Koreana-Brick by Brick

Brick by Brick 2024 SPRING

Architect Choi Wook Explores the Void Choi Wook, president of ONE O ONE architects, says that while Western architecture is iconographic, Korean architecture is not. In pursuing something distinctly Korean through his designs, Choi focuses more on experience and intuition than on visual aesthetics. Choi Wook pays more attention to spatial composition than visual form. He focuses on the relationship between a building and its surroundings as well as communication between the interior and exterior. ⓒ texture on texture The Room of Quiet Contemplation was created in November 2021 in the National Museum of Korea to display two gilt-bronze pensive Maitreya bodhisattva statues. Designated as Korea’s National Treasures No. 78 and No. 83, the statues were made in the late sixth and early seventh centuries, respectively. Entering the clay-colored room after passing through a dark corridor reveals the serene smilesof the pensive bodhisattvas, which are beloved by many Koreans. For the design of the room, various aspects were taken into consideration. It boldly offers 360-degree views while ensuring the safety of the national treasures. It also preserves the meaning and value of the Buddhist statues and implements a new exhibition method. In all, the room itself seems to transcend time and space. Measuring 24 meters in length, it offers viewers the opportunity to examine the statues in a space the sizeof a small theater, the type in which audiences can observe actors’ expressions. The two pensive bodhisattva statues are intentionally misaligned on top of an oval platform. The walls are finished with naturally light-absorbing materials, such as clay and charcoal, and the ceiling and floor facing the statues have a one-degree incline. This allows only the gilt-bronze statues to shine in the exhibition room. The ceiling is covered with aluminum rods, designed to give the impression of a vast night sky. Describing how he approached this work, architect Choi Wook says, “I wanted to break away from the visual perspective. Without a visual center, people tend to move naturally, like circling around a pagoda when celebrating Buddha’s Birthday. I focused on conveying a spiritual ambience rather than following strict geometrical logic.” In his design, Choi moved away from a Western perspective and demonstrated a new approach to experiencing asense of space. The National Museum of Korea’s Room of Quiet Contemplation opened a newchapter in exhibition methods. The space was created to allow 360-degree viewing of the two pensivebodhisattvas and provide a precise distance between visitors and the exhibit. Courtesy of ONE O ONE architects; Photo by Kim In-chul SEARCH FOR KOREAN ARCHITECTURE “I went to study at the University Institute of Architecture of Venice [now Iuav University of Venice], oneof the schools in Europe that was attracting attention at the time for its progressive intellectuals andarchitectural scholars. Studying Western architecture, with its roots in logic and rationalism, made methink that it was based on a very different system from Korean architecture. During the Renaissance, spaceusing the perspectival method emerged, and naturally the façade became important. But Korean architecturedidn’t seem to place too much weight on the façade.” While in Italy, Choi was once asked an interesting question by a musician on the steps of the PalladioMuseum; did he consider traditional Korean music to be strange? The musician told Choi that it was hisbelief that Western music built harmony through exchange, while in contrast, Korean music consisted of a5-pitch scale without semitones. “Later, I understood that to be the world of juxtaposition. It’sdramatically different from Western composition.” His thirst to gain a better understanding of Korean architecture was gradually quenched after completing hisstudies abroad, when he returned to Korea and participated in a number of architectural field trips. Hebegan to focus on foundations, which were a means of adapting to Korea’s hilly terrain. Clusters ofsmall plots of land particularly fascinated him. In the early 2000s, he was dismayed to learn that the hanok, or traditional Korean houses, in Seoul’s Bukchonneighborhood were quickly disappearing due to redevelopment. Soon after, he found himself an office in oneof them, which gave him time to experience and observe traditional Korean architecture. His time thereyielded tangible results. Choi’s contributions to the Hyundai Card Library series, which included the 2012 Design Library andthe 2016 Cooking Library, paid great attention to the sensory experience provided by the light, sound, andsmell in each space. In his work on the Hyundai Card Yeongdeungpo Office Building in 2013, he made theboundary of the building effectively disappear by extending the lobby floor to the exterior. Many ofChoi’s high-rise buildings follow this pattern; the lower floors accommodate the flow of thesurrounding land in order to serve as a foundation, while the upper floors are lightened, rendering thefaçade more subtle. His lobbies invite in light from many directions, creating a bright, warm glow, withoutshadows cast into the space. Into these modern environments, built using Western architectural styles, Choiinserts his Eastern approach, using experience to incorporate sensory elements and feelings. Choi Wook renovated the Hyundai Card Design Library from an existing gallery inGahoe-dong to accentuate the beauty of void space. Windows were installed on the three sides surroundingthe courtyard to invite in light and contrasting materials such as wood and stainless steel were used. Courtesy of ONE O ONE architects; Photo by Namgoong Sun The Hyundai Card Yeongdeungpo Office Building was designed to blend in with thesurrounding environment. The flooring of the lobby was extended to the exterior to diminish the boundarybetween inside and outside, while the building’s curtain wall harmonizes it with the nearbystructures. Courtesy of ONE O ONE architects; Photo by Namgoong Sun FLOW OF SPACE “In traditional Korean architecture, the cross section of the ground and the foundation dictate thecharacteristics and size of a space as well as human movement within. It may sound simplistic, but we firsttry to understand the ground and the context. We look at the relationship between the land a building willsit on and the surroundings. In other words, we try to create a continuous sequence of planes. It’svery important to match the texture of the flooring with the temperature and color of thespace.” In 2022, Korean cosmetics brand Amorepacific opened a flagship skincare store and a tea house in ChoiWook’s Gahoe-dong Duzip, located in the eponymous Seoul neighborhood. The building clearlydemonstrates Choi’s approach to architecture. The project involved the renovation of a hanok residencebuilt in the 1930s and a Western-style house from the 1960s. Beyond simply connecting buildings of twodifferent styles and ages, Choi created a flow of space by faithfully reflecting the ground of the existinghanok. He also got rid of the six-meter retaining wall in order to connect the courtyard of the hanok in theforeground and the Western-style residence in the background via an underground floor. While this waschallenging, it helped solve structural problems. Choi also gave serious thought as to how to maximize the other merits of the hanok’s design.His solution was to install transparent glass doors and windows in the hanok, allowing one’s gaze to flow through the entire open space created by the two properties. Visitors can therefore experience what Choidescribes as “a new view with every step.” Gahoe-dong Duzip (Two Houses in Gahoe-dong) showcases the architect’sinterest in implementing a Korean-style space. In order to combine an existing hanok and a Western-stylebuilding, he removed the retaining wall that stood in the middle and created a courtyard. Courtesy of ONE O ONE architects; Photo by Kim In-chul UNIQUE DNA Choi’s perspective on architecture became more concrete when he published Domus Korea, a regional edition of the Italian architecture anddesign magazine Domus. Between 2018 and 2020, he released a totalof twelve volumes, providing him with an opportunity to contemplate the traits of Korean architecture thathe had long researched. In collaboration with critics, writers, and architects, Choi was able to considerkey concepts such as the land, ground, juxtaposition, clusters, and void. “The contents of the magazine are an expression of respect coming from the people who have lived in thisland. I’m not interested in discussing a grand concept of Korea; rather, I’m interested inKorea’s cultural DNA. I want to fully embrace it.” Choi’s work is characterized by its reliance on experience and intuition rather than logic. Heimplements these seemingly ambiguous terms in detailed measurements and elaborate construction. His currenthome, the House with Chukdae in Buamdong, and the Seaside House in Goseong County are near-perfect examplesof the type of buildings that Choi wishes to create.“Korean architecture interprets the conditions of the ground, the relationship with light, and the usage ofthe building. It’s not the façade but the ambience of the space that is important.” True to thesewords, both the House with Chukdae and the Seaside House do not maximize the exterior form of architecturebut generate a sensory experience from the spaces within, and from other elements, such as the sun, wind,waves, and birdsong. “Tai Soo Kim, who designed the National Museum of Modern and Contemporary Art Gwacheon, once said thatalthough people talked about modernism as the end of the age of masters, modernism too ended in the 1980s,when individualism took center stage in architecture. Each person draws on their own background, creatingtheir own foundation. I always tell my colleagues at ONE O ONE architects that memories and personalexperience are far more important than taste. You create and interpret work through your own narrative.” The House with Chukdae, where Choi Wook lives, is a perfect example of his brand of architecture. The house leverages the topography of the site, while walls are minimized allowing the change of seasons to be experienced more fully. The photo shows the dining space used by Choi and his wife Jinnie Seo, an installation artist. Courtesy of ONE O ONE architects; Photo by Namgoong Sun The Seaside House, which serves as Choi Wook’s second residence, was built modestly so that it would blend in with the humble fishing village where it is located. Its walls were finished with plaster. Less attention was paid to functional aspects, and many large windows were installed to bring the seascape into the house. Courtesy of ONE O ONE architects; Photo by Kim In-chul Hyundai Motors’ GENESIS Lounge located on the 5th floor of the Shilla Seoul was inspired by madang (courtyard) and daecheong (main hall) of traditional Korean houses. To make up for the low ceiling in the interior space, reflective materials were used on the ceiling to give a sense of height. Courtesy of ONE O ONE architects; photo by Kim In-chul Lim Jin-young CEO, OPENHOUSE SEOUL

Brick by Brick 2023 WINTER

Earth Architect Byoung Soo Cho Byoung Soo Cho’s architecture, which explores themes such as “contemporary vernacular” and “organic vs. abstract,” has been described as “refinement in roughness, casualness within refinement.” Cho is renowned for his ability to achieve a balance between the two extremes of Korean naturalness and modernist abstraction. His work expresses his attitude toward Korean culture and philosophy as well as the essence of architecture that he has long explored. Instead of building his famous Earth House above ground, architect Byoung Soo Cho boldly designed the house such that it is being embraced by the ground itself. © Kim Jae-kyeong Concrete Box House is an important example of the architect’s work. A large opening was created in the building’s center to connect the interior space with the outside. © Hwang Woo-seob To Byoung Soo Cho, the earth is an architectural theme, and the architect uses the existing topography as much as possible to minimize damage to it. He also concentrates on expressing the experience of humans communicating with nature through the medium of architecture. © texture on texture Modern Architecture: A Critical History, Kenneth Frampton’s highly acclaimed survey of modern architecture and its origins, has been a classic since it first appeared in 1980. But it wasn’t until a new chapter appeared in the fifth edition, published in 2020, that the British-American architect and historian mentioned Korean architecture. In his description of Korea’s relatively late entry into the modern architectural scene, the author highlighted the works of notable Korean architects Kim Swoo-geun (1931–1986), Byoung Soo Cho (*1957), and Minsuk Cho (*1966). This inclusion in Frampton’s seminal work introduced Byoung Soo Cho, head of his namesake BCHO Architects studio in Seoul, to a global audience. Cho decided to study architecture in 1978, after seeing an architectural drawing for the first time at an exhibition that commemorated the completion of the Sejong Center for the Performing Arts at Seoul’s Gwanghwamun Square. Thinking that he might benefit from studying in the home country of writer Mark Twain, he left for the U.S. “I had come across Mark Twain’s What Is Man? at a used bookstore near Cheonggye Stream in Seoul. I was shocked by Twain’s dark portrayal of human nature, which led me to ponder the same question.” Ever since reading the short story, Cho’s faith in humanity has remained at the center of both his life and his work as an architect. It also led him to explore emotional architecture, as he began asking himself questions about emotion and reason. Experiential Architecture Cho found his new life on the pastoral campus of the University of Montana somewhat simple. One day, he looked up at the sky and saw the beauty of nature, although the scenery was relatively unremarkable. He was particularly inspired by the barns of Montana, whose unadorned yet practical structures he found to be similar in some ways to traditional Korean architecture. After enrolling in the Harvard Graduate School of Design, Cho began a thorough exploration of his chosen theme of “experience and perception.” At that time, there was a growing sense of skepticism and reflection on modern architecture in the Western world. “I was deeply moved by Architecture and the Crisis of Modern Science by Prof. Alberto Pérez-Gómez of McGill University, and also by Kenneth Frampton’s article ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance.’ I felt that the reflection on modern architecture should start from the perspective of humans communicating with nature. I also felt that Korean architecture offered that alternative.” Cho focused on the way in which Korean architecture blends easily and organically with nature, thanks to its lack of complex detail or exaggeration. This served as the motivation for his pursuit of “experiential architecture” beyond visual proportions or forms, which he made the subject of his master’s thesis. In his work, Cho focuses on people’s experiences of spaces, how those experiences influence their perception of nature, and the relationship between structures and empty spaces. Box Series Architectural sketch for Camerata Music Studio, Gallery & Residence, a combination of music studio and living space. Courtesy of Byoung Soo Cho The first floor of the three-story Camerata building is used as a music studio. To convey the look of a barn in Montana, the interior columns were eliminated, and the long concrete wall to the west was given a rough texture. The ceiling shown in the photo doubles as the wire-suspended floor of the mezzanine on the second floor. The rough texture of the concrete enhances sound absorption, with the help of a grooved wooden panel. © Kim Jong-oh After completing his studies, Cho returned to Korea and embarked on his architectural career. Plywood with a stainless steel finish, Galvalume roofing, and slender columns, which he used for the Village of Dancing Fish, a special needs housing project in Paju, Gyeonggi Province, were the best choice given the limited budget. Cho’s combination of simple details and materials created an interesting composition. As he explained, eco-friendly buildings are often the result of exploring cost-effective solutions. Two more of Cho’s early works are today considered iconic examples of his architectural world. Sitting on a peaceful hill in Yangpyeong, Gyeonggi Province, the Concrete Box House, shaped like the Korean letter ㅁ, serves as the architect’s second home and embodies the concept proposed in his master’s thesis. The square courtyard with its ten columns made of reclaimed wood is reminiscent of the gardens in traditional Korean houses, or hanok. However, rather than mirroring traditional architectural forms, Cho’s design seeks to invite light, air, and the elements into the building and provide a view of the sky. The building’s structural experimentation is particularly noteworthy. To create the simple concrete box, Cho used a natural method of waterproofing the concrete during the curing process, thus avoiding the use of chemical agents. His use of concrete and wood, two materials with contrasting contraction rates, was a risky but ultimately successful experiment. The interior is supported without beams, relying only on the wooden columns spaced five to six meters apart, which allows for an even distribution of force. This also enabled the use of a square, flat roof without parapets. Crucial to the entire project was Cho’s intimate knowledge of concrete slump and the dimensional shrinkage of wood. Located in the Heyri Art Valley in Paju, the Camerata Music Studio, Gallery & Residence is both a recording studio and the home of renowned disc jockey Hwang In-yong. Cho sought to maximize the studio’s sonic experience, drawing inspiration from barns in rural Montana. The bold idea of filling a dark space with music and a single beam of light resonated with Hwang’s childhood memories of a salt storage barn. To enhance the auditory experience, Cho removed the interior columns and suspended the mezzanine with wires. The acoustic challenge was met by roughening up the concrete ceiling to act as an absorbent panel, a smart solution given the project’s budgetary constraints. In addition, a courtyard was created between the building’s two box-like sections, one housing the music studio and the other serving as Hwang’s private residence. Cho went on to continue his box series, combining simple forms to create in-between spaces and revealing experiences beyond architecture. Later on, the architect’s work evolved and became more dynamic as he bended and twisted the straight lines of his earlier designs and began to use naturally flowing curves. Reflection on Earth With a total area of six pyeong (roughly 20 square meters), Earth House comprises two bedrooms, as well as a library, kitchen, bathroom, and boiler room, each with an area of one pyeong (3.3 square meters). Along with the two doors leading to the courtyard, the main entrance to the house is so small that visitors have to duck when they enter. The architect intended this as a way of expressing moderation, self-reflection, and humility. © Kim Yong-kwan Cho’s experiments led him to design his Earth House. Boldly dug into the ground, the building’s concept originated from his familiarity with earth, but it also reflected his belief that the simpler the space, the easier it is to experience the sky, trees, stars, and wind. This belief was also present in Cho’s Jipyoung Guesthouse, named after its guiding concept, which translates to “horizon.” Most of the building is subsumed into the side of a cliff such that it commands a natural view of the ocean, with the space embraced by the earth around it. Cho further developed this interest in earth and land at the 4th edition of the Seoul Biennale of Architecture and Urbanism in 2023, where he served as general director. How can we restore the paths of the mountains, water, and wind of Hanyang (the name of Seoul during the Joseon period)? Cho asked himself this question with the aim of connecting the original terrain of Seoul, which is surrounded by mountains, with its waterways, creating pleasant, pedestrian-friendly spaces with a refreshing breeze. Recently published by Thames & Hudson, Cho’s book Byoung Cho: My Life as an Architect in Seoul discusses the natural environment of the city where he was born and raised, and the range of architectural works he has created that express his thoughts on nature and the South Korean capital. For Cho, earth is not an abstract concept found in the study of the humanities, but rather a physical reality that directly influences how we experience space. “I believe in the importance of the natural environment, the cultural environment, and their respective contexts. I am especially interested in their physical contexts, including topography, wind, and water.” A look at Cho’s home and office as well as the buildings he has designed offers a glimpse into the original form of spaces that have been lost due to the rapid urbanization of Korea. At an age where others enjoy their retirement, the architect maintains a routine of taking walks in the morning, working happily during the day, and socializing with friends over wine in the evening. He is mindful of the Dalai Lama’s teachings on relationships, as he strives to practice emotional architecture. For an architect with a career that now spans some 30 years, architecture is all about creating a warm space for living as well as a form of intellectual stimulation. Concrete Box House includes ten wooden columns set five meters apart, all connected to a 20-centimeter-thick concrete roof. The combination of wood and concrete, materials with different contraction rates, was one of the architect’s experiments, which proved to be a success. © texture on texture Jipyoung Guesthouse was built following the complex contours of the earth as if it were permeating into the building. Indigenous plants are seen growing out of the cracks in the concrete walls and on the roof; this was the architect’s way of allowing the architecture to harmonize with its natural surroundings. © Sergio Pirrone

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