May 9, 2025
SEOUL – Hanok, Korea’s traditional architectural style deeply influenced by Joseon-era (1392-1910) Confucianism and geomancy, may have the potential to become a competitive cultural asset akin to K-pop and Korean drama series, hanok experts contend.
However, in order to fully harness hanok’s potential, those building hanoks must modernize their approach — not by merely replicating traditional designs or rigidly following old construction methods, but by flexibly incorporating modern construction procedure while embracing the philosophy that underpins hanok, experts say.
Kim Yong-mi, a renowned architect and CEO of GS Architects & Associates, is at the forefront of this modernization movement.
An advocate for blending tradition with innovation, Kim has pioneered unique adaptations of hanok, such as the Heung-cheon Nursery, a space where children are nurtured within a traditional hanok environment.
She has also received the Presidential Award at the Korean Architecture Culture Awards in 2009 and 2011 for designs including the Seoul Namsan Traditional Theater, which integrates a modern underground cultural facility with a traditional hanok structure above ground, and the Gosan Yun Seon-do Artifact Museum.
Despite hanok’s deep cultural significance as a traditional Korean architectural style with a history spanning centuries, few architects focus professionally on this style, as most are drawn to Western-inspired architecture. Even architecture curriculums tend to emphasize Western methods, leaving traditional Korean architecture underexplored.
Kim said she, too, had not seen hanok as a central focus during her academic years.
However, her perspective changed when she was tasked with designing the Hanok Experience Center in Gimhae, South Gyeongsang Province. That project, she says, revealed the unique advantages of hanok compared to Western buildings.
“For the first time, I combined the traditional wooden construction method with Western-style light wood frame construction, which allowed us to proceed quickly,” Kim explained during an interview with The Korea Herald on April 22.
“That’s when I realized — hanok can actually be highly modular. Since hanok is built with identical sections (or units), construction can be carried out simultaneously in multiple areas. It’s well-suited for industrialization.”
Kim’s admiration for hanok grew as she explored its underlying philosophy, rooted in Confucianism and geomancy. The layout of hanok mirrors both social hierarchy and energy dynamics, blending interior and exterior spaces in ways that are rare in Western architecture.
“When you enter hanok, you can have a variety of experiences. The interior and exterior are blended together. When you look from the front, your view extends all the way through the opening to the courtyard. You’re not just looking at one thing — it’s a layered view, one space leading into another, and then even further into the space beyond,” she said.
“Hanok brings the visitor to a journey, where spaces unfold one after another through frames. This is a unique feature of hanok not typically found in Western architecture.”
However, Kim acknowledges that while hanok offers vast potential, it faces significant obstacles in greater adoption — most notably, the high cost of construction. Timber is far more expensive than concrete, making hanok projects financially prohibitive for many. Additionally, traditional construction methods are labor-intensive, and can be seen as resistant to change.
“The people building hanok are from the old generation, which makes things difficult. We need to use new construction methods, but the old techniques are still mixed in, and since the craftsmen are from the past, the industry itself remains stuck in the past,” Kim said. “For example, if we used machines, we could premake the walls and simply assemble them on site — but that approach isn’t being applied.”
Another hurdle is the perception of hanok among the public. Many Koreans resist deviations from the traditional aesthetic, such as omitting the giwa roof, a hallmark of hanok.
“People are already too deeply conditioned to associate the concept of hanok with tiled roofs,” Kim said. “That kind of thinking needs to be broken.”
Kim Yong-mi, architect and CEO of GS Architects & Associates, poses for a photo at her office in Seocho-gu, Seoul, April 22. PHOTO: THE KOREA HERALD
One possible way to advance hanok in today’s world, Kim suggests, lies in adapting the philosophy of hanok to modern architecture.
Her project Bambu Seongsu, for example, integrates hanok’s spirit without adhering to traditional, expensive design details such as tiled roofs. In Bambu Seongsu, each floor features a terrace that connects the interior to the exterior, continuing the harmonious relationship between the inside and the outside that is central to hanok philosophy.
“The spirit of hanok should be continued throughout time. Bambu Seongsu is one of the series of architecture I’m planning to build that carries the spirit of hanok,” she explained.
Government support, Kim believes, could also play a crucial role in overcoming the financial challenges of hanok construction. She recalled a proposal from the Korea Land & Housing Corp. for hanok-inspired apartment buildings, where construction costs rose due to the inclusion of traditional hanok features like raised wooden floors.
“Generally, hanok construction costs are high, so it’s difficult for individuals to undertake unless it’s a government-supported project,” Kim said.
Kim suggests that, similar to Korean drama series and K-pop, hanok could become a valuable cultural asset for Korea. She believes the country may be missing an opportunity to promote its culture by not fully embracing the potential of hanok.
“When you’re in Gwanghwamun, where can you find something truly Korean? There’s no place that shows, ‘This is really Korean land,'” she lamented.
“Of course, we have places like Sungnyemun, Gwanghwamun and the palaces. But Sungnyemun isn’t a space; it’s just an object. And Gwanghwamun, now standing alone, is a place you pay to enter for a limited amount of time — it’s not a space for life. It’s just a sightseeing spot. Within our living spaces, we can’t really find a truly Korean space.”
“Hanok is a point of pride for Koreans.” Kim emphasized. “We need to figure out a way to carry Korean architecture to the future.”
Renewed interest in hanok, or traditional Korean houses, is palpable today, demonstrated by the growing number of hanok cultural facilities, cafes, accommodations and homes. While some new hanok architecture espouses the traditional form dating from the Joseon era, hanok buildings that have been adapted to contemporary conditions and lifestyles are also gaining ground. In this series, entitled “Evolving Hanok,” The Korea Herald explores how hanok continue to evolve to stay relevant to current milieus.