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架构师提供的文本描述。汉字韓(韩国人发音为韩语)通常以与朝鲜民族传统文化认同相关的词作为前缀。想想汉布克(传统服装)、韩适(韩国美食)和汉克(传统风格的建筑)，你就可以看到，汉是传统生活方式的代名词，而传统生活方式继续塑造着韩国文化。无数的时装设计师、建筑师、艺术家和其他有创造力的人仍然在努力理解、探索和定义在他们各自的艺术和学科中成为“韩国人”意味着什么。

Text description provided by the architects. The Chinese character 韓, which Koreans pronounce as han, is often prefixed to words related to traditional cultural identity of the Korean nation. Think of hanbok (traditional garments), hanshik (Korean food), and hanok (traditional-style buildings), and you can see that han is synonymous with the traditional way of life that continues to shape Korean culture. Countless fashion designers, architects, artists, and other creative individuals still strive to understand, explore, and define what it means to be “Korean” in their respective arts and disciplines.

去年，我亲自参与了这项活动，当时我负责设计一个名为Baram-Baraem的特别展览的空间，这个展览是由著名的汉布克设计师LeeYounghee设计的。这也是我对韩国边界空间概念感兴趣的时候。我的目标是创造一个展览空间，最能捕捉和展示汉布克独特的特色。在这10个月左右的时间里，我从精心构思和规划展览空间开始，寻找关于汉布克的新视角。我越是想到这只汉布克，我就越觉得它既熟悉又奇怪。我故意避免掉进常规时装展的陷阱，就像在美国和欧洲经常看到的那样。然而，我也想避免以高度风格化、近乎标本化的方式展示韩，就像它经常在韩国的博物馆和民间旅游村庄展出一样。我想找出最具创造性的，形成性的，空间的和物质的元素，这些元素最能表达汉布克的性质和价值。换句话说，我想从建筑师的角度揭示汉布克的潜力，不是基于简单而熟悉的重新展示，而是基于重新解释。这个空间的主题是“自然的衣服的多功能性：汉布克”。自然与计划中的秩序背道而驰。自然是不可预测和自由的。不像西方服装，重视时尚的外观，而不是穿着者的舒适度，汉布克采取了自然的审美风格，更多地被欣赏时，穿比看到。由李设计的“风的衣服”以一种特别时尚的方式捕捉到了汉布克的多才多艺的形式和结构。

I was personally involved in this activity when I was put in charge of designing the space for a special exhibition entitled Baram-Baraem, by the celebrated hanbok designer LEE Younghee, last year. This was also when my interest in Korean concepts of boundary spaces grew. My goal was to create an exhibition space that would best capture and show the unique characteristics of hanbok. During the 10 months or so I worked on it, which began with the careful conceptualization and planning of the exhibition space, I searched around for new perspectives on the hanbok. The more I thought about the hanbok the more it struck me as both familiar and strange. I deliberately avoided falling into the trap of putting on a conventional fashion exhibition as often found in the United States and Europe. Yet I also wanted to avoid presenting hanbok in the highly stylized and almost taxidermy-like way – the way in which it is often displayed at museums and tourist folk villages across Korea. I wanted to find the most creative, formative, spatial and material elements that would best express the nature and value of the hanbok. In other words, I wanted to shed light on the potential of the hanbok from an architect’s perspective, based not on simple and familiar redisplay, but on reinterpretation. The main theme of the space was “The Versatility of the Clothes of Nature: Hanbok.” Nature stands opposite to planned order. Nature is unpredictable and free. Unlike Western attire, which values stylish looks over the wearer’s comfort, the hanbok takes after nature with an aesthetic style that is appreciated more when worn than seen. The “clothes of wind,” designed by LEE, captures the versatile form and structure of the hanbok in a particularly stylish way.

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Win d的衣服是放弃传统赋予传统新生命的衣服。这些衣服会根据穿着者的动作而改变形状，展开后会回到单一的平面上。-李英姬

The clothes of win d are clothes that abandon tradition to give tradition new life. These clothes change their shapes according to the movements of the wearer, and return to a single plane when unfolded.   -   LEE Younghee

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许多人错误地把韩国的审美等同于宁静和静态。事实上，韩国人的情感是不断变化的、多才多艺的、动态的。汉布克和汉诺克既分享和适应，欢迎自然风的自由运动。就像森林和建筑一样，每一个季节都会改变它们的颜色和外观。传统的西方建筑有明确定义的房间，这意味着特定的功能。相比之下，大成丸和哈诺克的马当则作为空间，各种功能和活动可以无缝地流动和继续。汉布克和汉诺克都有开放的建筑，允许充足的风和阳光，以便穿戴者和居民能够充分体验季节的变化。

Many make the mistake of equating the Korean aesthetic with the tranquil and the static. In reality, the Korean sensibility is constantly changing, versatile, and dynamic. The hanbok and hanok both share and adaptability that welcomes the free movements of natural wind. Like the forests and building change their colors and looks dramatically from season to season. Traditional Western architecture has clearly defined rooms that are meant for specific functions. The daecheong-maru and the madang of hanok, by contrast, serve as space across which various functions and activities can flow and continue seamlessly. Both the hanbok and hanok feature open structures that admit ample wind and sunlight so that wearer and the inhabitant can fully experience the changes of the seasons.

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汉布克的灵活性在于床单、衣服和穿戴者身体之间的空间。汉布克不仅具有形成性美学，而且具有较强的实践灵活性。在世界范围内，其他类型的服装都强调合身，但汉布克特别重视穿着者的皮肤和衣服之间的空间。这个空间给穿着者的身体提供了更多的空间和自由，比如说，一套精心定制的商务套装。换句话说，汉布克重视穿戴者的心理和身体舒适度，而不是一切。传统的汉布克裙子不是你穿的东西，在这个词的典型意义上，而是你裹在身体周围的东西。把这张布包在你的身体上，你可以自由地调整它的形状，你可以通过在你的胸前、腰部或腹部上绑上一条带子或腰带来自由调整它的形状。与汉诺克一样，汉布克拥有独特的美与功能平衡。穿着者的身体和衣服之间的通风空间增强了温湿度的适应性，粘土墙和汉诺克的纸窗也是如此。在佩戴者的关节周围的空间尽量减少摩擦，而复杂的直线和曲线的平衡传达了一种类似于传统屋顶形状的外观。

The flexibility of the hanbok resides in the spaces between the sheets, the clothes, and the wearer’s body. The hanbok captures not only formative aesthetics, but also has a practical flexibility. Other types of attire worldwide emphasize the fit, but the hanbok uniquely prizes the space between the wearer’s skin and the clothes. This space gives far more room and freedom to the wearer’s body than, say, a well-tailored business suit does. The hanbok, in other words, values the psychological and physical comfort of the wearer above all else. The traditional hanbok skirt is not something you wear, in the typical sense of the word, but something you wrap around your body. Wrap this sheet of fabric around you body, and you can freely adjust its shape by tightening of putting a ribbon or belt around your chest, waist, or stomach. Like hanok, the hanbok boasts a unique balance of beauty and functionality. The airy spaces between the wearer’s body and the clothes enhance the adaptability temperature and humidity, as do the clay walls and paper windows of hanok. The spaces around the wearer’s joints minimize friction, while the intricate balance of straight lines and curves convey an aesthetic akin to the shape of the traditional rooftop of a hanok.

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展览空间的中心特征，如我所设想的，是由两层半透明的细胞器构成的，这是一种精致的丝质材料。这些薄纱层模拟了悬在山林或韩国乡村景观上的雾气和云层。就像用来做汉布克裙的布料一样，有机风琴的墙壁让游客可以在中间滑行。这种半透明的墙壁是一个完美的背景，为各种各样的汉布克服装和件展出。就像一条汉布克裙子在自己和穿着者的身体之间创造了一个自然的空间一样，这些有机墙让游客真正感受到并享受到汉布克的宽敞和柔韧感。为游客设计的迷宫路线类似于汉布克的自然褶皱，当游客穿过半透明的有机林立的小路时，自然会吸引多种不同的视角，这些小路逐渐变短。展出的汉布克按颜色、形状、材质和半透明程度进行分类和排列。中性色，如灰色和木炭，是这一空间的重要元素，以传达汉布克的灵活性。我的半透明墙壁捕捉到广泛的颜色，根据变化和方向的光，因为我想反映广泛的颜色的天然染色汉布克织物。一旦游客参观了整个织物墙壁之间的集合，他们最终在一个像马当一样的空旷空间里，一群模特穿着前卫服装和高级定制服装。这片空旷的空间是由博贾吉(Bojagi)启发而来的，这是韩国人传统上用来包装和搬运物品的布料，和它的灵感一样，这个空间用途广泛，用途广泛。重要的是不要让这个地区人满为患。我想要一个杂乱无章、多才多艺的空间，在那里可以通过各种表演、汉布克主题讲座和工作坊来庆祝汉布克精神。当所有这些活动都没有进行时，空旷的空间提供了一个很好的地方，游客可以从那里看到展览的全貌。

The central feature of the exhibition space for conveying the beauty of the hanbok, as I envisioned, were “walls” made of two layers of semi-translucent organza, which is a delicate silken material. The layers of the organza simulated the fog and clouds that hang over the landscape of mountains and forests or rural Korea. Similar to the fabric used to make the skirt of a hanbok, the walls of organza allowed visitors to glide in between them. Such translucent walls were a perfect backdrop for the variety of hanbok garments and pieces on display. Just as a hanbok skirt creates a natural space between itself and the body of the wearer, these organza walls invited visitors to truly feel and enjoy a sense of the roominess and flexibility of the hanbok. The labyrinthine route designed for visitors to take resembled the natural creases in the hanbok, naturally inviting multiple and diverse perspectives as visitors traversed the translucent organza-lined pathways, which gradually grew shorter toward the end. The hanbok on display were sorted and arranged according to color, shape, material, and translucence. Neutral colors, such as grey and charcoal, were important elements of this space to convey the flexibility of the hanbok. My semi-translucent walls caught a wide range of colors according to the changes and directions of light because I wanted to reflect the wide spectrum of colors of natural-dyed hanbok fabrics. Once visitors had toured the entire collection between the fabric walls, they ended up in an empty space resembling a madang, with a group of mannequins wearing pret-a-porter and haute couture. The vacant space was inspired by bojagi, the pieces of fabric Koreans traditionally used to wrap and carry things, and, like its inspiration, this space was versatile and for many uses. It was important not to overcrowd this area. I wanted an amorphous, versatile space in which the spirit of hanbok could be celebrated through various performances, hanbok-themed lectures, and workshops. When none of these activities were taking place, the empty space provided a great spot from which visitors could take in the entire view of the exhibition.

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当我赤身裸体的时候，我就和大自然在一起了。当我穿上衣服，我就成了文化的一部分。拥有自然和文化的梦想使我穿上风的衣服。-李欧英

When naked, I become on with nature. When clothed, I become part of culture. It is the dream of owning both nature and culture that makes me wear the clothes of wind.   -   LEE Oyoung

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我们喜欢说衣服是我们的第二皮肤。在这个项目中，我把hanbok想象成不仅包括衣服，还包括有用的空间。它似乎适合如此宽敞，充满活力和呼吸的服装，从而构成了展览设计的基础，供人们穿行。构成汉布克的几层织物之间的空间、褶皱和半透明，反映了过去几代试图模仿自然的韩国人的智慧。整个展览空间的路径提供了这一非凡的传统服装的历史全景。在我的设计中，汉布克的概念不再局限于佩戴者，而是形成了周围的展览空间，充满了灵活流畅的美。

We like to say clothes are our second skin. In this project, I envisioned hanbok as something encompassing not just clothing, but also useful spaces. It seemed fitting for such roomy, dynamic, and breathing garments to form the basis of the exhibition design for people to walk through. The spaces, folds, and translucence in between the layers of fabrics that make up hanbok reflect the wisdom of past generations of Koreans who sought to emulate nature. The paths throughout the exhibition space provide a panorama of the history of this remarkable traditional attire. With my design, the concept of hanbok was no longer confined to wearers but formed the surrounding exhibition space and filled it with flexible and free-flowing beauty.

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Architects Farming Architecture

Location Dongdaemun Design Plaza, Seoul, South Korea

Category Interiors Architecture

Architect in Charge CHOI Jangwon

Project Year 2015

Photographs Kyungsub Shin

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