Travel has a premise of 'return'. There is a house where you come back. So travel is ideal and home is reality. Hormones of peace are produced at home and in travel. The instinct of return is natural, just as the bones of one's hometown are buried at the end of one's life. A warm, comfortable and protective house is the best condition for me. A house grows with people. The new house is as clean as new shoes, but strange and uncomfortable. It's only when my heels are slightly chapped and naturally dirty that it's mine. Change the location of the sofa and flowerpot and hang up a new painting. Plant quince trees in the yard and paint the gate blue. So time passes and age with home. So the house becomes one with the man.
Unlike the space used by an unspecified majority, the house is subjective and emotional. So you have to look into the user's life. Designers find motifs in life stories. Because the house is the medium that keeps the story going. Although all spaces are the same, the design is eventually completed by the user. The designer should design it with a view to its room. Space without room cuts off emotions. Rather than chasing the phenomenon, the design under the macroscopic conception prolongs the life of the house.
The site of the house is located at the right distance and height of the beautiful and still Bukhangang River. Munho-ri, Seojong-myeon, has excellent accessibility in downtown Seoul, making it one of the most favored areas for outsiders in Yangpyeong. As a result, the buildings are in disarray in a short period of time. Moderate distance from the boulevard and river provides conditions for avoiding such interference and excessive humidity.
The ground is open to the sunset scene, where the sun is fully shining at noon due to the slope connected to the back. While living in Seoul, the client wanted a space as a haven that was protected from the outside world, away from everyday life. The land with its back against the slope is open to the river, but the front of the house is arranged so that it faces south, where it can receive the sun intact without facing the river. Due to the nature of the region, the ice in the shade does not melt because it is hot and humid in summer and in winter.
The river can be seen anywhere in the surrounding area, so it is arranged so that only a small two-story bedroom with a yo can experience the river dramatically. The exterior wanted to take a simple, neat form to prevent the house from being built as much as possible and to feel the sensitivity and humility of time with the color and texture of bricks similar to the surrounding soil. The curved walls of the parking space facing behind the reed field and the soft lines of the driveway stairway connect with the roundly-soiled lawn yard and naturally connect with the curved joints of the building connecting the two masses. This joint is the position of the core that connects the inner layer up and down. Inside the two broken masses, each offers a different gaze, looking at a single yard.
The first floor, which functions as a living room and kitchen, is large and simple. The fireplace is centered in the living room. A large log supporting the stove meets an old Didilbanga (Obje) built on an outer cedar deck. The entire wall is finished with natural ash walls and reacts to humidity. The wall of the curve connecting the living room to the kitchen is a concave external form of inversion. The floor of the stairs in the center allows you to experience the bifurcated properties of stones and trees. The relatively small and cute second floor is divided into the client's personal space and the guest's space.
The private space is arranged in the order of a Japanese-style sitting living room, a minimum-area bedroom with a yaw, a long hallway-type dress room and a bathroom with a large window. On the other side are guest rooms and bathrooms with terraces. The grassed terrace is open to the slope. A tiny yard planted with golden hues is connected to a purple-flowering slope. The living room on the second floor has two steps higher than the hallway. It forms a relatively low sense of space and provides an oriental image with a Korean paper field. The size of the window with the lower part open contrasts with the large windows on the first floor to induce dramatic effects.
In addition, the change in density of repeated spaces creates unique rhythms and becomes another axis of emotion that constitutes a building. The change starts from the stairway of the external driveway and passes through the long tunnel of the dress room, with a period in the bathroom. The ceiling of the bathroom exaggerates the height by dropping artificial light between the wooden rubbers. An obliquely eastward spear provides an experience of bathing in the morning sun. In the middle of the driveway and the yard, the locet juniper, who reacts to the breeze, "welcome." The murky green trees, mixed with silver, form a state of landscaping and become one with the mud-colored brick houses. The parking space that sits lower than the yard is protected by a tall reed hiding the car, while the forest of slopes with fruit trees and flowers is protected by surrounding the house. I hoped it would be a quiet hideout that would not be so revealed.