The Economy Barcelona Pavilion: Gwangwoon Interior | HYPERSPANDREL

SPACE February 2025 (No. 687) 

Gwangwoon Interior (2024), a compact 4.5-pyeong space located in Songjeong-dong, could be described as an ‘economy barcelona pavilion’. A space without a clear purpose or function, it serves as an architectural experiment in surface treatment (commonly referred to as ‘interior design’). Much like the Barcelona Pavilion (1929), which outlived its originally intended lifespan to be transformed from a temporary structure into a permanent ‘architecture’ (1986), this structure is adopting a similar trajectory (or so we insist). Gwangwoon Interior exemplifies the outcome when two inescapable elements of Korean architecture – ‘cost-effectiveness’ and ‘brinkmanship’ – are embraced without question.

The Barcelona Pavilion is architectural surface treatment at its finest, standing as an iconic example. Its exterior walls, liberated from structural responsibilities, exist as independent objects. The Barcelona Pavilion’s opulent, patterned walls were crafted through bookmatching various types of marble, not merely as superficial veneers but as a deliberate display of material excess, creating the illusion of standing amidst a meticulously curated exhibition. This prompts the question: ‘Is this architecture or a monumental abstract painting?’ Through this paradigm shift, what was once a temporary structure has been resurrected as a lasting monument, celebrating the sublime power of its surfaces.

The genesis of this space, swiftly summoned into existence in the heart of Songjeong-dong, unfolds as follows: although budget constraints made covering the interior with marble impossible, the symbolic materiality of marble could not be abandoned entirely. After all, even 3% orange makes orange juice, doesn’t it? The aged wallpaper on the concrete walls was painstakingly scraped off by hand, revealing patterns reminiscent of marble. Though they cannot rival the millennia-old formations shaped by tectonic shifts, the layers of wallpaper accumulated over decades unveil a uniquely storied texture, blending chance and intention. This pattern, though artificial, shares the same unreplicable uniqueness as marble from a premium quarry. Once the wallpapered surfaces were uncovered, they underwent various chemical treatments – including bleach, neutral detergent, epoxy, and whitening agents – like applying makeup to dull skin. The tectonics of Gwangwoon Interior’s surface treatment are akin to cosmetics.

And then there’s the ceiling. A collaboration with ‘K-Cowboys’ brought about an intentional flaw turned masterpiece. Initially, the plan was to cover the ceiling with a large reflective panel, doubling the perceived size of the 4.5-pyeong space. The polished surface was also meant to create an illusion of seamless bookmatching with the ‘as-good-as-natural’ walls. However, due to a lack of installation expertise, the warped ceiling presented an unexpected inspiration. When reimagined as the Pavilion’s reflecting pool, the undulating surface took on the appearance of dynamic ripples. Suspended from this ceiling is a figurine of the ‘Gwangwoon fairy’, an homage to Georg Kolbe’s Der Morgen. Instead of heralding the dawn, this figure precariously dangles, shielding her weary eyes from the camera flashes of visitors.

The unsung heroes of this cost-effective and hastily assembled marvel are the K-Cowboys. Like gunslingers of the wild west, they fire their nail guns and endure clouds of dust with unflinching resolve. Pursuing what’s cheapest and most convenient, they transform a tiny space into an overwhelming presence, introducing chaos into the precision idealised in architecture.

Upon entering the space, one might notice what appears to be a chaotic, unfinished mess. Yet every ‘flaw’ is a deliberate move. The permanent marker stains on the walls, the neglected branches of an elm tree, and the shimmering reflective panel—all these elements embrace imperfection and elevate the K-construction ethos into a distinct worldview. Much like Jackson Pollock turned incidental spatters of paint into art, this space redefines beauty through improvisation and randomness.

Summoned onto Seoul’s barren land in line with K-cost efficiency, the Barcelona-inspired vibe of Gwangwoon Interior transcends simple imitation, transforming into a conspiratorial stage that subverts the authority of existing architecture. This rough-and-ready 4.5-pyeong experimental lab, born of flaws, haste, and the gritty breath of a K-Cowboy spirit, may paradoxically distill the essence of the original work it imitates—offering a space where it can be felt from its very core.

Chronicle of Architects in the Harbinger Project 

Chon Jaewoo 

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Nov. 1990 Born in Korea

Sep. 1999 Immigrated to Canada

Mar. 2008 Followed a crush by applying to architecture school (the crush didn’t get in)

Oct. 2009 Stumbled upon El Croquis OMA and fell in love with Rem Koolhaas

Mar. 2014 During a crit, Peter Cook said, ‘This one will never make it as an architect’;

fueled by stubbornness, worked harder

Aug. 2016 At a Canadian firm, the name HYPERSPANDREL suddenly came to mind

Jan. 2020 Published ‘Double Skin’, an essay on the core philosophy of HYPERSPANDREL,

in Pidgin Magazine

Feb. 2020 Convinced by a graduate school classmate (with solid financial reasoning) to move 

to a Shanghai office and dive into practice. Moved back to Korea as the pandemic hit

Sep. 2020 Selected as a researcher for the ACC R Residency in 2020,

leading to a long-term stay in Korea

Dec. 2020 Officially registered HYPERSPANDREL as a business;

The name was so unusual, clerks got it wrong three times—now legendary

Sep. 2021 Presented Coats for Philly at the Seoul Biennale of Architecture and Urbanism, 

sparking reflections on the balance between paper architecture and sustaining a livelihood.

First encounter with Heo Sungbum

Feb. 2022 Designed eco-bags based on MBTI floor plans, an initial exploration of souvenirs

Apr. 2022 Became a licensed architect in the U.S., despite everything

Sep. 2022 Held ‘Souvenirs Without Monuments’, an exhibition exploring purposelessness in souvenirs beyond practicality

Mar. 2023 Unexpectedly organised a cherry blossom storm flash mob,

briefly taking on the title of ‘cult leader’

July 2023 Participated in the Seoul MARU Public Intervention competition and became a finalist

Sep. 2023 Initiated the TALK! series, featuring ‘lying down’ lectures.

First met Jeong Haewook and Oh Yeonjoo

Jan. 2024 Started experimenting with architecture as entertainment on YouTube

Apr. 2024 Joined the ‘City Attempts’ exhibition, forming a collaborative crew