架构师提供的文本描述。新市镇的城市公园。

Text description provided by the architects. Urban park in the new town.

Cheongna区正在组织该地点的新市镇框架，在那里填海。由于这一发展计划，现有区域的文化、自然、区域和社会条件发生了迅速变化，失去了该区域自身的特性，并产生了干燥的城市景观。

Cheongna District is in the process of organizing the frame of the new town in the site, where reclaimed the seashore. Due to this development plan, the existing region’s cultural, natural, regional and social conditions have rapidly changed, it has lost the region’s own identity and a dry urban landscape has been produced.

 Site Plan 2

地盘图则2

长老区的城市公园也是通过与新的关系而不是现有的场所环境相结合，着眼于未来的关系和角色，而不是以前的历史，来接近普通的部门。

The urban park in Cheongna District is also approaching ordinary sectors by combining with new relations rather than the existing place context and focusing on the future relations and roles rather than the previous history.

 © Park Chan Bae

(三)朴振英

蛤蜊建筑作为新的场所和背景。

Clam architecture as new place and background.

这个地点是一个象征性的城市公园，坐落在新市镇的中心。当公园和周围的公寓一起建设的时候，我们收到了设计的请求。客户要求我们用传统的概念把厕所放在公园的位置，把一个设计放在三个地方。正如他所问的，我们计划了一个概念，在三个地点协调，不威胁公园的环境，并有一个平静的外观作为背景的一部分。

The site is a symbolic urban park situated in the center of the new town. We received a request for design when the park was in the midst of construction along with the surrounding apartments. The client asked us to position the toilet in the sector of the park with the concept of tradition and place one design in three places. As he asked, we planned a concept, which harmonize in three locations, doesn’t threaten the park’s environment and has a calm appearance as part of the background.

 © Park Chan Bae

(三)朴振英

无形的建筑。这是一种相当矛盾的语言，让背景来构造和定义一些东西。这可能是一种非常被动的建筑，在建筑设计中不依赖于建筑的力量。

Invisible architecture. That is a considerably contradictory language and lets the background structuralize and define something. This can be an extremely passive architecture that doesn’t rely upon the power of architecture in architectural design.

 Floor Plan

传统和材料的结构方法。

Structural method of tradition and material.

为了表达平静和沉重的质量，我们强调百叶窗的深度和阴影所创造的纹理，并将入口另一侧的垂直长天窗隐藏在百叶窗中以保证其完整性，只需使两个入口可见。

For expressing calm and heavy mass, we emphasized the texture created by the depth and shadow of the louver and hid the vertically long skylight on the other side of the entrance in the louver for its completeness by only making the two entrances visible.

 © Park Chan Bae

(三)朴振英

这两个日本红雪松百叶窗，是50毫米厚和150毫米深，被放置在一排，或他们是自由安排的间隔两步。另外，OSB胶合板的图案和百叶窗后部百叶窗的阴影，通过表达单调而又深沉的海拔成分，创造了一种平静的气氛。

The two Japanese red cedar louvers that are 50 mm thick and 150 mm deep, are placed in a row, or they are freely arranged by being spaced two steps. Plus, the patterns of the OSB plywood and the shadow of the louver in the back of the louver create a calm atmosphere by expressing a monotonous, but deep elevation composition.

 © Park Chan Bae

(三)朴振英