Unearthing the charm of Seoul’s architecture with Korean architect Byoung Cho

In his book, Cho also highlights many of Seoul’s landmarks. Landmarks are important aspects of cities, he writes. “Humans long for some type of landmark to mark where they live, symbolising their emotions, values, cultural traditions and memorable events.”

One example is the National Theatre of Korea, designed by the late architect Lee Hee-tae. “It was built because there was no such building that offered these attributes to the people living in Seoul at the time; it aspired to bring people together on a larger scale,” Cho shares.

Large natural spaces are also good “landmarks.” “They bring people together and [make them feel] connected. We also automatically feel comfortable in them,” says Cho. He highlights the green spaces along the Han River. “I enjoy the atmosphere there in the evenings after work or on weekends. People bring food, talk, sit on the grass and watch the river; nature is an intrinsic magnet for people to gather when they want to relax,” Cho contemplates.

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Likewise with the pavilions built for the Seoul Biennale of Architecture and Urbanism in 2023 on Songhyeon Green Plaza. “One of them is called Earth Pavilion, which is formed out of a series of hills with a small pond on the south side. It stayed even after the Biennale was over. Events, talks and performances took place in it over two months. People were sitting on the hill or by the water. It was beautiful to witness relaxed faces and playful moments with the pavilions, which engaged with the land in their own unique ways.”

Nature is a constant in most traditional Korean architecture, which is something we can learn from. “Traditional Korean houses, or hanoks, do not have solid walls that separate the interior and exterior. Nature is welcomed into the home and, therefore, experienced daily,” Cho states. In contrast, contemporary architecture is more enclosed for protection and privacy. Many of Cho’s buildings attempt to converse with the exterior world through features like terraces and outdoor paths. “That way, people are more actively experiencing their surroundings and are more aware of the sense of place,” he expounds.

As his book serves as a sort of intimate, personal travel guide to Seoul, I ask him about how he likes to travel. “I like two ways of travelling. The first one is calm and contemplative, where I visit ancient places—preferably ruins where I am immersed in the presence of these abandoned places. When I was younger and spent a lot of time in Europe, I loved visiting Turkey and learning more about the lasting presence of historical buildings.”

On the other extreme, trips to bustling cities with contemporary art, architecture and music energise him. “I enjoy visiting galleries and restaurants in cities such as Berlin, Basel and Tokyo—especially Tokyo. I visit it a lot because it is close to Seoul, and there is so much to see,” Cho says.

He ends the interview by suggesting two of his projects in Seoul that people can visit for a taste of Korean architecture and design.

“Mahkjip is an old hanok where visitors can sense the traditional Korean aesthetic of mahk (imperfection) and bium (emptiness). It is a very unique place because you cannot find traditional hanoks in Seoul that are kept like this in their purest form; many were destroyed during the Japanese invasion and the Korean War, and others were adapted poorly,” Cho says.

The other one is the scenic cultural destination Ayu Space, which comprises a garden, a gallery, a cultural house and a café offering sensorial healing. “The building was composed based on the views of mountains and trees. The site’s slope is reflected in the roof’s curvature; your mind and body calm down when you are seated in the café.”

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