hat 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.
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.
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.
‘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.’
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
W
THE MAIN LIVING ROOM,
WITH ARTWORKS BY
TEO YANG, KIBONG RHEE
AND JULIAN OPIE, AND
FURNITURE BY TEO YANG
AND PIERRE JEANNERETto 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. ‘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.’
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. 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.’
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. »∑ 231
In Residence