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无情的现代化席卷了整个韩国，沁入到了环境的每一个角落，曾经美好的自然景观变得越来越稀少。Lee Oisoo画廊的基地位于Hwacheon的深山中，这里未经开发，空气清新，湛蓝的天空和清澈的湖水远近闻名。建筑旨在保留这些理想的景色，与自然相和谐，并成为自然的一部分。

The relentless modernisation in Korea is far reaching and all encompassing, descending into the deepest recesses of unscathed landscape. Traditionally celebrated natural scenes are few and far between. Our site, a deep mountain near Hwacheon, is well known for its untouched land, the purity of its air, the clarity of its waters and its deep dark sky. Preservation of this idyllic landscape is sought by an architecture that acts in harmony and becomes part of this natural phenomenon.

▼建筑外观，顺应地形，融于自然之中，external view of the gallery, following the topography of the site, becoming part of the nature

建筑师顺应基地的地形，让画廊依据独特的地理条件，消隐于景观之中。建筑中收藏了Oisoo的全部作品，空间的宽度被控制在4米，没有设置普通画廊中常见的宏伟展厅，为作家小尺度的艺术作品创造了最适宜的展示空间。画廊中部为一个形状不规则的庭院，让人们可以沿着清晰而又连续的参观流线绕行一周的同时，亲身体验地势的起伏。环形的通路上设有可做为工作坊和放映室使用的小剧场，网络信息亭以及一个陈列了大量Oisoo私人物品的展区。庭院静谧，人们可以从开窗中一窥建筑内繁多的功能区域，获得片刻休息。

Resulting from a clear intent to preserve the topography of the site, Lee Oisoo Gallery gently disappears into the landscape, following the unique site conditions. Hosting entire range of Oisoo’s work, the gallery distinctively responds to the inherently small scale of his pieces by the adoption of spaces 4 meters in width, rejecting notions of large grandiose spaces so commonly used in gallery design. An asymmetrical courtyard is placed in the center of the proposal, allowing for a clear, continuous circulation around the gallery while creating the opportunity to physically experience the level change inside. This circular path unfolds to host a number of functions including: a small theatre for workshops and film screenings, a kiosk for internet use and an exhibition space displaying a vast collection of Oisoo’s personal belongings. The courtyard is intended to be quiet, subtle and allow the facilitation of multiple programmes becoming in essence a space inside a space.

▼入口，entrance

▼展区，空间宽度为4米，适应作品尺度，exhibition space, where the width is 4m, responding to the small scale of the art works

▼庭院，从窗户可以一窥室内景象，courtyard, through window various programmes could be seen

▼从开口可以感受自然，nature could be felt from the opening

▼屋顶顺应地形，高低不一，roof in different levels according to the topography

建筑的初衷是通过对环境谨慎的干涉，创造一个亲密的框架，让自然中的光和风能够充分被使用者感知。在建筑最高的部分画廊和周边优美的自然环境结合在一起，进一步强调了建筑与自然的关系。设计让二者平行共存，自然生生不息，空间亦随之展现出丰富的样貌。

The architecture present is intended to become an intimate frame, a carefully sculpted human intervention, allowing the perception of light and wind change to be fully experienced. This is further articulated by the provision of a space at the highest end of the building that is used to combine the experience of the gallery with the surrounding natural beauty. Thus by seeking to draw a parallel between the two, this space can be used to pause and reflect upon the continually changing nature.

▼庭院夜景，night view in the courtyard

▼总平面图，site plan

▼平面图，ground plan

▼立面图，elevations

▼剖面图，sections

Location: 792 Damong-ri, Sangseo-myeon, Hwacheon-gun, Gangwon-do, South Korea
Status: Built
Year of design/completion: 2009
Use: Exhibition hall
Gross floor area: 850㎡
Structure: Reinforced Concrete
Photographer: Hwang Wooseop

Drawings: BCHO Architects Associates
English text: BCHO Architects Associates
Chinese text: gooood

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