架构师提供的文本描述。这些都是韩国建筑师洪穆恩通常提出的问题：“为什么这么严肃？”为什么不多笑一笑呢？“蒙勋的作品有各种各样的面孔。全景屋似乎是手风琴，摇滚它数达看起来像精子。他展示了一艘神秘的宇宙飞船(公达尔萨姆)和一座哥特式城堡(桑桑博物馆)。有些人可能会对达斯·维德在“游戏屋”上的形象大笑起来。然而，我们必须记住，这种反应正是架构师所期望的。那么，我们开始怀疑是什么导致了笑声。这是笑讽刺的源头吗？答案是肯定的；月勋作品中欢乐的源泉是讽刺。现在，让我问另一个问题：是否可以通过建筑来讽刺政治和社会问题？因为他作品的各个方面似乎与当代政治和社会问题无关。

Text description provided by the architects. These are the questions that Korean architect Hoon Moon typically throws out: ‘Why so serious? Why not laugh more?’ Moon-Hoon’s works are home to a wide array of faces. Panorama House appears to be an accordion, and Rock It Suda looks like spermatozoa. He shows a mysterious spacecraft (ongdalsam) and a Gothic castle (Sangsang Museum). Some may burst out laughing at the Darth Vader image overlying Play House. However we have to keep in mind that this reaction is what the architect fully expects. We begin to wonder, then, what causes the laughter. Is the source of this laughter satire? The answer is yes; the source of merriment in Moon-Hoon’s work is satire. Now, let me ask another question: Is it possible to satirize political and social issues through architecture? Because the various facets of his works do not seem relevant to contemporary political and social issues.

 © Namgoong Sun

(孙南光)

然而，他的作品真的与当前的政治和社会问题无关吗？让我们回到我提出的第一个问题。月亮-胡恩嘲笑韩国建筑的马尔杜吉(被统治阶层)和嘲讽杨板(统治阶级)在邦山滑石场，一种传统的韩国面具舞蹈。韩国建筑可以作为韩国社会的一个分支而存在，因为杨板阶层揭示了当时社会文化中的矛盾。讽刺应该以直接或直接的方式揭露社会矛盾。必须表现出扬巴和马杜吉之间的冲突。然而，关于社会和政治方面，文勋提醒说，非常个人。他唤起了韩国建筑在个人层面上的停滞。他的建筑依赖于他自己的品味、个人经历和假设。

However, are his works really irrelevant to current political and social issues? Let us go back to the first questions I raised. Moon-Hoon derides Korean architecture as Malddugi (of the ruled class) and sneers at Yangban (the ruling class) in Bongsan Talchum, a traditional Korean mask dance. Korean architecture could exist as a cross section of Korean society, as the Yangban class has revealed contradictions in the social culture of that time. A satire should expose social contradictions in a direct or in direct way. It is necessary to show a conflict between the Yangban and Maddugi. However, with regards to social and political aspects, Moon-Hoon reminds very personal. He evokes Korean architecture’s stagnancy at a very personal level. His architecture relies on his own taste, personal experiences, and assumptions.

 © Namgoong Sun

(孙南光)

的确，有人因为这种个人态度而嘲笑他的作品，但我们必须记住，偏袒来自于非常个人化的立场。没有个人的‘I’就没有偏袒。我们的社会通常会忘记这一点，而且在韩国建筑中也没有“我”的位置。到目前为止，韩国建筑一直是由虚实的抽象幻影所主导，如现代主义、非建构主义和极简主义，而不是个人。我之所以认为这些建筑趋势是幻影，是因为它们与“我”一点关系都没有。每一种观点都是基于一个主观的个体，即“我”，它是由土地、气候、文化、习俗、生物自然等外部条件形成的。主体性和客观性存在于个体中。客观性是指由个体逻辑重新安排的客体的统计，是这些客体所体现的主观性。客观绝不意味着现状。到目前为止，人们对个人几乎完全缺乏认识。这意味着没有主观性或客观性的理由。这一点与文勋早些时候提出的关于韩国建筑的问题相对应。他建议从一个干净的板子开始，忘记现代主义或传统。他邀请我们从“我”开始讲我们自己的故事通过他雄心勃勃的尝试，我读到了文勋的建筑。我在Visang House上用的一个称谓-蛔虫屋-似乎是在测量什么。一端与地面接触，另一端笔直地矗立在天空中。在Angol很容易找到文勋的建筑，那里的一处遗址正在开发过程中，并为住房做好了准备。我找到了两个看起来像他的作品的结构。一个人似乎戴着一个只有在特效电影中才能看到的面具，另一个则是印吸虫之家。当我在这两所房子中间打电话的时候，我瞥见了印施沃姆家的一个小小的移动。后来，我发现两座房子都是文勋的作品。这座房子的弯曲的V形部分，乍一看像是一条墨虫的曲线，看上去有些扭曲，因为它表面上似乎是被迫组成自己的门面的。然而，这座房子的功能与门面本身的特征密切相关。印地龙之家的叙事从长客厅的南部开始。

It is true that some people burst out laughing at his work because of this personal approach; however, we have to remember that partiality comes from a very personal stance. There is no partiality without an individual ‘I.’ Our society usually forgets this point, and there has been no place for ‘I’ in Korean architecture. Until now, Korean architecture has been led by insubstantial abstract apparitions, such as modernism, de-constructivism, and minimalism, not by an individual. The reason that I consider these architectural trends as apparitions is that they are not relevant to ‘I’ at all. Every point of view is established based only upon a subjective individual, ‘I’, which is formed by external conditions such as land, climate, culture, customs, biological nature, and as on. Subjectivity and objectivity consist in the individual. Objectivity refers to the stats of objects rearranged by the individual’s logic as subjectivity that is embodied in these objects. Objectivity never means a status as it is. Until now, there has been an almost complete lack of awareness of individual. This means that there has been no ground for subjectivity or objectivity. This point corresponds to the question that Moon-Hoon threw out earlier regarding Korean architecture. He suggests starting off with a clean slate, forgetting modernism or tradition. He invites us to tell our own stories starting from ‘I.’ Through his ambitious attempt, I read Moon-Hoon’s architecture. Inchworm House, an epithet that I applied to Visang House, appears to be measuring something. One end touches the ground, and the other end stands straight into the sky. It was easy to find Moon-Hoon’s architecture in Angol, where a site was under a process of development and prepared for housing. I found two structures that seemed like his work. One seemed to wear a mask that you would only see in special effects cinematography, and the other one was Inchworm House. While making a phone call standing halfway between these two houses, I glimpsed a slight movement in Inchworm house. Afterwards, I discovered that both houses were Moon-Hoon’s works. The bent, V-shaped part of the house that looked like the curve of an inchworm at first glance appears somewhat contrived as it seems to be superficially forced to make up its own facade. However, the function of this house is closely connected to the features of the façade itself. The narrative of Inchworm House starts with the southern part of the long living room that looks like the end of inchworm. The facial impression of the house extends to the living room, giving us the feeling that we are in the inchworm’s stomach. The windows arranged in a form of a turned V on the façade of the living room seem to move, as if intended, as the light changes. The eastern wall appears to be an inchworm’s head, lifted straight up as if measure something. This wall is erected up to the second floor. These images are all reflective of an inchworm and those national images associated with it. Walking up the stair from the living room to the second floor, the allusions made to an inchworms are replaced by an elevated spatial perception and height. At the half landing on the stairs sits an ambiguous space, which is currently used as a dressing room, but was actually designed to be a future nursery. The stairs lead to an attic room above this space. If you go up to attic, you will see a corridor that stretches to the eastern wall of the living room, which goes up to the second floor. This corridor leads to the bedroom. There is another passage leading to this space. It leads from the baby’s room to the bedroom though the bathroom. The path serves as a bathroom. In other words, there are two entrances to the bedroom, though a corridor corresponding to the eastern wall of the living room and through a passage that starts from the baby’s room and passes through the bathroom. If you come out from the bedroom, you will see a small interior terrace and a high wall at the opposite. You will notice, at a glance, that the inside of the eastern wall servers as a screen. It is well within comprehension that this terrace is like the royal box of Margravial Opera House in Bayreuth. You can go up to the attic from this terrace as well. Moon-Hoon placed an Oriental painting on this terrace, which can be seen through the window frame. This house has an individual story, which makes it like a personal opera house for the couple. The space that seems to rise continuously like sound reverberations, forming a connection between the rooms and the attic is its face.

 © Namgoong Sun

(孙南光)

蚯蚓之家有能力揭露建筑物的面孔和空间，在擦除空间中的面孔时创造一个故事，并使我们意识到它们之间的联系。这所房子充满了小而多样的空间。月勋提出了一种新的创造空间的方式，这是韩国建筑已经错过或还没有经历过的，他要求我们以一种全新的方式来阅读空间。希望这个实验延伸到外部空间是为了支持他，而不是对缺少的东西表示哀叹。在我走出前门的路上，我看到一座刻有人体形状的建筑，它让我想起了一张普罗克鲁斯人的床。它唤起了我的欢笑，我感到被感动了，好像我的头被砍掉了一样。

Inchworm house has the power to expose the faces and spaces of the building, creating a story in the erasure of faces in the spaces, and making us aware of the connection between them. This house is full of small but varied spaces. Moon-Hoon present a new way of creating space that Korean architecture has missed or has not yet experienced, and he demands that we read spaces in an altogether new way. To wish that this experiment extends to the exterior space is to support him, not to express a lament for something missing. On my way out of the front door, I saw a structure engraved with the shape of a human body which reminded me of a Procrustean bed. It evoked mirth, and I felt transported, as if my head had been cut clean off.

 First Floor Plan

一层平面图