农村的房子，或农舍很容易在乡下看到。然而，这些人工形式被不经意地放置在大自然中。南海、珍岛和平昌一带常见的定型农村房屋，为20世纪的韩国农庄设置了一道风景线。也许有人会说，当地的建筑商也是设计师，也是建筑商，这种制度在建造农村房屋方面是非常经济的。然而，我们拥有的大自然太美好了，不能只用相同的农村房屋来覆盖。贫穷的西方木屋和红砖房的幻想已经形成了韩国农村社区的典型形象。在不考虑无限的景观和竹林精神的情况下，红砖房成为农民的浪漫梦想，也成为建筑师的终极建筑目标。
Rural houses, or farmhouses are easily seen around countryside. However, these artificial forms are being placed here and there thoughtlessly in Mother Nature. A common stereotyped rural houses around Namhae, Jindo, and Pyeongchang have set a scenery of 20th century’s Korean farm village. One might say, the system of a local constructor also being a designer also being a constructor is extremely economical in terms of building rural houses. However, mother nature we have is too nice to only covered with identically produced rural houses. The fantasy of poor copied western wooden houses and red brick houses become formed a typical figure of Korean rural communities. Without any concern about an infinite landscape or a spirit of bamboo forest, red brick houses have become a romance dream for farmers, and an ultimate architectural goal for architects.
“在新房子里，希望我有家的感觉，并依附于它的周围环境，”在首尔拥有一家设计公司的客户问。他已经要求当地的木匠在他的家乡建造一座农村房屋，但结果却无法满足他的愿望。此后，每当他访问这个地方时，他都觉得退休后不喜欢住在那里。这座房子很简单，只有两个小房间，意在作为避暑别墅。然而，老实说，这个建筑已经超出了它的比例，不足以容纳南海的美丽风景。客户尊重景区本身的风景和敏感性。 他希望给他的房子一个独特的身份，能够与建筑所处的自然环境相协调。从城市的角度来看，这个项目是一个无偿的、不寻常的项目，可能是太多了。在一个舒适的春日，这个有趣的项目开始了。
“In the new house, wish I felt at home and attached to its surroundings,” the client who owns a design company in Seoul, asked. He had already requested a local carpenter to build a rural house at his hometown, but the result couldn’t fulfill his wish. Afterwards, whenever he visited the site, he didn’t feel like living there after his retirement. The house was simple with only two small rooms, which meant to be a summer house. However, to be honest, the building was out of its proportion and was not good enough to hold the beautiful landscape of Namhae. The client respected the scenic view and sensitivity of the site itself. He wanted to give a unique identity to his house that can harmonize with nature that the building put in. In urban point of view, this project was an unremunerative and unordinary one, may be too much. One cozy spring day, this interesting project started.
一条线产生另一条线。天线、山线、地线，都是绝对的线。新画的线意味着捕捉地球和天空与土地的融合点。归根结底，Cheo-ma可能意味着设定一条人类与上天交汇的线。它是人类对自然和天空的想象行动，同时也是对其地形之美的回馈。作为书法中强有力的一笔，Cheo-ma线条不对称地浓缩了线条的能量，同时重新设定了人类与自然之间的关系。Cheo-ma线是人类视觉化的宏伟抽象边界，也是揭示土地特性的工具。它用自己的线条拥抱土地，同时又将自己伪装在自然的山脊上。Cheo-ma的这种自相矛盾的两面性符合韩国的哲学，即和谐但不相同，相似但不同。它是我们的生命，也是线条所具有的美德。
A line produces another line. Sky-line, a line made by mountain-line, and land-line are all the Absolute’s line. Newly drawn line means capturing the earth and the point where the sky and the land merge. After all, Cheo-ma possibly means setting a line where mankind and above meet. It is a human beings’ imaginary action about nature and sky while responding back to the beauty of its topography. As a strong stroke from calligraphy, Cheo-ma lines asymmetrically condense the energy of a line while resetting the relationship between mankind and the nature. The Cheo-ma lines are magnificent abstract boundary that mankind visualized and also a tool to reveal the identity of the land. It embraces the land in its own line and disguises itself in the nature’s ridge at the same time. This paradoxical duplicity of Cheo-ma meets the Korean philosophy of being harmonious but not the same and being similar but different. It is our lives and the virtue that the line has.
它向一边弯曲。而它又会向另一个轴线弯曲。弯曲的钢铁本身含有能量。这种体现出来的能量是物质属性的内在力量，也是它的平衡点。我们用研磨机在弯曲的钢材上划出一条线。一个方形的钢管通过弯曲的表面翘起，好像马上就会爆裂。3维弯曲是一个通过在上面做线来暴露弯曲钢的性质的过程。在弯曲过程中，图纸上的数字可能是无用的。当我们试图进行三维弯曲时，二维弯曲值只是理论上的数字。工人的意识、不断的努力和无休止的试验来寻找曲线的真实身份，将是三维弯曲的唯一现实的解决方案。图纸只是一个基础数据，以减少试验和错误。它起源于一个人如何控制和传播物质属性的内化能量，这取决于制作者的长期经验和技能。利用热量，我们可以弯曲平坦的钢板，但方形的管道却拒绝被驯服。当我们强迫管道弯曲时，里面的能量就会被捕获。当我们把以前弯曲的力量再次弯曲到不同的方向时，Cheo-ma的线路就开始了。这是一个寻求物理力量和三维几何之间平衡之谜答案的漫长旅程。
It bends to one side. And it bends again to another axis. Bent steel contains energy in itself. This embodied energy is the inherent strength of property of matter and the point where it balances out. We make a line with a grinder on the bended steel. A square shape steel pipe warps through curved surface as if it will burst right away. 3 dimensional bending is a process of exposing the nature of bended steel by making a line on it. The numbers on the drawing might be useless during the bending. 2 dimensional bending values are only theoretical figures when we try to bend 3 dimensionally. Workers’ sense, constant exertion and endless trial to find the true identity of the curve will be the only realistic solution for 3D bending. The drawings are only a base data to minimize the trial and error. It originates from how one controls and spreads internalized energy of property of matter which depends on the maker’s long time experiences and skills. With the heat we can bend a flat steel plate, but a square shape pipe refuses to be tamed. As we force the pipe to be bent, the energy captured within. The line of the Cheo-ma starts from as we bend a previously bent force to a different direction again. It is a long journey of seeking an answer to a mystery of balancing between physical force and three dimensional geometries.
由Cheo-ma弧度创造的立面，被参数化的铝制百叶窗所填充。两个垂直排列的钻石形成了一个简单的单元，流经一个三维弯曲的线条，构成了主立面。由于预算紧张，我们必须想出一个最佳的合理方案，即如何施工而不是如何设计。为了解决这个问题，关于实际施工的讨论是主要问题。那就是找到容易找到的材料，在现场可以简单的操作，并且有足够的强度来面对露天，以及处理材料的方法。为了构建一个弧线形的表皮图案，使用了一个重复的模块；用研磨机在容易操作的铝条上制作一条线，并将菱形模块排列在旁边。如果我们说钢架定义了Cheo-ma的线条，那么菱形铝制百叶窗图案就像一个过滤器一样在土地和房屋之间设置了一个边界。这些百叶窗保护建筑不受正午粗糙炎热的阳光的影响，有时它使内部与外部私有化，同时重组了风景。
The façade that is created by Cheo-ma curvature, gets filled with parametrically patterned aluminum louvers. Two perpendicularly arranged diamonds form a simple unit to flow through a 3 dimensionally bended line to compose the main façade. Because of the tight budget we had to come up with a best rational solution of how to construct rather than how to design. Discussion about the practical construction was the main issue in order to solve this problem. That is finding the material which is easy to find, simply workable at the site, and strong enough to face open air, and the way to handle the material. To construct a curved-line-shaped skin pattern, a repetitive module was used; making a line on easily manipulatable aluminum bars with a grinder, and arraying the diamond-shaped modules next to each other. If we say that the steel frame defines the line of the Cheo-ma, the diamond-shaped aluminum louver pattern sets a boundary between land and the house like a filter. These louvers protect the building from the rough hot noonday sun and sometimes it privatizes the inside from the outside while restructuring the scenery.
在季风季节，一个小而艰难的长达2个月的施工结束了。因为我的甜言蜜语，永仁窗框公司的施工现场经理诺先生不得不呆在一个僻静的房子里，每天早上听鸱吻唱歌，持续了两个月。雇员和雇主们不得不省吃俭用，克服他们从未经历过的三维弯曲的施工，以及铝百叶窗的图案，每一个成员都会有一厘米的变化。从某种程度上看，施工非常简单，但改造的过程却并非如此。从与原有房屋颜色的协调，到切片板上的电线，一切都需要非常精确和完美。幸运的是，诺先生对各种钢材都非常熟悉，所以他可以处理我们需要的每一个结构，甚至是每一步都要旋转的小钢片的连接。为了在美丽的风景中创造一条线路，我们经常访问南海，却没有注意到春天已经快过去了。由于施工，我们可以欣赏到南海的美丽风景，欣赏到大自然创造的完美线条。我们最终在那个风景优美的地方画了一条线。
A small, but tough 2-month long construction was over during the monsoon season. Because of my sweet words Mr. No, a construction field manager of window frame company in Yong-in, had to stay in a secluded house and listen to sing from scops owl every morning for two months. Employees and Employers had to save a word and overcome the construction of 3 dimensional bending that they never experienced before and the pattern of aluminum louver that changes a centimeter every each members. The construction can be seen very simple in a way, but the process of the renovation was not so. From harmony with color of the pre-existing house to electricity wire from sliced slab, everything needed to be very precise and perfect. Luckily, Mr. No was very familiar with all kinds of steels, so he could deal with every construction that we needed, even connections of tiny steel pieces that rotates in each step. In order to create a line within a beautiful landscape we visited Namhae a lot without noticing spring was almost over. Thanks to the construction we could enjoy the beautiful landscape of Namhae and admired the perfection of lines created by nature. We finally draw a line in that scenic place.
Architects: JOHO Architecture
Area : 576 m²
Photographs :Namgoong Sun, Jeonghoon Lee
Country：South Korea