According to host director Jung Seok-won, the space was completely reconstructed only for the purpose of hosting guests. Instead of eliminating all of the living spaces such as kitchens, washing machines, closets, and warehouses, most of the space was devoted to bedrooms, bathrooms, and lounges appropriate for space's needs. My first time using accommodation, there were many things I wanted to add, but Z-Lab, who was in charge of the design and supervision, made a great deal of effort to remove them. Having met a group of young architects called Z-Lab, I was able to realize a hanok that met the conditions that I had planned and imagined. It is true that I would not have thought of tearing up and repairing the hanok in Seochon without the assistance of Z-Lab. Before the renovation, the building had the framework of a hanok, but it had been renovated in a variety of ways at the convenience of residents, and the yard had disappeared and the walls of the building had become red brick walls. During the restoration of the Korean food fence, the yard and hanok gate were brought back to life. There were two considerations in the Korean food fence. The first connection pertains to the exterior view of the alley from the street. The house facing right on the left was a very well-maintained hanok, so it was designed to blend seamlessly with the hanok wall. In order to achieve visual connectivity, the fence height was adjusted equally and the tile decoration was connected at the same interval. As a second view, the Korean food fence is seen as the background of the yard from the interior. In spite of the small size of the yard, the roof tiles that the host brought directly from Gojaesang were decorated between the roof tiles so that the yard could be seen from anywhere indoors without being boring. Similarly, the stone foundation is primarily made of the same square-shaped sandstone and finished with joints, which is familiar because it is commonly used, but I chose a different technique because I thought it was boring. In this method, stones of different sizes are stacked without joints, and it appears that each stone bites the shoulders of the next, making this a more solid "shoulder hanging" method. It was fortunate that I was able to meet a mason who had been familiar with this technique for a very long time, and it was a very difficult technique. In his heart, he holds the words he spoke to himself while working. A fence is the final part of the Hanok. Below the side floor of the yard, there is an L-shaped stone platform, which was originally located when the house was constructed. For decades, the foundation stone was buried in the ground at the convenience of tenants in order to expand the indoor space by roofing the yard and installing a boiler, however, the stone was preserved during construction. In addition to the stylobate stone, a jjokmaru was placed above it, and its shape was attracted to the lounge, which has the main entrance. The indoor floor serves as a table and a long chair as well as separating the lounge space from the bedroom space. In spite of the wooden hanok's vulnerability to sound insulation (which reduces sound pressure from a specific sound source outside or inside to prevent it from entering the sound receiver), it did take into account the sound insulation performance of the ceiling and walls. Using soundproof Tongchang, Tongchang was also able to reduce the noise level of most recording rooms to 25 dB. From a friend who studied Korean pavilions, the host remembered that a baekilhong (also known as baekilhong because red flowers bloom for 100 days in midsummer) worked best with the Korean traditional fence. He planted it harmoniously with the landscape at Dusong Place.

The lounge space where the guest greets the first guest and faces the guest is the space that I put my heart and soul into, as Kyung-rok Roh, CEO of Z-Lab, stated. Since the hanok frame has such a strong tradition, I suggested to the builder that he wear shoes in the lounge in order to blend the Western style without adhering to its tradition, which he readily accepted. The builder gave us a detailed explanation of the project prior to its start. There is no advanced civilization that has been created without active exchange and communication, and they aimed to create a space of hospitality for such communication and exchange, and I wished to interpret in Z-Lab what such a space of hospitality might be. In what sense is the hospitality space defined? Nowadays, what constitutes the space of hospitality in Korea and Seoul has become a very important keyword and starting point. The locality of Seochon served as a reminder of our lives and those of our ancestors, and Sarangbang was created by our ancestors as a means of exchanging aesthetic or cultural taste among themselves. Our nuclear family in modern life naturally lost such space as we moved into an apartment and became a nuclear family. In my opinion, such a lifestyle is engrained in modern Koreans who are completely separated from their families. As the space of life is in the city center or in an apartment, the lounge was designed with the objective of facilitating the creation of their own love rooms. For this reason, it approached the concept of a Western-style hotel lounge rather than a natural toenmaru and daecheongmaru, in order to create a Korean lounge and blend a modern lifestyle into it. As a guest entering a Western hotel and enjoying the lounge, all elements and gods are important to the manner, posture, and elements; however, their design is influenced by Korean and Asian colors, details, and gods. The remodeling projects that Z-Lab has done so far consider it important to add new elements while reviving the location and building characteristics of the existing space, and take it as a crucial process to tell a story based on them, in contrast to other projects in the case of Hanok Essay. In order to determine how much of the original hanok remained, much of the damaged part of the existing residential hanok had to be removed. Demolition was performed first, and then the work was restarted after it was determined how far the parts that were added to the modern era had been removed. In addition to making the existing hanok more traditional than other hanok projects, it was reorganized in terms of its floor plan and program. The first demolition of a hanok causes me a great deal of anxiety, but the wooden structure was stronger than I had anticipated, so I was able to save the existing wooden structure. The existing hanok was covered with metal roofing, and I thought traditional tiles would work well in it (though I thought I could do it without changing them), but they were completely replaced during construction. There was a proper mixing of the tiles. As an example, Amkiwa, which plays a major role in solving leaks, uses Shin-giwa, a traditional tile produced today, and Sukiwa, which is often seen outside, was constructed with meat tiles. It was my opinion that the hanok, which was made in this manner, was the perfect way to solve the function in a natural and modern manner, while taking into account the passage of time. As a whole, I envisioned the lounge as being a dark and focused space, but I wanted to give a new experience when the light faded. It appears that the owner and the designer in charge, Ga-ram Choi, formed the idea for the long window made of glass blocks. In view of the fact that the house faces the sunset, it is very dark as the building does not light up at sunset. In order to convey the light coming from the back, we came up with the idea of using a glass block with a subtle texture rather than a regular window. By design, light enters in an oblique manner and falls gently and deeply. There is a good balance between light and shadow in this photograph. Light also has an interesting story to tell. As water is received in the bathtub, the light is reflected on the wall, creating a new way to utilize light. It was surprising to see the light shake unintentionally, as I did not know it would be perceived that way.