架构师提供的文本描述。这栋房子的概念来源于“星期日”的概念。我过去经常和客户见面，星期天我们一起工作，所以我想要一间像音乐一样轻松的房子，待在周日的下午。

Text description provided by the architects. The concept for this house came from the idea of ‘Sunday’. I used to meet the client and we would work together on Sundays, and so I wanted a house with a relaxed atmosphere like music for a Sunday afternoon.

 © Youngchae Park

杨泽公园

这座房子位于光州(韩语为“光明之城”)，这是韩国第五大城市，也被称为“艺术之城”，也是光州双年展的所在地。这座房子的客户是一位70多岁的著名艺术家，他以处理“家庭”概念的现代主义风格绘画而闻名。

The house is situated in Gwangju (meaning ‘City of Light’ in Korean), which is the fifth biggest city in Korea, also known as the ‘city of art’ and the location for the Gwangju Biennale. The client of this house is a renowned artist in his 70s, famous for his modernist style paintings that deal with the concept of ‘family.’

 © Youngchae Park

杨泽公园

为了在距首尔300公里的光州会见客人，我过去每周日早上都乘快车，午餐时间左右到达。我会在穆登山的山坡上漫步，然后回到市中心开会。当我在朝鲜大学(Chosun University)附近的一家自助餐厅喝咖啡时，我会倾听客户和他的熟人的意见-两位退休教授和一位就在退休前的教授，他们看起来就像几年前上映的韩国电影“JeonWoochi”(JeonWoochi)中的“大师”。

To meet the client in Gwangju, 300km away from Seoul, I used to take an express bus every Sunday morning and arrive around lunchtime. I would stroll around Mudeung-san’s hillside and return downtown for the meeting. While drinking a cup of coffee in a cafeteria near ChoSun University, I would be all-ears to the opinions of the client and his acquaintances – two retired professors, and one just before retirement, who looked like ‘gurus’ from the Korean movie ‘JeonWoochi’, released several years ago.

 © Youngchae Park

杨泽公园

无论什么时候坐快车，我都会坐在前面，听传统的韩国音乐“gayageum san-jo”，持续3个小时。圣乔是19世纪末出现在这个国家的一种新的音乐风格。这是一个持续了近500年的乔森王朝衰落的时期。阶级制度正在瓦解，一个取代封建制度的新时代的呼声正在高涨。因此，三乔是一种健康的音乐风格，它反映了人们的社会意识和时代本身。而其他传统的韩国音乐则是为了仪式或仪式，因此把功能放在情感之上，圣乔强调作者的主观解释和情感，将人类的情感和思想融入到音乐中。

Whenever I ride the express bus, I would sit at the front and listen to ‘gayageum san-jo’, traditional Korean music, for 3 hours. San-jo was a new music style that emerged from this country at the end of the 19th century. It was a time when the Joseon dynasty that lasted for almost 500 years, was in decline. The class system was dismantling, and a call for a new era that would replace the feudal system was surging. Therefore, San-jo is a healthy music style which reflects the social consciousness of the people and the time itself. While other traditional Korean music was for ceremonies or rituals and therefore putting function over sentiment, San-jo stresses the writer’s subjective interpretation and feelings, incorporating human emotion and thoughts into the music.

 © Youngchae Park

杨泽公园

圣乔的旋律以缓慢的节奏开始，并变得越来越快，直到我的耳朵变得舒服，我睡着了。旋律和我看到的土地交织在一起，应该建在上面的建筑就像在梦中一样来到我身边，当我到达首尔的时候，我用缓慢而轻松的最后一曲唤醒了我。我认为这座房子应该像圣乔，它的简单性包含了三维的多样性，当一个人越来越深入地进入这个空间时，就会显示出持续的空间流动。

The melody of San-jo started in a slow tempo and got faster and faster, until it became comfortable to my ears and I fell asleep. The melody mingled with the land I saw, and the building that should be built on it came to me like in a dream, and I woke me up with the slow and relaxing finale by the time I got to Seoul. I thought that the house should resemble San-jo, whose simplicity contains three-dimensional diversity, showing continuous spatial flow as one goes deeper and deeper into the space.

 © Youngchae Park

杨泽公园

这是我第一次参观这座山，尽管我从远处看过它。光州和穆登三有一个特殊的意义，不仅仅是一个城市和周围的山。虽然它的坡度大多是平缓的，但穆登山的坡度是1，187米，对于一座与大城市接壤的山来说，这是非常高的。由于它大部分是由岩石组成的，所以这座山曾经被称为“泥盆子”，意思是“圣石”，但由于受到汉字和佛教的影响，它变成了“木东”。在穆登桑的西山坡上，几十个石柱一排排地矗立着，这是相当不寻常的景象。穆登山是一座奇特舒适的山；类似于伊日三，但不像这样泥泞，体面但不像首尔的布坎三那样固执。它将温柔的呼吸吹入痛苦之中。

It was my first visit to the mountain, though I have seen it from a distance. Gwangju and Mudeung-san have a special meaning more than just a city and the mountain that surrounds it. Although its slope is mostly gentle, Mudeung-san is 1,187m, which is very high for a mountain bordering a major city. Because it is mostly made of rocks, the mountain used to be called ‘Mudol-san’, which means sacred stone, but it changed to ‘Mudeung’, since it was affected by Chinese characters and Buddhism. The sight of Mudeung-san’s west hillside, where dozens of stone columns are standing in a row, is quite unusual. Mudeung-san is a strangely comfortable mountain; similar to Jiri-San but not muddy as such, decent but not as stubborn as BukHan-San in Seoul. It blows gentle breath into one’s pain.

 © Youngchae Park

杨泽公园

有一次，我走进陆地，环顾四周，感觉周围的群山在互相搂着肩膀，好像他们在做声乐练习。这片土地都是一小撮泥土和杂草下的石头，富丽堂皇的岩石悠闲地躺在地上。Mudeung San特有的黑色、棱角状的岩石，无动于衷地盯着来来往往的人，陆地两边的小溪汇合在一起。我不确定Mudeung-San的土地的确切位置，但感觉上和伊日山中部的Silsan-sa很相似，除了比例尺。一棵古老的杏树矗立在这片土地的中央，西边是一座山脉的8座山峰，这些山峰似乎是沿着一条直线走来的，这是客户非常喜欢的。在西部野地上，有许多像兽人战士一样忙碌的葡萄干动物

Once I stepped into the land and looked around, I felt like the surrounding mountains were putting their arms around one another’s shoulders, as though they were doing vocal exercises. The land was all stones under a handful of soil and weed, and unctuous rocks were lying on the ground leisurely. Black, angled rocks, peculiar to Mudeung-san, were staring indifferently at people who were coming and going, and small streams on both sides of the land converged with each other. I wasn’t sure about the exact location of the land in Mudeung-san, but it felt similar to Silsang-sa in the middle of Jiri-san, except for the scale. An old apricot tree was standing in the middle of the land, and to the west were the 8 peaks of a mountain range that appeared to be walking in a line, which the client liked so much. There were numerous crape-myrtles bustling like Orc warriors on the west field.

 © Youngchae Park

杨泽公园

这位年轻时买下这片土地的老艺术家，一有时间就来这里，看西边的山脉，仿佛在听圣乔的歌。30年后，他终于做出了建房子的决定。建造一座15平房(49.5m2)花了这么长的时间，而且建造过程也非常困难。

The old artist, who bought this land when he was young, used to come here whenever he had time, to look at the range to the west as if he was listening to San-jo. He finally made a decision to build a house after 30 years. It took such a long time to build a small house of 15 pyeong (49.5m2), and its process was extremely difficult as well.

 Site Plan 01

工地图则01

这座房子的主要用途是：第一，绘画；第二，观赏西边的山；第三，艺术家满意地观看他的妻子、儿子、女儿和孙子；第四，观看保护这片土地多年的美丽的杏树；最后，观看房子所在土地旁巨大岩石的周围。除了积极的绘画之外，所有的原因都是被动的。“看”是这所房子的主要节目。因此，房子的质量有一个简单的计划，包括一个工作室和起居室，一个卧室，和一个厨房，连接两个空间，并连接到外面的甲板。

The main purposes for this house are firstly for painting, secondly for watching the walking mountains on the west, thirdly for the artist to watch with contentment his wife, son, daughter, and grandson, fourthly for looking at the handsome apricot tree that has been protecting this land for years, and last of all for beholding the surroundings of the huge rock next to the land where the house sits. Except for painting, which is active, every reason is passive. The act of ‘seeing’ is the main program of the house. Thus, the mass of the house has a simple plan, comprising of a studio-cum-living room, a bedroom, and a kitchen that bridges the two spaces and connects to the outside deck.

 © Youngchae Park

杨泽公园

这座房子的主要景观当然是向西方的8座山峰走去。一开始，出于习惯，我把西边的窗户缩小了，在南面放了一扇大窗户，以避开午后的刺眼，但喜欢西边景色的客人强烈反对，所以我决定在西边放一扇大窗户。虽然内部是紧凑的，我安装了口袋一样的甲板到处在外部，以适应不同的用途，连接到内部。入口轴线的设计，使古老但结实的杏树和石榴树，回忆起贾科梅蒂的作品，被插入到彼此的场景中，就像两种不同的尺度在进出时相遇一样。

The main view of this house is of course towards the 8 peaks walking together in the west. At first, from habit, I reduced the size of the window on the west side and put a large one on the south side so as to avoid the harsh afternoon sun, but the client, who favors the west view, strongly opposed, and so I decided to put a large window on the west side with confidence. Although the interior is compact, I installed pocket-like decks here and there on the exterior to accommodate diverse uses connected to the interior. The axis of entrance was designed so that the apricot tree, old but strong, and the pomegranate tree, which recalls the works of Giacometti, would be inserted into each other’s scene, as if two different scales were meeting whenever one enters or exits.

我认为前院的岩石是下面一块巨大岩石的小尖，所以房子就是“岩石上的房子”。在建筑过程中出现了许多岩石，而且由于禁止将Mudeung-San的岩石带到任何其他地方，所以我和客户花了一些时间才找到解决方案。最后，我们把一棵巨大的松树放在背景中，客户自己放了石头，就像他在画布上画画一样。

I considered the rock in the front yard to be the small tip of a huge rock underneath, so the house would be ‘the house on the rock’. Numerous rocks came out during construction, and since it was prohibited to take the rocks of Mudeung-san anywhere else, it took some time for me and the client to figure out a solution. Eventually, we put a huge pine tree in the background and the client himself placed rocks as if he was painting on a canvas.

 North Elevation 01

北海拔01

总之，这个项目只不过是坐在山坡上的一所小房子上，那里的岩石散落着。客户克服了童年的困难，成为一名成功的艺术家，他认为家庭成员和朋友之间的联系是最重要的。这也许就是为什么站在Mudeung-San中心的岩石-一片只看就能让人们快乐的土地-看起来就像成年的孩子。房子就像他们一样，锚定在坚硬的地面上，就像一块一直在那里的石头。

To summarize, this project was nothing but sitting a small house on a hillside where rocks are scattered. The client, who has overcome childhood hardships and become a successful artist, thinks the bond between family members and friends is the most important. That may be why the rocks standing in the middle of Mudeung-san, a land that makes people happy just by looking at it, look like grown-up children. The house is standing just like them, anchorined on the hard ground, like a rock that has always been there.

 South Elevation 01

南海拔01