架构师提供的文本描述。像房主的房子

Text description provided by the architects. House resembling the owner

该遗址位于W.Pangyo市永昌附近，向北和南开放。乍一看，大楼的外部似乎都被砖块覆盖着，但当你深深地回顾时，底层的建筑就打开了形状，与外部空间沟通。底层的这一特点反映了房东外向的个性。同时，房子的上部是方形的，庭院上有一座悬臂桥。这个漂浮的庭院有选择地设计了周围的氛围。这有点类似于业主内向的性格。庭院的风景在整个季节都是由日本宝塔树(槐树)改变的。这棵树在春天是绿色的，夏天开着白色的花和果实，秋天开着黄色的叶子。房子似乎是开放和关闭的，因为每一个形状的重叠和外部不是太过分，但平静，这完全像房东。

The site is located near UnjungCheon at W. Pangyo City where the space is open towards North and South. At a glance, it seems the building exterior is all covered up with bricks but as you review deeply, the ground floor level opens up in shape to communicate with the exterior space. This characteristic of the ground floor reflects the extroverted personality of the landlord. Meanwhile, the upper part of the house is formed as square shape with a cantilevered bridge framing the courtyard. This floating courtyard selectively frames the view of the surrounding atmosphere. This is somewhat similar to the owner's introverted personality. The scenery of the courtyard changes throughout all seasons by the Japanese Pagoda Tree (Sophora japonica). The tree is Green during spring, Bloomed with white flowers and fruits during summer and yellow foliage during autumn. The house seems to be somewhat opened and closed due to the overlap of each shape and the exterior is not too excessive but serene which exactly resembles the landlord.

 Floor Plan

三代年轻的已婚夫妇，两个孩子和祖父母有着不同的生活方式和生活方式。这对年轻的已婚夫妇在建立事业的同时独立生活。丈夫是个立体狂，而妻子喜欢在安静的地方看书。爷爷奶奶都有不同的睡眠周期，因为她晚上睡得很晚，祖母需要一个开放的空间。即将经历青春期的大孩子喜欢自己看书，而房子本身就是小孩子的游乐场。随着它们的成长，更多的空间最终将增加，许多个性化的领域将是需要的。

Three generations of the young married couple, two children and grandparents have different lifestyles and different ways to live life. The young married couple lives independently while building their career. The husband is a Stereo maniac while the wife likes to read books in a quiet place. The grandparents each have a different sleep cycles and the grandmother is in need of an open space since she sleeps late evening. The older child who will soon experience adolescence likes to read books by itself while the house itself is a playground for the younger child. As they grow, more space for them will eventually increase and much individualized areas will be in need.

 © Roh Kyung

(3)卢庆

即使三代人生活在一起，这所房子里也不存在等级制度。相反，有两个空间，连接每一层和每一代之间的家庭，家庭房间和庭院。这房子里没有起居室。不是建立一个典型的宽敞的起居室，它主要是在他们居住的公寓，家庭房间是为了满足每个人的需要。家庭室有一个高高的书柜/架子，紧靠竞技场的楼梯。孩子们可以在台阶上学习或玩耍，因为竞技场的台阶变成了一个多功能的元素，比如一个座位或一张桌子。

Even though three generations live altogether, hierarchy does not exist in this house. Instead, there are two spaces which connect each floor and each generation among the family, the Family room and the Courtyard. There is no livingroom in this house. Rather than creating a typical spacious living room where it was mostly seen at the apartments they lived in, a family room was made to fulfill each individual needs. The Family room has a high bookcase/shelf which follows the amphitheater stairs. The children could study or play on the steps since the amphitheater steps become a multi-functional element as a seat or a desk.

从他们搬进来的那天起，年幼的孩子就可以躺下来，开始给这些台阶上的素描本上色。当爷爷早早睡觉的时候，祖母可以在这个地区照看孩子，迎接她的儿子和妻子下班回来。家庭室不仅连接每一层楼，而且连住在这栋房子里的世世代代。院子上方的悬臂桥不仅打开了公共一楼空间，而且部分关闭了位于二楼的私人空间。上面的庭院是一个空旷的空间，从房子内部的所有角度都可以看到，并在每个空间之间建立联系，这样房子才能呼吸。

From the day they move in, the younger child could lie down and start coloring the sketchbook on these steps. While the Grandfather sleeps early evening, the Grandmother could babysit the children at this area and greet her son and his wife coming back from work. The Family room not only connects each floor but also connects all generations living in this house. The cantilevered Bridge above the courtyard not only opens up the public first floor space but also partially shuts the private spaces located on the second floor. The upper courtyard is a void space which is visible from all perspectives inside the house and creates connection among each space so the house could breathe.

 © Roh Kyung

(3)卢庆

选择每个房间的边界

Selecting the boundaries for each room

这房子没有门闩。这所房子里的每个房间都没有任何等级，它通过对角线放置了两个空隙。一楼主要由三个小块组成，分为三个区域。当你进入拉长的入口时，厨房和餐厅都独立地位于右侧，当你沿着左边的走廊走时，家庭室就像一张大嘴巴一样敞开着。最后，在右边为祖父母提供了另一个独立的空间。虽然它是一种“L”形结构，但它是该配置中三个独立空间的集合。

This house does not have a door catch. Each room in this house does not have any hierarchy and it°Øs located all through the diagonally placed two voids. The first floor is majorly consisted with three blobs divided into three areas. As you enter the elongated entry, the Kitchen and the dining room are located independently on the right side and as you follow the hallway on the left, the Family room widely opens up as if a mouth is wide open. Last, towards the right another independent space is provided for the grandparents. Though it°Øs an 'L' shape configuration, it was an agglomeration of three independent spaces within that configuration.

 © Roh Kyung

(3)卢庆

在二楼，三个房间被放置在两个对角线上的空隙附近，同时将两个房间和一个悬臂桥连接起来，以提供一个连续的方形循环。滑动门/口袋门有选择地为隐私创造边界。消除空间的等级结构，有选择地为隐私创造界限，这一切都是三代人共同追求美好生活的开始。

On the second floor, three rooms are placed near the two diagonally placed voids while also connecting two rooms with a cantilevered bridge to provide a continuous square circulation. The Sliding doors/pocket doors selectively create boundaries for privacy. Eliminating the hierarchy of a space and selectively creating boundaries for privacy all started by the concern for the three generations to live well altogether.

 © Roh Kyung

(3)卢庆

普通/简单的白粘土砖房。

Plain/Simple White Clay Brick House.

盘溜市是一个陌生的社区，因为它不是一个自发的定居点。这也意味着很难克服精心设计的居住区规划的局限性。在永昌北坡建造的城镇房屋和位于河流东侧的高层公寓楼之间存在着冷战。这两种因素已经进一步扰乱了西班吉市的景观，不需要采取进一步的行动来破坏更多的景观。白色粘土砖房子的材料被放置，所以一条坚实的垂直线并没有显示出一种幻象，就像一个方形元素自然地从地面上出来一样。水平框架的位置使得它相对于周围的景物是开放的或封闭的，就像一根直视的睫毛，悬臂框架创造了大量的阴影。

Pangyo City is an unfamiliar neighborhood since it is not a spontaneous settlement. It also means that it is difficult to overcome the limitations of carefully crafted Residential district planning. A cold war exists between the Town houses built on the north hillside of UnjungCheon and the High-rise apartment building located on the East side of the stream. Already, these two elements further cluttered the landscape view of West Pangyo City and no further action needed to be made to ruin the view even more. The material of the White Clay Brick House was placed so a solid vertical line was not shown to actually create an illusion as if a Square element has naturally come up from the ground itself. The horizontal frame was located so it was open or closed relative to the surrounding scenery and like an eyelash facing the view, a cantilevered frame created a generous amount of shade.

L形墙面对永琴曲慢慢弯曲，以愉快地举起悬挑桥之上的标本树在庭院。通过稳固和坚固的墙壁上的深孔，砖墙的粗糙质地进入了房子的内部。桦木胶合板的内部装饰也被放置在与外观相同的图案上，以提供不同的透视感。从底部看，它看上去像几层，但从顶部看，它是一张坚实的脸。由于室内空间经常缩小、扩大、降低或上升，使用两种不同类型的对立面完成并不令人尴尬。随着时间的推移，白桦树的颜色最终会因氧化而变暗，日本宝塔树最终会随着每个空间的功能变化而长满庭院，而孩子们则在成长。这就是房子变得更像房子的原因。

The L shaped wall facing the UnjungCheon slowly curves to delightfully lift up the cantilevered bridge above the specimen tree at the courtyard. Through the deep openings at the steady and solid wall, the rough texture of a brick wall enters the interior of the house. The interior finish of Birch plywood was also placed with the same pattern as the exterior to provide different perspective feelings. When it was viewed from the bottom it looked like several layers, but when it was viewed from the top it was a solid face. As the interior space often narrows, widens, lowers or rises using two different types of opposite finished wasn't awkward. Over time, the birch color will eventually darken due to the oxidation and the Japanese Pagoda tree will eventually grow to fill up the courtyard as the function of each space changes while the children grows. And that is how a house becomes more of a house.

 © Roh Kyung

(3)卢庆