Interview with Architect
Myoungwha Paik

To begin, please briefly introduce IWMW Studio and yourselves.
Hello, my name is Myoungwha Paik, the "MW" of the architectural firm IWMW. My older sister, Inwha Paik, the "IW" in our name, is currently based in Berlin. We are often asked if we are twins because we are sisters, but we are not; there is a two-year age gap between us.

We had been working in the field of architecture but independently and decided to launch IWMW when we happened to be looking for new opportunities at the same time. We received an interesting project proposal, and after discussing it, we thought it only natural to decide to start IWMW together. We wanted to create spaces that add small changes and new experiences to everyday life, and so we have been running IWMW ever since, sharing that common vision.

Your older sister Inwha is currently based in Berlin, Germany, while you, Myoungwha, live in Malli-dong, in Seoul. I am curious about how you manage a single architectural firm across these two different cities. How do you go about the everyday handling of projects?
We had been working together continuously for about seven or eight years when my sister moved to Germany. She left for Berlin two years ago and I have to admit initially I was at a loss as to how we would continue working together, especially since we had just won a competition and had been about to launch a large-scale project.

However, once we actually started working, we found that the physical distance often worked to our advantage. By leveraging the time difference between Seoul and Berlin, I could "pass the baton" of my work to my sister, effectively allowing the office to operate 24 hours a day.

For instance, when I held a meeting in Seoul with collaborators or external vendors, my sister would organize the necessary materials and carry on with the next phase of the work based on those details. We established a workflow where our tasks seamlessly ran on from one to the other; connecting to keep the project moving forward. Since architecture must involve hands-on work at an actual construction site, I was initially wondering if your sister could truly share in your work in a practical sense given that she is so far away.
We discovered that as we worked on collaborating together we were able to use the distance and time difference to expand our respective roles.

I primarily handled tasks requiring someone to be physically present, such as site visits and external meetings. Instead, I would keep her updated on any developments or changes that arose during the process. We strove to stay aligned by regularly reviewing the project's progress and identifying necessary changes together.

This approach works, I think, because we had developed a natural rapport from working together for so long. You could say our way of thinking when it came to projects had become synchronized; just sharing blueprints or site photos allowed us to intuitively grasp the project direction and the required next steps.

Although things are a bit challenging right now as my sister recently gave birth, she still visits Korea to inspect progress on key projects, and we continue to collaborate closely whenever possible. Since your sister lives in Berlin, you likely experience the city quite often yourself. What kind of city is Berlin to you?
My first visit to Berlin was about ten years ago. I had left a previous job and before starting something new, I wanted to live abroad for a while. I considered several cities but ultimately chose Berlin because it was one of the most vibrant cities in Europe back then. Rent and the cost of living were relatively affordable, and its atmosphere attracted young artists and creatives from all around the world. Its impression was one of a city open to outsiders, so I thought "I can get on well here."

As it happened, my sister and brother-in-law were also living in Berlin at the time. My brother-in-law had secured a job at a local architectural firm, and my older sister was preparing to return to Korea after finishing her studies abroad. But, about a month or two into my stay in Berlin, an acquaintance back home asked me to design a house. Since I had gone through a lot of trouble to obtain a six-month visa, I wanted to make the most of my time there, so I asked them to wait a little; after returning to Korea, I launched IWMW together with my sister. Maybe it’s because of this, perhaps, that I still have fond memories of Berlin. I lived in a shared house with friends from various countries, and the atmosphere was always very dynamic. Thanks to that, I rarely felt lonely and seemed to be able to draw a lot of energy during that period. I was particularly fond of the Kreuzberg and Prenzlauer Berg areas. The scenery with old buildings and residential spaces blending together naturally, with shops and cultural facilities harmoniously placed among them deeply impressed me.

I love stationery stores, so I frequently visited Modulor, and I also enjoyed going to the nearby KÖNIG GALERIE. The vibe of those neighborhoods remains a vivid memory for me to this day.

Aside from Berlin, were there any other cities or places in Europe that strongly impressed you in terms of their architecture?
There are many cities besides Berlin that left a lasting impression. Especially Vienna, Austria, is a city I still truly love. It was fascinating to see firsthand the important works such as those by Otto Wagner and Josef Hoffmann as well as the Secessionist style that shaped the course of modern architecture. I was also struck by how architectural experiments, considered highly innovative at the time, are now re-emerging as new trends. That is why, even now today, I believe it is a city that has so much to teach us.

I also really like Portugal. My mother and I traveled to Lisbon and Porto four years ago, and they remain the first cities that come to mind when I think of places I’d like to visit again.
Rather than the construction of new buildings, the preservation of existing structures in favor of giving them new functions has become a major trend in European urban regeneration recently. From that perspective, what do you consider most essential for older neighborhoods like Huam-dong, where you live, or Malli-dong, where your firm IWMW is located, to retain their charm in the future?
I feel there are similarities between Berlin and Huam-dong. However, there is currently active discussion regarding apartment-centered redevelopment in Huam-dong. Some areas have already been designated for redevelopment, while others are newly being proposed for it; personally, I find that approach quite unfortunate.

I believe the steep slopes and intricate network of alleys are precisely what make Huam-dong so charming. Yet, simply imposing the vertical, standardized structures of apartment complexes without fully considering the terrain and context feels somewhat forced to me.

In Berlin, you often see a different approach to redevelopment. Instead of demolishing and transforming a vast area all at once, changes are made in stages; even when new construction is required, the approach ensures the new buildings blend naturally with the existing structures and the surrounding environment. I hope Huam-dong can evolve by preserving its alleyways and small-scale residential elements, rather than undergoing full-blown redevelopment into large-scale apartment complexes. I would like to see a more detail-oriented and gradual form of regeneration: one that does not completely lay waste to the neighborhood's current character and atmosphere. It is also somewhat unfortunate that in Korea, there is a strong tendency to view housing primarily as real estate, as assets, rather than as places for living one’s life. There even may be aspects of a house we dislike, but we will focus more on its market price or asset value than on the living space itself. Ultimately, I believe that how we perceive our living spaces is reflected in the character of the city.

In Korea, asset value takes precedence over the actual utility of a home; consequently, some will view the continued existence of low-rise residential areas in central locations like Huam-dong as inefficient.

Huam-dong has managed to retain its low-rise residential character because building height restrictions are in place due to its designation as a natural green zone; however, I am quite anxious about the possibility that apartment development could be pursued in earnest.

Are there maybe any European, and specifically German, artists or architects whose work has influenced yours?
I find the work of Arno Brandlhuber, in particular, to be very interesting. I was deeply impressed when I first visited KÖNIG GALERIE in Berlin. It was fascinating to see his transformation of an existing church into an exhibition space; he managed to reinterpret it as a new kind of space while naturally preserving the identity of the original architecture.

Brandlhuber’s work goes beyond mere preservation of existing buildings, yet it isn't about constructing wholly new ones either. He respects the structure and framework of the original building while layering in his own architectural language to create new possibilities. His approach leaving traces of the past and contemporary interventions to coexist in harmony has been a great source of inspiration for me.

I recently worked on a renovation project for an old house on Wonhyo Street [in Seoul]. It was an old building located within a redevelopment zone, and I was immediately drawn to the traces of time visible in the structure. The project involved transforming it into a new space while retaining as much of the original atmosphere as possible; an approach that I felt mirrored the methods of Arno Brandlhuber mentioned earlier.

For this project, too, I chose to preserve the existing frame and build the new space around it, rather than demolishing the old building entirely to start from scratch. To me it was more important to create a space that blended naturally with the neighborhood surroundings rather than raising up a new structure that felt disconnected from its environs. Although the client initially had planned to live in it, I understand it is currently being used as an Airbnb. While the renovation transformed the property to the point where it feels almost like a new-build, I made every effort to preserve the atmosphere and memories inherent in the original structure.

Probably because I know the story behind this, I sensed a distinctly German atmosphere in this space. Linear forms, rectangular compositions, a sense of restrained proportion, and a calm, gray-toned color palette naturally come to mind. German architecture often emphasizes straight lines and simple shapes over curves and favors low-saturation colors which is an aesthetic I personally appreciate. The presence of a church to the rear of the building further enhanced this atmosphere.
  Of course, the project wasn't without its challenges. Since the building was located in a redevelopment zone, there were numerous complaints from the public, and navigating the various administrative procedures alone took almost three years. Nevertheless, because it was an experience that created new possibilities while preserving the existing structure, it remains project with deep personal meaning to me.

Next, I would like to talk about a project I saw in Berlin that left a lasting impression on me although it wasn't one I designed myself. It was a co-housing project called "R50," which completely differed from standard methods of how apartments are developed. For this project, future residents were involved from the very beginning. People who wished to live in this specific neighborhood came together to form a community before collaborating with the architect on the design. Instead of the architect unilaterally creating the design, the people who would actually live in the space became the driving force behind the project from the start. Naturally, this process took a long time; to my knowledge, it was about five years from selecting the land to actual move-in. But this extended timeframe allowed for much deeper consideration regarding the space itself.

For instance, residents discussed even the finest details together, such as whether to place shared storage units on each floor or create a single communal space on the ground floor. Almost every aspect of the building was worked on and discussed alongside the architect, including the materials to be used, which areas would be shared, and how those communal spaces were to be managed. That is perhaps the reason why the floor plans of the units within the same building differ slightly from each other. After all, everyone has a different lifestyle, and the makeup of a family will shift over time. A child might be born, creating the need for an extra room, or conversely, children might move out, making a larger place unnecessary. To accommodate these changes, structural designs and materials were used that allowed for relatively easy interior modifications, ensuring the space could remain flexible as time went on. The R50 project demonstrated how architecture could be a collaborative process shaped by the people who would inhabit the space; it remains a frequently cited example of exemplary co-housing in Berlin.
 
Women in Architecture are becoming increasingly active in Europe. As you work alongside your sister in the field, I am curious about your perspective.
In fact, I am asked, "Do you face difficulties on-site because you are a woman?" far more often than "What strengths do you bring as an architect?" (laughs). It seems many people still see construction sites as a male-dominated realm. There are still people who question whether a woman can handle tasks like site supervision and coordinating with construction companies.

Well, the reality of practicing architecture is somewhat different. Being a woman in architecture can actually work to one's advantage during the consultation process. I feel that the process of reconciling diverse opinions, respecting different perspectives, and finding solutions aligns well with my own style of working. Above all, I am encouraged to see more and more people evaluating the architecture itself rather than focusing on gender. Ultimately, an architect is someone who designs spaces, not someone who physically builds the house. Yet, the skepticism regarding whether a woman can make her voice heard on-site persists. Fortunately, that atmosphere is gradually shifting, and by working with great people, I have stopped being overly conscious of such limitations myself.

What kind of project would the two of you like to realize in the future?
When I was in Berlin, my sister and I would often talk about building a house together someday. Although we don’t know where we’ll end up living, there is a specific project we’re eager to undertake together.

We are particularly interested in co-living. Beyond familiar housing types like apartments or villas, we want to create new ways for people to live together. We hope to realize a project, inspired by the co-living initiatives we saw in Berlin, where like-minded people create a shared space, resulting in a home that can evolve over time. It’s still more of a dream for now, but it’s a project we definitely want to go about someday as we gradually grow in experience and also build capital.

What kind of neighborhoods do you hope Malli-dong and Huam-dong will remain as in the future?
I believe Malli-dong, Huam-dong, and Haebangchon possess truly unique histories within Seoul. Layers of time are embedded in every old house, alleyway, and shop; they are spaces that embody the city's history in themselves. I hope that even first-time visitors will be able to sense the passage of time in Seoul naturally as they wander among these old houses and alleys. While redevelopment is necessary to renew things, I do hope the memories and landscapes unique to these neighborhoods can be preserved. I want more people to recognize that value and join in protecting it.

And, a bonus question: I hear you often visit the Goethe-Institut Korea, located halfway up Namsan Mountain. What does this space mean to you?
To me, it doesn't feel like a formal "institution"; rather, I see it as a cultural space where everyone is welcome to come and go as they feel comfortable. Exhibitions, workshops, and various other programs are on offer, and I have come to visit quite freely. I also really love the library, which is directly accessible off Sowol-gil. I used it frequently, especially because it houses a large collection of books on architecture and photography.

I find it very meaningful that the Goethe-Institut has long and consistently been able to encompass such a cultural role, otherwise challenging for state or public institutions to fulfil. The space itself is also truly appealing; the interior, furnished with European pieces, left a strong impression on me. You can sense a distinctly German design sensibility in even the smallest details, and I believe that is a major part of the space's charm.


Project Planning & Interview: Sohee Shin
Artist: Myounghwa Paik
Images & SNS-Shorts: Yoonjung Daw
German Translation: Leslie Klatte
English Translation: Star Korea AG