Inchworm House, an epithet that I applied to Visang House, appears to be measuring something. One end touches the ground, and the other end stands straight into the sky. It was easy to find Moon-Hoon’s architecture in Angol, where a site was under a process of development and prepared for housing. I found twVio structures that seemed like his work. One seemed to wear a mask that you would only see in special effects cinematography, and the other one was Inchworm House.
While making a phone call standing halfway between these two houses, I glimpsed a slight movement in Inchworm house. Afterwards, I discovered that both houses were Moon-Hoon’s works. The bent, V-shaped part of the house that looked like the curve of an inchworm at first glance appears somewhat contrived as it seems to be superficially forced to make up its own facade. However, the function of this house is closely connected to the features of the façade itself. The narrative of Inchworm House starts with the southern part of the long living room that looks like the end of inchworm. The facial impression of the house extends to the living room, giving us the feeling that we are in the inchworm’s stomach. The windows arranged in a form of a turned V on the façade of the living room seem to move, as if intended, as the light changes. The eastern wall appears to be an inchworm’s head, lifted straight up as if measure something. This wall is erected up to the second floor.
These images are all reflective of an inchworm and those national images associated with it. Walking up the stair from the living room to the second floor, the allusions made to an inchworms are replaced by an elevated spatial perception and height. At the half landing on the stairs sits an ambiguous space, which is currently used as a dressing room, but was actually designed to be a future nursery. The stairs lead to an attic room above this space. If you go up to attic, you will see a corridor that stretches to the eastern wall of the living room, which goes up to the second floor. This corridor leads to the bedroom. There is another passage leading to this space. It leads from the baby’s room to the bedroom though the bathroom. The path serves as a bathroom. In other words, there are two entrances to the bedroom, though a corridor corresponding to the eastern wall of the living room and through a passage that starts from the baby’s room and passes through the bathroom. If you come out from the bedroom, you will see a small interior terrace and a high wall at the opposite.
You will notice, at a glance, that the inside of the eastern wall servers as a screen. It is well within comprehension that this terrace is like the royal box of Margravial Opera House in Bayreuth. You can go up to the attic from this terrace as well. Moon-Hoon placed an Oriental painting on this terrace, which can be seen through the window frame. This house has an individual story, which makes it like a personal opera house for the couple. The space that seems to rise continuously like sound reverberations, forming a connection between the rooms and the attic is its face. Inchworm house has the power to expose the faces and spaces of the building, creating a story in the erasure of faces in the spaces, and making us aware of the connection between them. This house is full of small but varied spaces. Moon-Hoon present a new way of creating space that Korean architecture has missed or has not yet experienced, and he demands that we read spaces in an altogether new way. To wish that this experiment extends to the exterior space is to support him, not to express a lament for something missing. On my way out of the front door, I saw a structure engraved with the shape of a human body which reminded me of a Procrustean bed. It evoked mirth, and I felt transported, as if my head had been cut clean off.
1.Structure: RC, Wood frame
2.Exterior finishing : Stucoflex
3. Interior finishing : Wallpaper on the gypsum board, Wood flooring, THK24 transparent pair glass