架构师提供的文本描述。它以坦率的方式反映了客户的个性。考虑到这位客户曾梦想过各种神秘的梦想，却住在首尔冈布克高地一座神秘力量的岩石上的房子里，却买下了江南高墙旁一个算命师和一个萨满的情节，这个世界肯定充满了许多无法解释的东西。就当代而言，这座建筑将被认为是一座混合用途的狭窄住宅，它结合了客户儿子的地下室工作室、摄影师、接待区，以及母亲和儿子的住宅，后者配备了一部紧凑的电梯，以解释老年人关节的衰弱。

Text description provided by the architects. It reflects the client’s personality in a frank manner. Considering that the client, who had dreamt all kinds of mysterious dreams only to overcome them while living in a house built on a rock of mystical forces at a high area of Gangbuk, Seoul, purchased the plot of a fortuneteller and a shaman beside a tall wall in Gangnam, this is a world that must be full of many unexplainable things. In contemporary terms, this building would be considered a mixed-use narrow house, combining a basement studio for the client's son, a photographer, a reception area, as well as a residence for mother and son that has been equipped with a compact elevator to account for the weakened joints of the elderly.

 © Namgoong Sun

(孙南光)

每当我看到有大开口的当代建筑时，我都会感到不舒服。如果是为了一个住宅，这样的入口可能会更糟糕，因为我个人认为，它常常会让人担心它只会让室内光线过多，侵犯我的隐私。当然，它可以通过各种设备来控制，比如窗帘或百叶窗，但它们不能作为基本解决方案。因此，我为我的客户提出了这个项目的小而独特的窗口。起初，他们担心里面太暗了，但这导致了一个既有足够明亮的斑点，也有黑暗的空间。

I feel uncomfortable whenever I see contemporary buildings with large openings. Such an entrance could be even worse if it is for a residence because personally I think it is often feared that it would only allow too much light inside and violate my privacy. Of course, it can be controlled with a variety of devices, such as curtains or louvers, but they can’t be used as the fundamental solution. Thus, I proposed small and unique windows to my client for this project. At first, they were concerned that it would be too dark inside but it has resulted in a space that has both sufficiently bright spots and dark ones.

 © Namgoong Sun

(孙南光)

 Longitudinal Section

 © Namgoong Sun

(孙南光)

当我随心所欲地与想象中的建筑线一起跳舞时，除了我渴望“把似乎与线条无关的事物连接起来”的习惯之外，我还建立了随机性的秩序，这成为设计建筑外观的基础。这些线条实际上是投射在建筑物上的，在室内墙壁上留下了装饰性的标记。把设计师的角色交给随机事件和偶然事件的最大原因不是因为我无动于衷，而是因为它们往往比我提出更好的解决方案。

While I was blithely dancing along with the imaginary building line, in addition to my habit of desiring ‘to connect things that seem irrelevant with lines’, I also established the order of randomness and this became the basis for designing external appearance of buildings. Virtually projected on the building, the lines were left as decorative marks on the interior walls. The biggest reason for taking on an uncontrollable situation as a designer or handing over the role of designer to random events and chance is not because I am indifferent but because they often present better solutions than I.

 © Namgoong Sun

(孙南光)

 © Namgoong Sun

(孙南光)