An 18th-century mortar stone filled with greenery takes centre stage in the courtyard. The back wall features horizontal black lines, an update of a traditional Korean motif. Photography: Yoon Suk Sim

What hutongs are to China, hanoks are to Korea. These clusters of traditional low-rise family houses have evolved over centuries, tailor-made to the cultural and climatic needs of their particular territory. In recent decades, though, they have been rapidly disappearing to make way for modern developments.

中国的胡同是什么，汉诺克斯是韩国人。这些传统的低层家庭住宅经过了几个世纪的演变，对其特定领土的文化和气候需求作出了调整。然而，近几十年来，它们迅速消失，为现代发展开辟了道路。

Among Seoul’s urban mix of scales and styles, few hanoks remain intact after the city experienced – like many of its Asian counterparts – a century of wars and rapid urbanisation. As a result, a historic wooden hanok house is an extremely rare property to own, and the old, upscale neighbourhood of Bukchon is one of the few examples of hanok clusters still around.

在首尔规模和风格的城市组合中，在经历了长达一个世纪的战争和快速城市化之后，几乎没有什么人能像许多亚洲同行一样，一成不变。因此，一座历史悠久的木制汉诺克房屋是一处极其罕见的房产，而旧的高档街区布克尚是为数不多的哈诺克集群的例子之一。

Savvy locals know that when the opportunity comes up to buy a hanok – or land within a hanok cluster – it’s a once-in-a-lifetime project. So when Seoul-based designer Teo Yang was approached by a client with a plan to rebuild a hanok in Bukchon as a modern home, he understood the importance of working with such precious architectural heritage.

精明的当地人知道，当机会来购买一个汉诺克-或土地在一个汉诺克集群-这是一个千载难逢的项目。因此，当首尔的设计师Teo Yang接到一位客户的接洽时，他意识到了与这些珍贵建筑遗产合作的重要性。

An Artek pendant lamp and chairs in the dining room, where a ‘moon’ window offers a view of Downtown Seoul. Photography: Yoon Suk Sim

餐厅里有一盏Artek吊灯和椅子，一扇“月亮”窗可以看到首尔市中心的景色。摄影：尹秀辛

‘Even though Korea has lost much of its heritage over time, the studio’s goal is to find innovation and space based on our tradition,’ he says. ‘And hanoks are a key source of inspiration, where we can bridge present and past, especially in a country where forward-thinking and cutting-edge development is celebrated. I believe preservation and further study of hanok houses are crucial to keep our original local spirit alive.’

他说，尽管随着时间的推移，韩国已经失去了很多传统，但该工作室的目标是在我们传统的基础上找到创新和空间。“而且，在我们可以将现在和过去联系起来的地方，特别是在一个以前瞻和前沿发展为荣的国家，手足之躯是一个重要的灵感源泉。”我相信，保存和进一步研究汉诺克民居，对于保持我们原有的本土精神至关重要。“

The project involved reconstructing a hanok that once sat on the site but was demolished in the early 2000s. The client, a businessman, property developer and keen art collector, spotted the plot in Bukchon and jumped at the opportunity. His aim was to use the land to build his own contemporary home, while maintaining the old structure’s footprint and traditional Joseon dynasty style. ‘The client wanted to enjoy the tradition, but made it clear that he did not want to live in an 18th-century house,’ says Yang.

该项目涉及重建曾经坐在现场但在21世纪初被拆除的Hanok。客户，一个商人，房地产开发商和敏锐的艺术品收藏家，在布克川发现了这一阴谋，并跳过这个机会。他的目的是利用土地建造自己的当代住宅，同时保持旧建筑的足迹和传统的约瑟夫王朝风格。“客户希望享受这个传统，但很清楚他不想住在18世纪的房子里，”杨说。

A desk area in the basement lounge. Photography: Yoon Suk Sim

地下室休息室的办公桌区。摄影：尹秀辛

‘We had to create a space where tradition and present coexist. So we generated a very distinctive design for the two different floors, creating a traditional atmosphere for the upper floor, and a more Western, modern atmosphere for the lounge downstairs.’

我们必须创造一个传统和现在并存的空间。因此，我们为两层不同的楼层设计了非常独特的设计，为楼上创造了一种传统的氛围，为楼下的休息室营造了一种更西式的现代氛围。

The central courtyard is one of the most prominent areas of the house. As is traditional, the space is an extension of the ground floor, blending indoors and out. Here, Yang gave history a modern twist, steering clear of the customary heavily decorated courtyard doors and opting for clean, floor-to-ceiling glass openings, highlighting the visual connections between the interior and the outdoors.

中央庭院是房子最显眼的地方之一。作为传统，空间是一楼的延伸，室内和室外的融合。在这里，杨给了历史一个现代的转折，方向盘避开了传统的装饰密集的庭院门，选择了干净的，地板到天花板的玻璃开口，突出了室内和室外之间的视觉联系。

This transparency brings in natural light, and also encourages self-reflection, says Yang. ‘Confucius believes that the house is a reflection of its owner. By looking at one’s house, one gets the chance to think about one’s own behaviour and by having full-height transparent glass windows, the house allows its dweller to look at it from all angles.’

杨教授说，这种透明度带来了自然光，也鼓励了自我反思。孔子认为，房子是其主人的一种反映。通过查看一个“家”，人们有机会思考自己的行为，并通过拥有全高度透明玻璃窗，房子允许居民从所有角度看待它。”

A reading room was added off the courtyard, as a nod to the historical ‘men’s quarter’, a part of the house where Joseon dynasty nobility would retire to study, write poetry and relax. The remaining rooms surrounding the courtyard on the ground floor include a study, a master bedroom, an open-plan kitchen and dining area, a bathroom, a living room and the entrance foyer. The basement contains a media lounge, a wine cellar, a walk-in wardrobe and a garage.

院子外增加了一间阅览室，以示对历史上的“男装区”的赞许，这是乔森王朝贵族退休学习、写诗和放松的地方之一。一楼庭院周围的其余房间包括书房、主卧室、开放式厨房和就餐区、浴室、客厅和门厅。地下室有一个媒体休息室，一个酒窖，一个步入式衣柜和一个车库。

Expert artisans were employed to carry out the house’s intricate woodworking – and everything, from treating and drying the timber to the final, meticulous sizecutting and joinery work, was done by hand.

专家工匠被雇来做房子里复杂的木制品-从木材的处理和干燥到最后的精细筛分和细木工，一切都是手工完成的。

The main entrance hall. Photography: Yoon Suk Sim

正门大厅。摄影：尹秀辛

The architect also favoured more traditional finishes and detailing where possible, such as using handmade black and patterned tiles when constructing the garden walls, leatherwork for the door handles, and flower motif-decorated doors, all produced by specialist carpenters.

建筑师也倾向于更传统的装饰和细节，如在建造花园墙壁时使用手工制作的黑色和图案的瓷砖，门把手的皮革制品，以及由专业木匠生产的花纹装饰的门。

The owner’s personal art collection, ranging from historical Korean earthenware dating from 5AD to a painting by Julian Opie, is carefully framed in various parts of the house. The crown jewel, a series of abstract Dansaekhwa paintings from the 1970s, is located on the lower level, where celebrated minimalist Korean artist Lee Ufan’s painting From Line also hangs.

主人的个人艺术收藏，从历史上的韩国陶器可追溯到公元5年，由朱利安奥皮的一幅画，是仔细地框在房子的各个部分。皇冠上的宝石是上世纪70年代一系列抽象的丹萨埃克瓦绘画，位于较低的层次，著名的极简主义韩国艺术家李乌凡的画作也悬挂在那里。

Offering a balanced blend of Korean history and modern comforts, this hanok’s rebirth is a rare treat – and part of a growing trend among Seoul’s culture-savvy crowd. Yet, simply owning a hanok is not enough to truly bring this architectural legacy back to life, cautions Yang. ‘It is important to know and study the originality of the hanok and respect its roots before renovation starts,’ he says. An approach he has followed to the letter in his Bukchon masterpiece. §

在韩国历史和现代舒适的平衡融合下，韩的重生是一种难得的享受-也是首尔文化精英群体日益增长的趋势的一部分。然而，杨警告说，仅仅拥有一张手工艺品还不足以让这一建筑遗产重新焕发生机。他说，在装修开始前，了解和研究汉字的原创性并尊重其根源是很重要的。他在布奇翁的杰作中对这封信所遵循的一种方法。§

As originally featured in the October 2018 issue of Wallpaper* (W*235)

如2018年10月号“壁纸”*(W*235)

阅览室里，一幅以孔子高尚价值观为基础的墨镜装饰着书法，站在一副芬恩·朱尔的“读书”椅子后面，一幅以孔子的崇高价值观为基础的墨镜装饰着书法，站在一副芬恩·朱尔(Finn Juhl)的“读书”椅子后面。

主客厅由TeoYang、KibongRhee和JulianOppie以及TeoYang和皮埃尔Jeanneet的家具组成，由TeoYang、KibongRhee和JulianOppie以及TeoYang和皮埃尔Jeannet的家具组成。