© Kyungsub Shin

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架构师提供的文本描述。松原艺术中心所在的布川是少数几个受强烈发展浪潮影响较小的地区之一，自50年代以来一直在席卷韩国。城市景观是建立在一个不规则的街道网络的基础上，在这一地区，韩佳是主导的建筑类型。

Text description provided by the architects. Buk-Chon, where Songwon Art Center is located, is one of the few areas that were less affected by the heavy wave of development has been sweeping through) Korea since the fifties. The townscape is based on an irregular network of streets that weave through the area, where Han-Ok is the dominating architectural typology. 

在过去的10年里，Buk-Chon看到了很多的热议，主要是因为公众对传统的城市景观产生了新的兴趣。韩式房屋(传统的韩国房屋)再次成为人们敬佩的对象，许多商业/文化企业也被引入该地区，以利用这一设置。在这一社会背景下，人们一致认为，该地区的任何新发展本质上都面临着同时保护现有价值并以新的方式对现有价值作出贡献的挑战。

During the past 10 years Buk-Chon has seen lots of buzz primarily caused by the newfound interest of the public on the traditional townscapes. Han-Oks(traditional Korean houses) have become a subject of admiration again, and many commercial/ cultural businesses have been brought into the area to take advantage of this setup. In this social context, it is consensual that any new development in the area intrinsically faces the challenge to simultaneously conserve existing values, and contribute in a new way to what already is. 

 © Kyungsub Shin

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毫不奇怪，随着我们的项目，我们面临许多限制和条件，是固有的网站。设计开发过程花费了不寻常的时间，因为我们既不希望这个项目成为对限制的妥协，也不希望仅仅是上下文义务之间的协商。该设计是对参数进行优化的结果，是对周围环境的敏感反应，同时也是发展严格逻辑的结果。

Not surprisingly, with our project we faced numerous restrictions and conditions that were inherent to the site. The design development process took an unusual amount of time – as we neither wanted this project to become a compromise to the restrictions nor a mere negotiation between the contextual obligations. The design is a result of optimizing the parameters, sensitively reacting to the surrounding and simultaneously developing a rigorous logic. 

一个预先确定的形状，该遗址是一个不规则形状的一块土地，大约297㎡的大小，坐在一个入口位置的布克-Chon地区时，接近市中心。相邻的两条道路相交于一个尖锐的角度，主干道向工地倾斜。这些情况给了这个小情节一个异乎寻常的很强的认知度。

A Pre-determined Shape The site is an irregularly shaped piece of land, roughly 297㎡ in size, sitting in an entrance location to the Buk-Chon area when approached from the city center. The two adjacent roads meet in a sharp angle, with the main street sloping up towards the site. These situations give this small plot an unusually strong recognizability. 

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建筑物的聚集在很大程度上受到两个条件的限制-地块的形状决定了建筑物的规划，毗邻的文化遗址尹博孙宫决定了建筑的立面与景观保护的关系。被困在这些限制性边界内的体积只能容纳地面上最大可建筑面积的三分之二左右(最大建筑面积的90%)。允许150%远)。因此，许多展览项目必须位于地面以下.

The massing of the building is largely limited by two conditions – the shape of the plot determined the plan of the building, and the adjacently located House of Yoon-Bo-Sun, a cultural heritage site, determined the elevation of the building to be cut in an angle in relations to sightline conservation. The volume trapped in these restrictive borders could only contain roughly two thirds of the maximum buildable floor area above ground (90% out of max. allowed 150% FAR). Therefore, much of the exhibition program had to be located below ground-level. 

由此产生的建筑物是地下三层和以上两层。底层两层为展览空间，半地下B1层为停车场，顶层为商业餐厅等社会功能场所。

The resulting building is three floors below ground level and two floors above. The bottom two floors are used as an exhibition space, the semi-underground B1 level as parking, and the top two floors house a commercial restaurant and other social functions. 

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结构-安静杂技与现场的另一个条件是停车要求-7个地点需要在小区内提供。要满足这一条件，唯一的办法是指定一个半地下水平，通过使用飞行员计划从地面进入。我们必须想出一个结构方案，同时允许我们在相对较小的场地内安装所有的东西，同时也可以把大楼抬起来。通过将两个三角形的墙做成引航员结构，形成半个金字塔，我们还能够容纳入口和楼梯，进入地下的主要空间，在结构元素内。

Structure - Silent Acrobat Another condition with the site was the parking requirement – 7 spots needed to be provided within the plot area. The only way to suffice this condition was to designate a semi-underground level that is made accessible from ground level through the use of a piloti scheme. We had to come up with a structural scheme that simultaneously lets us fit everything within the relatively small site and also lift the building up. By making the piloti structure out of two triangular walls, forming half a pyramid, we were able to also house the entrance and staircase leading into the main space below ground within the structural element. 

除倾斜屋面外，地面上的质量一般表现为一组严格水平或垂直的混凝土平面，形成坚硬的壳状整体结构。然后，弥撒在前面提到的“半金字塔”的一边平衡，另一边有一个倾斜的柱子。这种构图可以让建筑物被看作是一种“无声的杂技表演”，稍微浮在地面上-同时又保持在离它很近的地方。

With the exception of the sloping roof, the aboveground mass is generally represented in a set of strictly horizontal or vertical concrete planes, forming a hard shell-like unibody structure. The Mass is then balanced on the aforementioned ‘half pyramid’ on one side, and a leaning column on the other. This composition allows the building to be seen as performing a ‘silent acrobatic act,’ slightly floating above ground – while still staying close to it.  

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眩晕时刻，两个窗口在角落的部分，建筑物可以看作是两个程序分开的停车场-社会功能的餐厅上面，和展览空间下面。当行人靠近工地的尖角时，其中一个会遇到两个亚克力窗户，每个窗户会显示这两个空间中的一个-顶部是一个弯曲的无缝窗口，上面是7-11米高的空间，金字塔底部有一个三角形的窗口可以显示下面8米的空间。当建筑物的整个高度(约19米)突然出现时，造成了突如其来的眩晕。

Vertigo Moment, Two Windows at the Corner In section, the building can be seen as two programs separated by the parking area – the social function of the restaurant above, and exhibition spaces below. As the sharp corner of the site is approached by pedestrians, one encounters two acrylic windows each revealing one of these two spaces – a curved, seamless window to the top, revealing the 7-11m high space to the above, and a triangular window within the base of the pyramid reveals the 8m space below, resulting in a sudden unexpected moment of vertigo as the entire height of the building (some 19 meters) suddenly presents itself. 

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两种光条件-两种主要体积-它们处理照明条件的方式不同。地下空间需要提供不同的照明条件，这取决于它所在的展览的要求，因此灵活性是必不可少的，而且系统在很大程度上依赖于人工照明。例外情况是在展览空间的入口处，前面提到的三角形天窗通过向垂直空间提供自然光使进入顺序戏剧化。人们可能会认为天窗是从下面看到的物体，但在这种情况下，三角形窗口会把游客当作地面上的一个开口来迎接，然后在我们进入画廊的时候，把它的特征转变为天窗。我们认为这是一个充分的，令人惊讶的方式开始画廊的经验。

Two kinds of Light Conditions The two main volumes differ in the way they deal with lighting conditions. The underground volume needs to provide varying lighting conditions depending on the requirements of the exhibitions it houses – thus flexibility is essential, and the system relies heavily on artificial lighting. The exception is made in the entrance to the exhibition space, where the previously mentioned triangular skylight dramatizes the entry sequence by providing natural light into the vertical space. One may think of a skylight as an object that is looked at from below, but in this case the triangular window greets the visitors as an opening in the ground and then later changes its identity into a skylight as we descend into the gallery. We think of this as an adequate, surprising way to begin the gallery experience. 

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地面上的社交/餐厅空间的墙壁大多是实心的-除了少数狭小的狭缝和小窗户外，它们的设计目的是提供通风和一定的视野。这里的主要照明来源是天窗，它占据了倾斜屋顶的很大一部分-这是对邻近建筑的文化遗产规定的回应。天花板是由3层钢构件-天窗框架，结构和百叶窗-每一层是不同的方向，以扩散照明效果。天窗本身是由三层玻璃和嵌入一层膨胀钢网，这有助于初级阳光过滤过程。

The walls of the social/ restaurant space above ground are mostly solid – with the somewhat limited exceptions of a few slits and small windows that were devised to provide ventilation and some amount of view towards the outside. The main source of lighting here is the skylight that takes up a large portion of the sloped roof – a response to the cultural heritage regulation from an adjacent building. The ceiling is composed of 3 layers of steel components – skylight frame, structure and louvers – each of these layers are oriented differently for a diffused lighting effect. The skylight itself is made of triple glazed panes with an embedded layer of expanded steel mesh which aids the process of primary sunlight filtering. 

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钢百叶窗系统适用于餐厅和展览空间的天花板，尽管用途不同。如果安装屋顶百叶窗以控制日光，地下室天花板百叶窗将为人工照明系统增加灵活性。这种以不同方式使用同一个百叶窗系统的姿态也是为了让这两个空间产生视觉一致性。展览空间有抛光的混凝土地板和白色的墙壁，而更多的社交餐厅空间保持了自然暴露的白色混凝土作为其成品表面。这两个空间共享一个有点低调的材料和色彩方案，但微妙的变化，根据空间的功能。

The steel louver system is applied to the ceilings of both the restaurant and exhibition spaces, albeit for different purposes. If the roof louvers were installed to control the daylight, the basement ceiling louvers were to add flexibility to the artificial lighting system. This gesture of using the same louver system in different ways was also to have the two spaces create a visual coherency. The exhibition space has a polished concrete floor and white walls, whereas the more social restaurant space keeps the naturally exposed white concrete as its finished surface. The two spaces share a somewhat understated material and color scheme, but vary subtly according to the functions of the spaces. 

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默默无闻，但不熟悉的快乐墙是由客户建议，我们使用的材料，由一个特定的钢铁制造商-谁也是松原文化基金会的重要支持者。这家特殊的钢铁公司拥有将各种颜色和图案辊到轧制的镀锌钢板上的技术。这些产品通常被用作价格合理的外部饰面，通常采用面板的形式。在金属公司的帮助下，我们能够应用一种类似于混凝土或可能风化的锌的定制化的表面处理，在某种程度上是痛苦的。该涂饰是在辊印过程中进行的，然后将这些彩色镀锌板折叠，切割成5种不同宽度的V形槽，宽度为3~7cm，增量为1cm。这些通道将建筑物的外部包裹成一排完全高度的垂直条带，由五种不同宽度组成的随机阵列组成。没有水平断裂，这种外观处理给人一种幻想，被铸造成一个单一的部分，而不是几个较小的装配。其意图是使建筑物被视为一个模棱两可的整体。

Silent, but Unfamiliar Pleated Wall  It was suggested by the client that we use a material manufactured by a specific steel manufacturer – who is also an important supporter of Songwon Culture Foundation. This particular steel company has the technology to roll paint various colors and patterns onto rolled galvanized steel sheets. These products are commonly used as a reasonably priced exterior finishes, normally in a panel format. With the help of the metal company we were able to apply a customized finish that resembles concrete or perhaps weathered zinc, in somewhat of a distressed tone. This finish was applied through the roll printing process and then these coloured Galvanized sheets were folded and cut into V shaped channels of 5 different widths – ranging from 3 to 7cm in 1cm increments. These channels wrap the exterior of the building forming a row of full height vertical strips, in a randomized array of the five different widths. Absent of horizontal breaks, this exterior finish gives an illusion of being casted in a single piece, rather than being an assembly of several smaller pieces. The intention was to have the building perceived as an ambiguous monolithic mass. 

由此产生的褶皱纹理，再加上建筑平面图的各种边界条件-有直线和圆形部分-以一种不可预测的方式与自然照明条件发生反应，掩盖了外部的物质性和建筑结构。在这里，这座建筑变得“寂静但陌生”。

The resulting pleated texture, combined with the varying boundary conditions of the building plan – having straight and rounded portions - reacts with the natural lighting conditions in an unpredictable way and obscures the materiality and construction of the exterior. Here the building becomes ‘silent but unfamiliar.’

Architects Mass Studies

Location Seoul, Korea

Category Visual Arts Center

Architect in Charge Minsuk Cho, Kisu Park

Design Team Zongxoo U, Yoonhwan Kim, Youngjoon Chung, Joungwon Lee, Daeun Jeong, Hyunjung Kim, Sanghoon Lee, Songmin Lee

Area 0.0 sqm

Project Year 2012

Photographs Kyungsub Shin