숲속의 하얀집 2023.9

White house in the woods

 

 

 

 

건축주 부부는 답답하지 않고 환한 집을 갖길 원했으며, 기존 공동주택들의 실내구성과는 다른 부부만의 집을 원했다. 외부로 보이는 건물의 모습에 대해서는, 특별히 원하는 것은 없으나 단독주택이 모여 있는 동네 풍경에서 주변의 집들과 조금은 다른 모습이었으면 했다. 이야기를 나눠보니, 건축주의 답답하다는 애매한 말은 공간의 균질함에서 오는 지루함으로 정리되었다. 거실, 방, 주방이 각각 다른 공간의 크기를 갖고 있지만, 같은 높이의 같은 창으로 이루어져 변화가 없는 기존 공간에서 오는 일상의 지루함이었다.
경제적인 여건을 고려해 결정한 집의 크기는 1층으로 충분했으나, 평면적인 집에서 벗어나 공간의 변화를 더욱 풍성하게 느낄 수 있는 2층 집으로 제안했다.

둘째로 건축주가 이야기하는 환한 집은 채광이 잘 되는 집이었지만, 그 창에 나타날 풍경을 제안했다. 도시에서는 창을 만들면 다른 아파트가 보이는 것이 일반적이며, 그 풍경조차 다른 성격의 공간에서 같은 방식의 창을 통해 변화를 찾을 수 없다. 전원주택 또한 대부분의 창에 숲이 단순하게 투영된다. 다수의 창을 만들어 밝은 집을 만드는 동시에 창의 크기와 높이, 위치에 따라 들어오는 빛이 각각 다른 느낌으로 실내에 전달되도록 제안했다. 또한 원경의 산과 하늘이 액자처럼 보이는 창, 마당을 한눈에 볼 수 있는 넓은 창, 숲의 일부만 나타나 수채화 같은 느낌을 주는 창, 하늘의 구름과 나무 한 그루의 모습만 보이는 동양화 같은 창 등 모든 창은 각각의 이야기를 담도록 만들었다.
마지막으로 건축주가 원한 것은 주변 집들과는 다른 모습의 집, 자신만의 집이다. 건축주는 높다란 아파트의 창을 가리키며 “우리 집이야”라고 이야기하는 모습에서 벗어나, 거기 보이는 “어떠어떠한 집이 우리 집이야”라는 이야기를 하고 싶어 했다. 사람들에게 쉽게 인지되는 형태, 그 형태가 잘 조정된 비례를 가지고 집으로 인식되기를 바라며 우리는 아이콘 같은 집을 제안했다. 집의 형태는 박공지붕을 가진 박스로부터 시작됐다. 내·외부를 연결해 주는 창의 비례를 잡고, 너무 단순하지도 너무 복잡하지도 않을 만큼만 비례를 조정해나갔다. 조정된 매스의 틈으로 창을 두어 자연스럽게 빛이 스며들도록 하고, 내부는 공간의 크기를 변화시키며 다양한 공간감을 느낄 수 있게 했다.

아이콘 같은 집의 색은 대지를 처음 접할 때부터 흰색을 고려했다. 하얀 집은 여름과 가을, 초록과 붉은 배경의 숲 앞에서 그 형태가 더욱 선명해진다. 가을이 지나 겨울이 오면 집의 선명함은 서서히 옅어지게 되고, 하얀 눈이 덮인 설원을 배경으로 집은 풍경과 하나가 된다. 다시 봄이 시작되면 집은 서서히 모습을 드러낸다.

 

 

조감

남측 전경

동측전경

 

The clients couple desired a bright and airy home, distinct from the interior layouts of conventional residential complexes. While they didn't have any specific preferences for the exterior appearance of the building, they wished for their home to stand out slightly amidst the neighborhood of detached houses. Through conversations, it was revealed that the vague sense of confinement the homeowners felt could be attributed to the monotonous uniformity of the spaces. Although the living room, bedrooms, and kitchen each had different dimensions, the consistent height of windows and lack of variation in the existing design contributed to the everyday sense of monotony.
Considering economic factors, a single story house would have sufficed, but in order to introduce more diversity to the space, a two-story house was proposed to offer a richer spatial experience.
Secondly, the clients' desire for a bright home pertained to good lighting, but the proposed windows aimed to incorporate specific scenery. In urban environments, creating windows often results in views of other apartments, and even such vistas do not vary much when viewed through windows of other spaces with a similar nature. Similarly, countryside homes typically have simple forest views projected through their windows. To address this, multiple windows were suggested to introduce various types of light into the interior, each window offering a different view. The windows included ones that frame distant mountains and sky, wide windows that capture the courtyard at a glance, windows that display only a portion of the forest like a watercolor painting, and windows resembling traditional Eastern paintings with glimpses of clouds and a single tree. Every window was designed to tell its own story.
Lastly, the clients wanted a house that would stand out from the surrounding residences, one with its own distinctive identity. Moving beyond the conventional definition of "our home," the homeowners aimed to convey the message "our home is unique in this way." Seeking a form that is easily recognizable and proportioned well, an icon like house was proposed. The house's form started from a simple box with a gabled roof. Proportions were adjusted to create harmony between interior and exterior connections through windows. The mass was fine-tuned to ensure it was neither too simple nor too complex. Windows were placed within the gaps of the adjusted mass to naturally allow light to penetrate, and the interior was designed to vary in spatial dimensions to provide a sense of diversity.
The color of the icon like house was chosen to be white from the outset. A white house becomes even more distinct against the backdrop of a summer or autumn forest, with green and red hues. As fall transitions to winter, the sharpness of the house gradually softens, and against a snowy landscape, the house melds into the scenery. With the onset of spring, the house begins to reveal its form once again.

 

 

거실

주방/거실

가족실

 

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숲속의 하얀집 설계자 | 서한서 · 이영수 _ (주)건축사사무소 프로젝트 건축주 | 이수경 시공사 | 케이에스디자인 설계팀 | 양해영, 홍의호, 김기림 설계의도 구현 | (주)건축사사무소 프로젝트 대지위치 | 경기도 양평군 서종면 문호리 문호길 101-9 주요용도 | 단독주택 대지면적 | 645.00㎡ 건축면적 | 93.87㎡ 연면적 | 132.60㎡ 건폐율 | 14.55% 용적률 | 20.56% 규모 | 2F 구조 | 철근콘크리트구조 외부마감재 | Sto외단열시스템(미래앤스토 : Stolit K1.5, 로투산페이트),  창호(이건창호 : PWS70, EWS75), 벽돌타일 내부마감재 | 석고보드 위 수성페인트(벤자민무어: 스커프엑스 백색무광0%),  강마루(이건마루:Sera Flex143), 포세린타일,  가구(가구연구소엣지:제작가구) 설계기간 | 2022. 01 – 2022. 07 공사기간 | 2022. 11 – 2023. 07 사진 | 심성환  구조분야 | SDM 구조기술사사무소  기계설비분야 | 세원엔지니어링  전기분야 | 세원엔지니어링

White house in the woods Architect | YSeo, Hanseo · Lee, Youngsu _ Project Architects Client | Lee, Sookyung Construction | KS Design Project team | Yang, Heayoung / Hong, Uiho / Kim, Kilim  Design intention realization | Project Architectures Location | 101-9, Munho-gil, Seojong-myeon, Yangpyeong-gun, Gyeonggi-do, Korea Program | Residence Site area | 645.00㎡ Building area | 93.87㎡ Gross floor area | 132.60㎡ Building to land ratio | 14.55% Floor area ratio | 20.56% Building scope | 2F Structure | RC Exterior finishing |  Sto External insulation system(MIRAE N STO : Stolit K1.5, Lotusan Paint), Window(Eagon Windows : PWS70, EWS75), Tile  Interior finishing |  Water Paint finish above Gypsum board(Benjamin Moore : Scuff-X matt white paint 0%), Wood flooring(Eagon : Sera Flex143), Tile, Furniture(design edge : custom) Design period | Jan, 2022 - Jul, 2022 Construction period | Nov, 2022 - Jul, 2023 Photograph | Sim, Seonghwan Structural engineer | SDM Partners Mechanical engineer | Sewon ENG.