Concept

미술관이자 집인 구 하우스만의 독특한 컨셉은 건축가 조민석의 매스스터디스를 만나 ‘하나이면서 여러가지인’ 공간으로 표현되었습니다.
대지와 평행한 50m 길이의 직선 복도, 건축물과 개울 사이의 장방형 마당을 기준으로 시작되는 건축물은, 직교 체계의 평면 구성에 사선 혹은 곡선의 벽들을 평면 외곽에 도입하고 외부적으로는 직선과 곡선, 내부적으로는 직각과 예각, 둔각의 코너와 오목하거나 볼록한 공간들을 만들어내 상자형의 중립적 전시 공간들 속에서 의외적 변수로 표현되며 다양한 공간 경험을 유도합니다.
외부 공간에서 경험되는 건물은 여러 방향, 각각의 주변과 어울려 다채롭게 반응하면서도 동시에 하나의 조형적 덩어리로 존재합니다.
개울에 접한 부분에서 건물의 매스는 자연스럽게 그늘이 있는 쉼터를 만들고, 반대편의 잔디 정원에서는 단단하게 선 수직면이 식재와 야외 예술품의 배경이 되기도 합니다.
다양한 형태의 벽면들을 감싸는 픽셀레이션(pixellation) 방식으로 쌓여진 벽돌들은 무수한 각도에서 평평함과 거칠음을 가진 외부 표면을 만들어 빛의 방향에 따라 끊임없이 변화하며, 구 하우스의 ‘하나이면서 여러가지인’ 성격을 한층 고조시킵니다.

The unique concept of KOO HOUSE -a ‘Living with art’- meets Cho Minsuk(AIA) of Mass studies and completed as a space ‘One-but Many’.
This ‘house-museum,’ neither ‘private nor public,’ is located between ‘city and nature,’ on the fringe of Yangpyeong.
First, imposed is a straight line along the length of the entire site, with a stream to the front, flowing parallel to a ouble height central hallway.
Between the stream and the hallway is a sizable yard. These ‘indoor and outdoor’ spatial elements act as the basic framework.
With the 50m hallway and the bordering yard as the base line, what starts out as a gridded plan begins to free itself from this order as a series of obscurities are imposed on the Cartesian logic.
To take full advantage of the ‘visual and spatial’ conditions and the irregularities of the immediate context, diagonals and curved exterior walls are introduced along the periphery.
The configuration of the interior walls create ‘obtuse, acute, and right’ angled corners and ‘concave and convex’ spaces mix with neutral, box shaped volumes, as well as unexpected spatial conditions, but ultimately allow for one continuous experience.
Variables of the interior spatial qualities, ‘wide or narrow,’ ‘high or low,’ ‘light or dark,’ further enrich the experience of the exhibition spaces.
From the outside, the building is experienced as one sculptural object, adequately reacting to the various conditions of its surroundings.
Along the building mass on the stream side are lightly floating horizontal elements, and adjacent to the green yard the building rises vertically, anchored to the ground, becoming the backdrop for vegetation and outdoor artworks.
In addition, the walls, in a variety of directions and shapes, are wrapped in a single-direction, pixilated, bricks in a myriad of ‘flat and rough,’ a textural spectrum constantly in flux to further heighten the ‘one-but-many’ nature of the building.

Concept

미술관이자 집인 구 하우스만의 독특한 컨셉은 건축가 조민석의 매스스터디스를 만나 ‘하나이면서 여러가지인’ 공간으로 표현되었습니다.
대지와 평행한 50m 길이의 직선 복도, 건축물과 개울 사이의 장방형 마당을 기준으로 시작되는 건축물은, 직교 체계의 평면 구성에 사선 혹은 곡선의 벽들을 평면 외곽에 도입하고 외부적으로는 직선과 곡선, 내부적으로는 직각과 예각, 둔각의 코너와 오목하거나 볼록한 공간들을 만들어내 상자형의 중립적 전시 공간들 속에서 의외적 변수로 표현되며 다양한 공간 경험을 유도합니다.
외부 공간에서 경험되는 건물은 여러 방향, 각각의 주변과 어울려 다채롭게 반응하면서도 동시에 하나의 조형적 덩어리로 존재합니다.
개울에 접한 부분에서 건물의 매스는 자연스럽게 그늘이 있는 쉼터를 만들고, 반대편의 잔디 정원에서는 단단하게 선 수직면이 식재와 야외 예술품의 배경이 되기도 합니다.
다양한 형태의 벽면들을 감싸는 픽셀레이션(pixellation) 방식으로 쌓여진 벽돌들은 무수한 각도에서 평평함과 거칠음을 가진 외부 표면을 만들어 빛의 방향에 따라 끊임없이 변화하며, 구 하우스의 ‘하나이면서 여러가지인’ 성격을 한층 고조시킵니다.

The unique concept of KOO HOUSE -a ‘Living House Museum’- meets Cho Minsuk(AIA) of Mass studies and completed as a space ‘One-but Many’.
This ‘house-museum,’ neither ‘private nor public,’ is located between ‘city and nature,’ on the fringe of Yangpyeong.
First, imposed is a straight line along the length of the entire site, with a stream to the front, flowing parallel to a ouble height central hallway.
Between the stream and the hallway is a sizable yard. These ‘indoor and outdoor’ spatial elements act as the basic framework.
With the 50m hallway and the bordering yard as the base line, what starts out as a gridded plan begins to free itself from this order as a series of obscurities are imposed on the Cartesian logic.
To take full advantage of the ‘visual and spatial’ conditions and the irregularities of the immediate context, diagonals and curved exterior walls are introduced along the periphery.
The configuration of the interior walls create ‘obtuse, acute, and right’ angled corners and ‘concave and convex’ spaces mix with neutral, box shaped volumes, as well as unexpected spatial conditions, but ultimately allow for one continuous experience.
Variables of the interior spatial qualities, ‘wide or narrow,’ ‘high or low,’ ‘light or dark,’ further enrich the experience of the exhibition spaces.
From the outside, the building is experienced as one sculptural object, adequately reacting to the various conditions of its surroundings.
Along the building mass on the stream side are lightly floating horizontal elements, and adjacent to the green yard the building rises vertically, anchored to the ground, becoming the backdrop for vegetation and outdoor artworks.
In addition, the walls, in a variety of directions and shapes, are wrapped in a single-direction, pixilated, bricks in a myriad of ‘flat and rough,’ a textural spectrum constantly in flux to further heighten the ‘one-but-many’ nature of the building.