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Location: D1_ 18, Yulgok-ro, Jongno-gu, Seoul, Republic of Korea / D2_ 26, Yulgok-ro, Jongno-gu, Seoul, Republic of Korea Use Living Facility
Site area: D1_810.58m2 / D2_308.10m2
Built area: D1_469.80m2 / D2_184.44m2
Total floor area: D1_6,715.72.85m2 / D2_2,467.25m2
Floor: D1_B4F, 14F / D2_B4F, 11F
Structure: SRC
Height: 50.0m
Design period: 2016. 09 – 2018. 09
Construction period: 2018. 05 – 2020. 04
Architect: YoonGyoo Jang, ChangHoon Shin
Design team: Teakjun Oh, Wonjoon Yang, Minkyun Kim, Eunsol Ko, Jiyeon Woo, Ara Jo, Teakmin Kim, Sungjung Shin, Hwayoung Shin, Gayeon Lee, Inhoo Lim, Sangho Jung, Sanghyun Choi, Yooyoung Hwang, Din Nan, Sangji Han
Photographer: Jaeyoon Kim , Yong Su Kim
About UNSANGDONG Architects Cooperation
YoonGyoo Jang 
ChangHoon Shin
An architect group UNSANGDONG Architects Cooperation has formed with Professor Yoongyoo Jang and Chief manager Changhoon Shin as a key person, and they are an architect group who experiments with conceptual architecture to manifest the potential of architecture as cultural contents diversely.
Through communication in diverse fields like an architect group UNSANGDONG, gallery Jungmiso, UNSANGDONG publication, UNSANGDONG art, YOOEDI interior, etc., they tried to realize the architectural depth. Also, they’re doing various exhibitions and planning. Via UNSANGDONG, they are working as a leading architect who leads architectural experiments of Korean architecture.
In recent 2018, they awarded a Grand Prize of Seoul Architecture Award with ‘Sopoonggil Community’, and became a Winner of the Public Space Part in The Plan Award, which is a famous architecture magazine, with ‘Hannae Forest of Wisdom’, and at the same year, they awarded a Top Prize of the Seoul Architecture award and Completion Building part of the Korea Architecture Culture Award.
In 2017, ‘Hannae Forest of Wisdom’, has awarded the Korea Space Culture Award Street-Yard Prize(Minister Prize of Ministry of Culture, Sports and Tourism), Best 7 Architecture of the year(Korean Institute of Architects Prize), and a Grand Prize of Korea Public Architecture Award together. Besides, they have Awarded various prizes with Bogojae, University of Seoul landscape complex, Gallery YEH, etc., and were invited to guest lectures home and abroad, and they are expecting their activity as a worldwide architect.
The city of Seoul expresses the epitome of a complex city that is a cross between the present and the past. It shows the concurrence of the historical architecture of the palace, the mountain nature that originally existed, and modern architecture. It is a city that contains various aspects of life, programs that are different or incompatible, and natural urban elements at the same time.
The conflicting scene in Seoul can be seen as an important clue for finding the true nature of architecture. It is not simply a physical environment but has a variety of discoveries that question the essence of the mental identity that urban residents should have.
The Dohwaseogil Project, the government office in charge of paintings from the Choseon Dynasty, was the cradle and center of traditional Korean painting and had to overcome the conflict between its memory as a historical place and modern commercialized programs.
Through the Dohwaseogil Cultural Complex Center, we try to find the nature of architecture through the work of awakening disappearing original history. The disappearing original has a mythical code with a structure that is difficult to achieve and is different from the real world. Although Korean tradition has disappeared, it can be said to be the most important factor in its essence.
We tried to incorporate the composition of a landscape painting, which can be called a typical Korean tradition, into an urban structure.
Eastern style landscape paintings are to paint imaginary landscapes. If Western-style landscape paintings present nature as it is and are drawn to reflect reality, it is interesting to note that oriental landscape paintings are a representation of memories of looking at nature. It occurs in a painter’s imagination in the overlapping afterimages of erroneous codes for the object of nature.
This is not limited to serious reflection and achievements on environmental sustainability but is connected with the attitude for building a new utopia that links to the imagination.
The space of a landscape painting tries to reproduce the code of publicness that ordinary commercial spaces do not have. The ground level becomes an empty public space like a city plaza, a resting place for city residents, and an event area. The interior and exterior ramp spaces are continuous along the landscape painting skin.
It is the core of the pedestrian space that flows up and down the commercial space, and it contains various public programs that take place on the road such as exhibitions and breaks. As you climb along the ramp, you will find a public garden open to citizens. It becomes an observation plaza open to citizens to view Gyeongbokgung Palace from a different perspective.
It locates a public space in the middle of a building which cannot be done in expensive commercial spaces. Creating a public space where it can only be filled with private space can be a meaningful proposal.
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