架构师提供的文本描述。笔者怀疑，传统与现代文化交汇的道路，以及这条道路的起点与终点同时相交的地方，可能就是因萨通道。在这条道路上，文化行为是多种多样的，在这种文化行为向其他地方分散和聚集的过程中，产生了一种新的文化。它真的需要非常谨慎地创造另一个看英山通，那里的传统放置在一条道路的框架，就像一根树枝和异国情调是混合在一起的。很可能，这种谨慎可能是因为担心，创造一种印沙东的新面貌可能会影响整个因萨冬人对逝去的日子的回忆，也可能会影响隐私的价值，就像一种遗迹，。但笔者认为，这种谨慎是对印沙东被解读为在传统与现代的交界处被解读为一条路径的可能性的一种挑战，而不是整个因萨通的混合形象。

Text description provided by the architects. This author suspects that the road where tradition and modern culture join, and the place where the beginning and end of this road simultaneously intersect may be the very Insadong. On this road is diverse cultural behavior being done and a new culture is set off in the course of such cultural behavior’s scattering and gathering to other places. It really required a lot of cautiousness in creating another look at Insandong where the tradition placed in the framework of a road just like a twig and exotic looks are mixed. Probably, such cautiousness might be attributable to the fear that creating a new look of Insandong might cause an impact on the memories of the close by-gone days shared by the whole Insadong and value of privacy like a vestige, but this author would say that such cautiousness is rather a challenge to the possibility of the partial look of Insadong being read as a path attempting at the point of contact between tradition and modern times separately from the mixed image of the whole Insadong.

 © Kim & Park

© Kim

多尔西奈是在我们自己传统的基础上，通过重新诠释来设计日常服装的地方。换言之，多尔西奈是一家文化企业，在传统本质上对现代的日常生活进行了新的尝试。Dolsilnai这个词是指由Jeonla-do的GoKseong的Seokgok村生产的最好的特种麻布的名称，或者是麻布的编织技术。因此，给出的品牌的“风貌”和词根成为了创造新面貌项目的线索，这个项目组提出了四个初步方向的可能性：首先要做的是了解现有结构和建筑物的历史，但由于1968年建筑物竣工而剩馀的数据不足，通过对印沙东地区所有建筑物的实际重新测量绘制一张地图和进行结构模拟是必不可少的。

Dolsilnai is the place which designs everyday wear through its re-interpretation on the basis of our own tradition. In other words, Dolsilnai is a cultural business making a new attempt at dailiness of modern times on the essence of tradition. The word Dolsilnai means the name of the best specialty-hemp cloth- produced by Seokgok village of GoKseong, Jeonla-do, or weaving technique of the hemp cloth. Hereupon, the given ‘placeness’ and word root of the brand became a clue to the project of creating a new look, and this project team set up the possibility of 4 initial directions as follows: The first thing for us to do was to understand the history of the existing structures and buildings, but with the insufficiency in remaining data due to the completion of buildings in 1968, it was indispensable to draw a map by actual re-measurement of all buildings in the area of Insadong and to do structure simulation as well.

 © Kim & Park

© Kim

第二，由于每层建筑面积较小(建筑面积53平方米，总建筑面积约191平方米)，与拟提出的方案的多样性和可变性相比较，有必要对方案进行调整。第三，在把所有的建筑都设置为一个项目的情况下，必须反映项目的品牌形象，同时需要根据品牌特有的故事进行叙事。最后一件事是在应用重新组合法对建筑材料的选择所产生的建筑立面和物理性能进行重新组合时，考察不同外观随时间变化的可能性，这是本项目的核心部分。

Second, it was necessary to readjust the program due to the smaller size of the floor area of each floor[ Building area 53 sqm, total floor area: about 191 sqm ] in comparison with the diversity and variability of the program to be proposed. Third, in case of setting up all buildings as one program, it was necessary to reflect the brand image of the program and at the same time a narrative was required on the basis of the story unique to the brand. The last thing was to examine the possibility of changes in diverse looks by time in time of applying the re-composition method to be applied to building elevation and physical properties consequent on selection of materials, which part was the core of this project.

 © Kim & Park

© Kim

我们不能排除，我们的城市可能会在不知不觉中退化为一座无名的城市，这是由于盛行的外表所产生的观念认同，而不是通过不分青红皂白的重复和西方趋势的暂时传播而产生的影响。建筑外观的决定并不容易，尤其是在结构翻新的情况下，因为应该同时根据所要求的新程序和内部空间同时产生对皮肤的响应。

We cannot exclude the probability that our urban area might degenerate into a faceless city unawares consequent on ideational identity incurred by prevailing outward appearance with no difference through indiscriminate duplication and the influence of the Western trend spreading temporarily. It’s not an easy job to decide on the outward appearance of architecture, i.e. skin, especially in case of renovation of structures because there should be simultaneous production of the responses to the skin based on the new program to be demanded and to the internal space.

此外，修缮的最小范围还包括通过拆下结构的一部分来形成与皮肤的关系，以克服现有结构造成的固定境界的限制，或仅对建筑皮和内涂饰材料进行简单的改动。然而，这里要提到的要点是对现有结构部分(柱和梁)的动机进行另一次观察的工作。换言之，建筑的方法在于重新组合，即通过拆掉结构周围的现有盖层，重新调整与新表皮的关系，并将现有结构的一部分暴露出来，就好像结构形式是由新皮组成的。

In addition, the minimum scope of renovation also includes the formation of relations with the skin by tearing down a part of a structure in order to overcome the limit of a fixed realm due to the existing structure, or simple changes in only the building skins and interior-finishing materials. However, the main point to be mentioned here is the work of creating another look on the motive of the existing structural part( column and beam). In other words, the architectural method lies in Recomposition, i.e. resetting the relations with the new skin by tearing down the existing covering surrounding the structure and exposing a part of the existing structure as if the structural form were to be composed of a new skin.

 © Kim & Park

© Kim

本文从已具有物理性能孔隙的材料中选取了一块砖，其目的是以隐喻的方式表达织物纬经形成的过程及其形状。积砖法是一种集时间和精度于一体的砌体方法，即使在砌筑过程完成后，砌体的物理性能长期变化也是缓慢的。我们的项目组由于这些物理属性的一些特性而决定了一块砖。

This author selected a brick among the materials already having the porosity of a physical property itself with the aim of expressing the process of forming the weft and warp of fabric and its shape metaphorically. The brick-laying method connoting cumulation requires temporality and precision at the same time, and physical properties of a brick is slow in their change for a long time even after the completion of brick-laying process. Our project team decided on a brick for reason of some attributes of such physical properties.

此外，我们项目组也提出了一些堆叠方法。一般来说，砌体法对积砖的独立支撑高度有一定的限制，因此还需要详细的结构框架作为辅助手段。有一种不现实的替代办法，也有克服某些堆垛方法对垂直高度的限制的选择。

In addition, we, the project team, proposed some stacking methods. Generally, the brick-laying method has a limit to the independently supportable height in cumulating bricks, so we also needed the detailed structural frame as a supplementary means. There were an unrealistic alternative and also the option to overcome the limit to vertical height out of some stacking methods.

 © Kim & Park

© Kim

然而，我们的项目团队开始关注由堆叠引起的孔隙度的重新组合，而不是寻找一种新的替代堆叠方法的方法。换句话说，项目组能够根据密度所产生的成分得到高程的变化，同时通过在高程上叠加已设定的孔隙率的方法来调整孔隙率，而不是平面排列的方法，同时，我们的团队将织物的形成过程及其形状进行了隐喻化。

Nevertheless, our project team came to focus on Recomposition of porosity caused by stacking rather than looking for a new alternative to the stacking method. In other words, the project team was able to get a change in elevation by the composition consequent on the density while adjusting the porosity ratio by the method of stacking the already-set porous pattern on the elevation other than the method of flat arrangement, and at the same time, our team came to metaphorize the process of fabric formation and its shape.

 © Kim & Park

© Kim

作者个人认为，孔隙度的高程比玻璃性能所用的标高更透明。根据我们的研究，高程开始变得更加透明，而相同尺寸(1.8mx1.8m)的空洞重复填充了有限的两侧，或正面和右侧的高度。这一空白是一种皮肤透明度的策略，而不是一个具有主要功能的开口的特征，如阳光照明、视图和通风，同时也是通过暴露现有结构部件-梁和柱的形式来与新皮肤重新组合的另一个孔隙。

This author personally thinks that the elevation by porosity is more transparent than the elevation to which glass properties are applied. According to our research, the elevation began to get more transparent while the void of the same size(1.8mx1.8m) repetitiously was filling up the limited two sides, or a facade and the elevation on the right side. This void is a strategy for skin transparency other than the character of an opening having primary functions, such as sun-lighting, view and ventilation, and also another porosity for recomposition with a new skin by exposing the forms of the existing structural parts-beam and column.

 © Kim & Park

© Kim

空间宽度和长度1.8米的选择是基于高度组合原则，考虑到最大尺度的最小隐私，使观察人的多样化行为成为可能。此外，随着三种模式(开孔率分别为0%、50%和100%)的应用，由于堆垛法的结果，出现了多种多孔结构的重新组合。

The choice of the void 1.8 meters in width and length was based on the principle of elevation composition in consideration of the minimum privacy with the maximum scale which makes it possible to observe people’s diverse behavior. In addition, there came to be spawned the recomposition of diverse multi-pores with the application of the three patterns(opening ratio of 0 percent, 50 percent and 100 percent) to the void as a result of the stacking method.

人们寻找适合自己身体的各种衣服。有时，他们会意识到，由于身体的大小或其他原因而产生的不适感就像他们自己的身体一样，在不知不觉中，衣服和身体就变成了一个整体。此外，衣服包裹身体，与身体一起呼吸。建筑和男装完全一样。就像在人体骨架上穿不同形状的衣服一样。在我们居住的城市里，所有匿名的建筑都存在，穿着适合自己身体的衣服，有时穿宽松的衣服。

People look for a variety of clothes that fit their own body respectively. Sometimes, at the moment they realize that the discomfort from superfluousness and lessness in size or something is felt just like their own body unawares, clothes and body become oneness. In addition, clothes wrap the body and come to breathe together with the body. Architecture is quite the same with men’s clothes. It comes to wear the clothes of diverse forms on the structure like a human skeleton. All anonymous structures in the city we are living exist wearing the clothes that nicely fit their own body or sometimes wearing loose fitting clothes.

 © Kim & Park

© Kim

在这里，建筑师有时要把不同的衣服放在现有的框架(翻新)除了做一个新的框架(新的建筑)。这座位于广东196-3号的建筑，经过40多年的努力，一直在更换衣服，同时坚定地照顾着英山东路的一个拐角处。这位拥有文化关怀和激情的建筑业主在设计现代化服装时，以我们自己的传统日常服装“多尔西奈”为基础，希望他的建筑能翻开新的一页，成为多尔西奈服装柜台的一个地方。

Here, an architect sometimes does an act of having to put different clothes on the existing frame( renovation ) besides the act of making a new frame( new construction ). This building, located at 196-3, Gwanhoondong, has been changing clothes a few times while firmly taking care of a corner of the Insandong road for over 40 years. The building owner, who has cultural concern and passion while designing modernized wear on the basis of our own traditional everyday wear called Dolsilnai, wished his building to turn over a new leaf as a place for Dolsilnai clothing counter & another different cultural space.

编织麻布技术的词根路径与确定这座建筑的表皮和内部的线索有关，织物的多孔性和灵活性等特性被传统的砖和桦树所取代。骨瘦如柴的骨架，或长时间隐藏在其他衣服之外的结构，是在同样大小的虚空中显露出来的，这样才能得到新的身体结构，而不是新的皮肤，而更多的是赋予它的价值。同一孔洞(1.8mx1.8m)的整体高程组成是另一个孔隙度，这意味着铺砖方法的原始性和织物隐形修补的形式。

The path of the word root of the skills in weaving the hemp cloth is linked to the clues determining the skin and interior of this building, and the fabric’s properties, such as multi-pores and flexibility were replaced by a traditional brick and birch tree. The skinny skeleton, or structure hidden from other clothes for a long time was revealed on the void of the same size to get to have a new body structure, rather coming to assume the value more than a new skin. The overall elevation composition of the same void(1.8mx1.8m)is the other porosity, and connotes primitiveness of the brick-laying method and forms of invisible mending of fabric.

 © Kim & Park

© Kim

编织麻布技术的词根路径与确定这座建筑的表皮和内部的线索有关，织物的多孔性和灵活性等特性被传统的砖和桦树所取代。骨瘦如柴的骨架，或长时间隐藏在其他衣服之外的结构，是在同样大小的虚空中显露出来的，这样才能得到新的身体结构，而不是新的皮肤，而更多的是赋予它的价值。同一孔洞(1.8mx1.8m)的整体高程组成是另一个孔隙度，这意味着铺砖方法的原始性和织物隐形修补的形式。

The path of the word root of the skills in weaving the hemp cloth is linked to the clues determining the skin and interior of this building, and the fabric’s properties, such as multi-pores and flexibility were replaced by a traditional brick and birch tree. The skinny skeleton, or structure hidden from other clothes for a long time was revealed on the void of the same size to get to have a new body structure, rather coming to assume the value more than a new skin. The overall elevation composition of the same void(1.8mx1.8m)is the other porosity, and connotes primitiveness of the brick-laying method and forms of invisible mending of fabric.

毕竟，通过服装和身体的统一过程，我们的工作变成了让一个结构与周围的景观一起呼吸的过程，以及一个结构转变为一个物体的景观。

After all, through the process of becoming oneness between clothes and body as POROSCAPE, our work becomes the one for getting a structure to breathe with surrounding landscapes and for the landscapes of a structure’s change into an object.

 © Kim & Park

© Kim