W House ODE ARCHITECTS

2017-12-14 22:00

 © Youngchae Park

杨泽公园

架构师提供的文本描述。传统的哈诺克似乎告诉我们，建筑不一定是主角。它表明，成为风景的一部分本身是一项令人难以置信的壮举，与大自然在各个方向的互动可以毫不费力地发生。对主人公来说，单方面控制周围的环境是有趣和令人兴奋的，但对周围的人来说也是沉重的负担。当这种力量和张力渗透到建筑中时，一种至高无上的感觉被呈现出来，但同时也是一种不试图玷污其权威和控制的负担。这种负担造成了一场持续不断或被放弃的单方面斗争，但在某种程度上，没有人想要这场斗争。

Text description provided by the architects. The traditional Hanok seems to tells us that architecture does not have to be the protagonist. It shows that becoming part of a scenery by itself is an incredible feat and interaction with nature in all directions can happen effortlessly. Although unilaterally controlling the surrounding environment for a protagonist is interesting and exhilarating, it is also burdensome to the surrounding. As such power and tension seeps into architecture, a sense of supremacy is presented but at the same time a burden of not trying to taint its authority and control. This burden causes an incessant or abandoned unilateral struggle, but in a way, nobody wanted that struggle in the first place.

 © Youngchae Park

杨泽公园

我们所拥有的通过多向沟通不断变化的东西是对W House的渴望，而不是一种被出售的线性和单边的外观。由于自然是不断变化的推动者，建筑很难在不与自然形成相互关系的情况下不断变化。

Continuous change through the multidirectional communication we possessed was what was aspired for W House, rather than a sold linear and unilateral appearance. Because nature is the agent of constant change, it is extremely hard for architecture to continuously change without forming an interrelationship with nature.

虽然有时依赖自然这一显而易见的事实需要一个全新的意义，但如果我们要鼓起勇气让自然顺其自然，让事情顺其自然，我们就必须更深入地认识这一事实。

Although the obvious fact of depending on nature at times takes a whole new meaning, we must acknowledge this fact more in-depth if we are to muster the courage to let nature take its course and leave things be.

 © Youngchae Park

杨泽公园

花园的安排

Arrangement for the Garden

作为文化遗产的宝库，庆州被一层汉诺克风格的建筑和文化资产所包围，散发出强烈的文化象征感。庆州的地块很大，南面的缓坡让人在远处可以看到一片舒适而不间断的山景。比约多桑。这座建筑向南延伸，部分突出在南北入口，为安全的花园和后院提供空间，并对周围环境有明确的方向感。主房间位于南方花园周围，窗户朝南。服务区位于北侧，为主要客房提供方便和独立感。走廊由一个长长的天花板组成，光线从两边的空间中渗透进来，隔开空间，伴随着人们穿过走廊。

As befits its title as the repository of cultural heritage, Gyeongju gives off a strong sense of cultural symbolism as it is surrounded by layers of Hanok-style buildings and cultural assets. The plot of land in Gyeongju is vast and the gentle slope towards the southside allows for a comfortable and uninterrupted far off view of Mt. Byeokdosan. The building is stretched out towards the south, and partially protrudes out on the south and north entrance sites, providing space for a secure garden and backyard, and clear sense of direction with the surroundings. The main rooms are situated around the south garden and have open windows facing south. Service areas are placed on the northside to offer convenience and a sense of independence to the main rooms. The corridor is comprised of a long ceiling so that light seeping in through the space on both sides divides the space and accompanies people walking through the corridor.

 © Youngchae Park

杨泽公园

屋檐形成与自然相互联系的媒介

Eaves form the Medium that Creates an Interrelationship with Nature

屋檐延伸的比例与汉诺克屋檐相似。南侧的屋檐控制着长时间倾泻下来的强光的数量，架起了内外区域的桥梁，并执行了许多其他功能。自由形成的屋檐与周围环境一致，像哈诺克屋檐的内侧腰线一样，轻柔优雅地拥抱山区地形，从而让建筑中的风景成为观景人的背景之一。

The eaves extend with the similar proportion to Hanok eaves. The eaves on the southside control the amount of the strong light that pours down for long hours, bridge the internal and external areas, and perform many other functions. The free formed eaves fall in line with the surroundings by softly and elegantly embracing the mountain terrain like the inside waist line of Hanok eaves, thus allowing the scenery to take in the building to become part of the background for someone looking in.

 © Youngchae Park

杨泽公园

为了与周围环境有更深、更详细的关系，在屋檐的混凝土表面上，曲线以图案的形式暴露出来，就像在韩国凹面瓷砖中看到的大小一样。

To allow for a deeper and more detailed relationship with the surroundings, curves are exposed in pattern-form on the concrete surface of the eaves, much like the size seen in Korean concave tiles.

 © Youngchae Park

杨泽公园

此外，凹面瓷砖和图案投射光的运动作为阴影，并微妙地给出鲜明和清晰的运动和存在的光。建筑所表达的光的运动与建筑通过光的表达之间的相互关系，只要建筑始终屹立不倒，就会继续下去。

Furthermore, the concave tiles and patterns project the movement of light as shadows, and subtly gives distinctness and clarity to the movement and existence of light. The interrelationship between the movement of light expressed by architecture and the expression of architecture through light will continue on as long as the building stays standing.