This project begins by comparing the approaches to spatial division in the Van Wassenhove House by Juliaan Lampens and the Asama House by Atelier Bow-Wow. How did each architect divide the living space in these two projects? While the Van Wassenhove House forms an elemental concrete shelter centered on a primary vertical circulation core, the Asama House establishes a natural shelter through a primitive pitched roof structure with hanging walls that echoes the topography of Mount Asama. Rather than surrendering to pure functionalism, both architects seek to secure the autonomy of form and space, suggesting an ambiguous spatial hierarchy through the use of structural primary elements within a free plan.

Architecture achieves spatial autonomy through the subtle observation of daily behaviors. Rather than prescribing functions and dividing the floor plan, the design begins by closely observing the typology of everyday life and human routines. This study investigates how the morphological characteristics of an existing building - its rectangular pitched-roof steel structure, cold metal textured staircase, and wide translucent skylight - can be repurposed when transitioning from a car repair shop into residential architecture. The wide spanned steel structure for a column-free space, the stainless steel staircase for efficiency and circulation, and the generous ceiling height combined with translucent polycarbonate skylights that once provided even lighting for comfortable work are reborn into a newly transformed, truly cozy home.

Inspired by the spatial dynamics and monumental phenomenology of Richard Serra, this pavilion precisely calibrates scale and enclosure. As visitors move through the site, dramatic shifts in sightlines deliver an ever-evolving, highly dynamic, and immersive experience along the pedestrian journey.

To generate the initial surface, Galapagos—a Genetic Algorithm-based evolutionary solver in Grasshopper—was utilized to derive optimized geometries under specific constraints. The algorithm was formulated to maximize the total pathway length while precisely preserving the site's existing trees.

For digital fabrication, a custom parametric workflow was developed using GH Python. By inputting the initial surface alongside parameters such as timber element dimensions, pattern logic, and aperture ratios, the entire timber assembly is generated automatically, fully integrated with structural analysis. The timber members form a reciprocal structure that behaves as a unified, continuous surface. Furthermore, the structural joints and connection details have been comprehensively embedded into the parametric workflow.

From a structural perspective, the design operates on the sophisticated principle of interlocking elements, transitioning from discrete parts to a unified whole. Because the individual members interlock with precision, they work collectively to act as a single, cohesive, and continuous surface. This structural behavior can be likened to the mechanics of a bent piece of paper. through strategic folding and curvature, a planar surface gains inherent stiffness, allowing it to stand entirely on its own without the secondary supporting frames.

In Korea's older commercial and residential areas, semi-basement levels are widely prevalent. Originally built for humidity control and storage for the ground floor, subsequent legal amendments permitted their commercial use, leading to a surge of available semi-basement spaces. Although often avoided due to poor natural light and ventilation—resulting in lower rental costs—this project aims to leverage these distinct spatial characteristics to revitalize the space. A slightly lowered eye level offers a novel perspective. By framing this external view, it creates a dynamic element that acts as a living artwork within the interior space.

Addressing the inherent limitation of low natural light in a semi-basement was an essential challenge. The direct sunlight, available only in specific zones, served as both a constraint and a pivotal design feature. In areas receiving direct daytime light, glass blocks scatter the sunlight, transforming the partition wall itself into a luminaire. Furthermore, the unique shadows cast by the glass blocks bring a sense of rhythm to the grid pattern formed by the tiles.

Site area: 34,049 m² · Gross floor area: 141,549 m² · 29 storeys above ground, 2 basement levels · 773 units

High-rise residential buildings—especially apartment towers with repetitive unit plans—can feel overly massive when rising up to 29 stories. Without facade articulation, a volume measuring 40 meters in length and 80 meters in height appears excessively bulky. The goal of this facade design is to visually lighten the mass through balanced proportioning, while creating a rhythmic elevation through color variation—ultimately enhancing the urban landscape and elevating the market value of the complex.

The form of this building is defined by the user. The existing structure merely provides a overall framework, while the detailed massing is shaped by the users. Residents can select block types according to their preferences. The remaining spaces outside the formed residential blocks generate the facade of the 'Street in the Sky.'

To promote the proximity of work and residence, the project is arranged by juxtaposing two distinct volumes: a residential mass and an office mass. Just as one navigates various streets during a conventional long commute, residents traverse between these two masses via a 'street in the sky.' This floating street naturally forms a community space, where each section exhibits varying levels of spatial complexity depending on its location and method of connection.

One-way connection: the community space connects to only the residential or the office volume. Each moderately active zone takes on the character of the volume it serves. Two-way connection: the community space connects both volumes, creating one active, continuous circulation route. No connection: the absence of a linking community space separates the volumes and preserves privacy in each zone.

Digital fabrication will be essential to the future of construction. Traditional construction methods alone cannot address shrinking labor forces or deliver cost-effective building solutions. Consequently, physical AI must be integrated into the built environment. Furthermore, this proposal imagines and explores the future of architecture by incorporating biotechnology into spatial systems.

1. Steel plate · 2. Existing concrete slab · 3. Insulation · 4. Steel profile · 5. Vertical mullion anchor · 6. Steel beam · 7. Horizontal mullion · 8. Semi-rigid insulation · 9. Ceiling finish · 10. Existing column · 11. 10 mm linen strands · 12. Anchor · 13. Floor finish · 14. Steel angle · 15. Concrete cover

Conventional mourning, often reduced to empty rituals and symbolic facades, fails to evoke a genuine emotional connection with the deceased. True remembrance requires a spatial condition where the mourner can actively recall memories through an intimate interaction with the departed. Stepping out of the everyday realm, the visitor enters the space as if visiting the "House of the Dead." This journey into a transitional world strips away daily distractions, allowing the mourner to fully immerse themselves in the act of grieving. The next world, a counter-site centered on the act of mourning, must possess spatial characteristics distinct from those of the reality.

The creation of an unconventional space starts by breaking away from the typical architectural elements and routinal functions. A floating structure, an uneven floor that follows the topography, and fragmented shapes intentionally disrupt horizontal and orthogonal perception. This discontinuous, sensory friction awakens our senses, ultimately establishing an effective counter site that detaches the user from conventional routines.

1. Visitor centre 2. Memorial shop 3. Antechamber of transition 4. Hall of ashes 5. Prayer chamber 6. Mausoleum 7. Ritual space 8. Memorial garden

The existing space was a dark and confined basement layer. Despite its tight footprint, it featured a relatively high ceiling height, which paradoxically emphasized the horizontal narrowness of the interior. This sketch demonstrates a layout strategy designed to resolve the restricted floor plan with an efficient circulation path, while establishing a balanced spatial proportion from a sectional perspective.

The name 'Big Moon' was chosen by the client, inspired by a university liberal arts course titled 'Big Bang to Civilization.' The client wished to embody this identity directly within the space. Beyond evoking the literal imagery of stepping onto the moon, the design reflects the conceptual dualities embedded in the name. To capture this contrast, the project juxtaposes light, warm timber with heavy, cold cement, creating a subtle dialogue between opposing material characteristics.

The ceiling installation was fabricated using MDF panels finished with a thin timber veneer. Because the project required self-construction rather than professional installation, a triangular polygonal geometry was adopted to efficiently accommodate construction tolerances. This geometric logic allowed for natural gaps between panels without demanding precise parallelism. Furthermore, it effectively controlled the inherent bending characteristics of the material, resulting in a smoothly curved form.

This project was executed entirely hands-on, encompassing every stage from initial design to final construction. By maintaining direct involvement throughout the entire process, it was possible not only to minimize overall costs but also to achieve a significantly higher level of construction quality and detail precision.

Small craft businesses and the traditional market have shaped everyday life in Yongdu-dong. As redevelopment brings in new residents, the project asks how a community facility can do more than gather people in one place: it can help them discover shared interests. A centre for a fixed group becomes an open setting for exchange between communities.

Exchange between communities requires more than rooms enclosed by clear walls. Rather than removing boundaries, the project makes their perception change continuously. Light superimposes brass frames on glass, while reflection and transparency overlap as the viewer moves. Instead of opening towards a distant landscape like a conventional outdoor bath, this bath draws its atmosphere from the courtyard and its ambiguous edges.

Time and movement are added to boundaries defined by lines, planes and volumes. Reflections and refractions in glass and water shift with the position of people and changing light. Three assemblies explore different depths and visual effects: double-layered flat glass, double-layered fragmented glass and tilted single glass.

A new mass strengthens the courtyard within the existing building, and the space is divided into three zones. A thick outer wall creates a sense of enclosure. Between two layers of glass, overlapping reflections form the most fluid zone. The thin innermost boundary opens towards the courtyard, allowing an outdoor experience from within a protected interior.