are not static but dynamic and adaptable. As places where relationships are formed not only among family members but also with visitors from outside the household, they were designed in a more fluid and organic manner.


이 주택에서 주방은 현관의 일부가 되어 손님을 맞이하는 공간이고, 그 공간에서부터 사선으로 배치된 거실로 자연스럽게 연결된다. 이 공용공간은 시선에 따라 복도가 되기도 하고, 보다 정적인 머무를 수 있는 장소가 되기도 한다. 이는 마치 오래된 도시를 걸으며 경험하는 길과 작은 광장들 사이의 유기적인 도시공간과 같다.


In this house, the kitchen becomes part of the entrance and serves as the first place in which guests are received. From there, the space naturally leads toward the living room, which is positioned diagonally beyond it. Depending on the direction of movement and view, this shared space can become a corridor or, at another moment, a more settled place in which to stay. In this sense, it resembles the spatial experience of walking through an old city, where streets and small squares unfold organically into one another.


 형태적으로, 홍천 주택은 기본적으로 세 덩어리의 매스가 모여 한 건물을 이루고 있다. 각각의 매스는 분리된 세개의 덩어리와도 같지만, 동시에 하나로 결합된 조형적인 형태를 가지고 있다. 각각의 매스는 서로 다른 방향으로 뻗어나가는 처마를 가지고 있으며, 이는 매스의 개별성을 강조해준다. 남측으로 배치된 두 매스는 단단한 성격을 가진 채로 놓여있지만, 북측으로 뻗어나가는 침실 매스는 마당을 정의해주는 역활을 하며 보다 개방적으로 마당을 향해 열린 채로 계획되었다. 


Formally, the Hongcheon House is composed of three primary volumes that come together to form a single building. Each can be read as an individual mass, yet together they create a unified architectural figure. The three volumes extend their eaves in different directions, further emphasizing their individual identities. The two volumes positioned to the south remain relatively solid and self-contained, while the bedroom volume extending northward plays a role in defining the courtyard and is designed to open more directly toward it.


또한 남측 매스의 한쪽 측면에는 마을에서부터 이어지는 길을 마주하는 ‘작은 벽’이 세워져있다. 이 벽은 담장으로부터 물러선 채로 배치되었으며, 오브제와 같이 서있으며 측면 파사드와 같은 면에 정면성을 부여한다. 작은 담의 앞에 만들어지는 작은 외부 뜰은 마을로부터 떨어져 있지만 차후에 개발될 주변의 필지들을 위한 공공적인 공간으로 계획되었다.


Along one side of the southern volume stands a small wall facing the road that continues from the village. Set back from the main boundary wall, it stands almost as an object in its own right, giving a sense of frontality to what would otherwise be read as the side elevation of the house. The small exterior garden formed in front of this wall remains slightly detached from the village, yet it was conceived as a modest public space for the neighbouring plots that may be developed in the future.


Client: Private
Project type: ArchitecturePrincipal use: HouseLocation: 

Hongcheon, South KoreaProject status: BuiltProject period: 2018-2019in collaboration with

STUDIO JU-SIN

Photography

Joel Moritz

aquinaslee


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		<title>Cottage in mountains</title>
				
		<link>https://mmal.kr/Cottage-in-mountains</link>

		<pubDate>Wed, 06 Feb 2019 11:48:27 +0000</pubDate>

		<dc:creator>MMAL</dc:creator>

		<guid isPermaLink="true">https://mmal.kr/Cottage-in-mountains</guid>

		<description>
	

Cottage in mountains, Gapyeong산속의 별장, 가평

	
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가평에 위치한 대지는 장락산의 산세 끝자락에 나지막히 위치해있다. 동남측으로는 골짜기와 길을 따라 형성된 작은 마을이 멀리 이어져 보이고 서측으로는 산으로 오르는 산세가 시작되어 여러 종류의 나무를 바라볼 수 있으며 북측으로는 긴 텃밭이 위치하여 흥미로운 관계들을 갖고 있다. 대지에서 느껴지는 근경과 원경의 다채로운 풍경들은 장소를 매우 풍요롭게 만들고 있다. 


The site is located in Gapyeong, resting gently at the lower end of the slopes of Jangnaksan Mountain. To the southeast, a small village extends into the distance along the valley and its road. To the west, the mountain begins to rise, offering views of a variety of trees, while to the north lies a long vegetable garden, creating another distinct relationship with the site. The shifting landscapes around the site, from those close at hand to those seen from afar, give the place a remarkable richness.


과거 텃밭으로 활용되기 위해 만들어진 작은 수돗가와 몇 가지 종류의 석축 그리고 다양한 면적의 영역들은 대지를 둘러싼 여러 모습의 지형들이 일상의 삶에 맞추어 흥미롭게 적응되어 있음을 보여주고 있었다. 따라서 이 프로젝트에서 가장 중요했던 고민은 대지를 따라 변화하는 다채로운 기억의 모습들을 발견하고 건물의 각 면들이 각각의 기억들을 따라 적응하고 변화하며 대지의 풍경을 더욱 풍요롭게 만들어주는 것이었다.


A small outdoor water tap once used for tending the garden, several kinds of stone retaining walls, and patches of ground of different sizes revealed how the varied topography surrounding the site had gradually adapted itself to the routines of everyday life. The central concern of the project, therefore, was to discover these different forms of memory embedded in the changing ground, and to allow each face of the new building to adapt and respond to them, enriching the landscape rather than simply occupying it.


대지에서 발견한 첫 번째 기억은 서측의 산세와 마주하는 작은 삶의 영역이었다. 장락산의 산자락의 끝부분에 놓여있던 오래된 컨테이너는 건축주 내외가 주말에 농사를 짓기 위해 머무르던 삶의 기억들이 담겨 있었다. 대지 내에서 중심의 공간을 중심으로 마치 조각보처럼 삶에 필요한 여러 기능들이 덧붙여진 관계는 매우 흥미로웠으며 우리는 이러한 관계들이 이후에도 조금 더 기능적으로 이어질 수 있기를 바랐다. 


The first memory we encountered was a small realm of everyday life facing the western mountain slope. An old container standing at the foot of Jangnaksan held the memories of the weekends the couple had spent there while tending the land. Around a central space, various functions necessary for daily life had accumulated almost like pieces of a patchwork quilt. We found this relationship particularly compelling and hoped that, in the new house, it could continue in a more deliberate and functional form.


두 번째 기억은 텃밭 뒤로 이어진 마을의 영역이었다. 위곡리의 작은 골짜기에 위치한 이 마을은 건축주가 태어나고 자란 공간이었으며 마을 분들은 오래된 친척 혹은 친구분들이었다. 따라서 우리는 대지에 새롭게 놓일 건물이 마을의 여러 건물들과 조화로운 관계를 갖게되길 바랐다. 


The second memory lay in the village beyond the vegetable garden. Situated within the small valley of Wigok-ri, this was the village where the client had been born and raised, and many of its residents were old relatives or lifelong friends. We therefore wanted the new house to establish a quiet and harmonious relationship with the buildings already scattered across the village.


세 번째 기억은 대지 내에 놓여있던 작은 나무 마루였다. 온 가족이 둘러앉아 식사를 하는 마루의 공간은 한 가지 기능으로 계획된 공간도 아니었고 벽으로 둘러쌓인 명확한 영역을 갖는 공간도 아니었다. 그 공간은 열려있었으며 공적이었다.


The third memory was a small timber platform that had stood on the site. It was a place where the whole family would gather and eat together, yet it had never been designed for a single fixed purpose, nor was it a clearly defined room enclosed by walls. It was open, and it was public.


가장 처음으로 계획된 부분은 건물의 주인들이 사용하게 될 2층짜리 볼륨이었으며, 이 공간을 중심으로 삶의 다양한 영역들이 붙도록 설계되었다. 부부를 위한 침실과 가장 사적인 용도로 계획된 2층짜리 매스는 평면과 높이 사이의 섬세한 조정을 통해 산세와 조화를 이루는 망루와 같은 모습으로 만들어졌다. 계단을 오르면서 하늘을 바라볼 수 있는 천창은 동굴 혹은 굴뚝과도 같은 느낌을 선사하며, 2층의 방에서는 북측을 제외한 동측 서측 남측으로 각 풍경과 반응하는 적절한 크기의 창을 배치하여 마치 산 속에 있는 것 같은 개방적인 공간감을 만들었다.  

The first element to be designed was a two-storey volume for the owners, with the various realms of everyday life arranged around it. Containing the couple’s bedroom and the most private parts of the house, this taller volume was carefully adjusted in both plan and height so that it would sit in harmony with the mountain slope, taking on something of the character of a small lookout tower. A skylight above the stair frames the sky as one ascends, giving the space the feeling of a cave or chimney. In the room above, windows of carefully judged dimensions are placed to the east, west, and south, each responding to a different landscape. Together they create an open interior that feels almost as though it were suspended within the mountain itself.


단층으로 계획된 매스는 남측에서는 2층짜리 볼륨의 비례감과 입면구성을 작은 규모로 끌어와 연관성을 만들었고, 북측에서는 마을의 건물들을 닮은 모습으로 설계되어 주변의 기억과 반응하였다.


The single-storey volume establishes a relationship with the taller volume in two different ways. To the south, it takes the proportions and composition of the two-storey volume and reduces them to a smaller scale, creating a clear kinship between the two. To the north, however, its form begins to resemble the buildings of the surrounding village, responding instead to the memories of the wider setting.


그 무엇보다 섬세하게 바라보고자 했던 공간은 높이 솟은 2층짜리 조형과 단층의 덩어리 사이의 틈이었다. 이 공간은 내부에서도 외부에서도 전통 한옥의 대청마루와 같은 비워진 공간으로 느껴질 수 있도록 계획하였으며, 과거 건축주들이 텃밭을 가꾸며 조정했던 공간의 기억들이 담겨있도록 했다.


More than anything else, we wanted to carefully shape the gap between the tall two-storey form and the lower volume. From both inside and outside, this space was conceived as an open void, recalling the daecheong-maru of a traditional Korean house. It was intended to carry forward the spatial memory of the loose, improvised places the owners had made for themselves while cultivating the garden.


이처럼 두 개의 볼륨을 제외한 나머지 영역은 최대한 열려있는 공간들로 계획되어 배치가 만들어내는 사이 공간들을 보다 사회적인 공간으로 계획하고자 하였다. 두 볼륨의 경계까지 확장되는 창문은 마치 두 볼륨 사이의 공간이 경계가 사라진 외부 영역으로 인지되도록 도우며, 부엌 쪽으로 계획된 긴 창은 텃밭의 풍경을 가져옴과 동시에 거실과 부엌의 영역이 긴 사이 공간으로 인지되도록 돕는다.


Apart from these two enclosed volumes, the remaining areas were kept as open as possible, allowing the spaces created between the buildings to become more social parts of the house. Windows extending all the way to the edges of the two volumes help the space between them to be perceived almost as an exterior realm whose boundaries have disappeared. A long window beside the kitchen brings the vegetable garden into the interior, while at the same time allowing the living room and kitchen to be read together as a long interstitial space.


Client: PrivateProject type: ArchitecturePrincipal use: HouseLocation: 

Gapyeong, South KoreaProject status: BuiltProject period: 2018-2019Photographyaquinaslee


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