In a contemporary South Korea defined by rapid modernization and technological advancement, the traditional hanok house continues to captivate artists, architects, and cultural institutions alike. Known for its distinctive timber construction, swept-up roofs, and design principles rooted in Confucian philosophy, the hanok remains a potent symbol of Korean heritage and identity.

This year, hanoks have gained renewed attention through various cultural events and exhibitions. At Frieze Seoul, the Arumjigi Foundation, a nonprofit organization committed to preserving Korean traditional culture, is constructing and displaying a hanok. Simultaneously, the Francis Gallery—based in Bath, UK, and Los Angeles—is showcasing art within a restored hanok in Bukchon Village, Seoul. The National Museum of Modern and Contemporary Art (MMCA) is also presenting a retrospective of London-based Korean artist Do Suh’s work, running until February 9, which includes diaphanous, ethereal interpretations of architecture, especially hanoks.

Do Suh’s connection to the hanok is deeply personal. He was raised in one of these traditional houses, built by his parents during the late 1960s and early 1970s, a time when Korea was undergoing significant modernization and many hanoks were being replaced by Western-style structures. Suh’s father, artist Suh Se-Ok, commissioned the house to experience the lifestyle of a traditional Korean scholar, basing its design on a building in the Gyeongbokgung Palace complex. The construction was overseen by an elderly master carpenter who relied entirely on memory and traditional skills rather than formal blueprints, using only a single measurement from the palace as a reference.

The hanok, characterized by its intricate dovetail joints and absence of nails, took six years to complete and became an integral part of Suh’s upbringing. The house’s design, including features like folding doors and paper-covered windows known as changhoji, fosters a permeable connection between interior spaces and the surrounding environment, allowing natural light, wind, and sound to flow through. This architectural openness contrasts with Western-style homes and, as Suh notes, contributes to a sense of flexibility and adaptability.

Korean architect Byoung Cho, who also grew up in and later constructed hanoks, emphasizes the houses’ integration with their natural settings and the cultural rituals embedded in their craft. Traditional principles, such as feng shui, influence the orientation and handling of materials, while construction practices preserve the natural qualities of the timber. Cho describes hanoks’ “in-between spaces,” including courtyards that act as communal living areas, highlighting the houses’ social and functional complexity.

Beyond their architectural significance, hanoks are gaining visibility in contemporary art and cultural discourse. The Arumjigi Foundation’s hanok project at Frieze Seoul underscores this dual role, positioning the traditional house as both an artwork and a cultural emblem amidst Korea’s fast-changing landscape. Artists exhibiting within or inspired by hanoks are exploring traditional color palettes, natural forms, and the physicality of materials such as stone and wood.

For those unable to visit Seoul, the British Museum in London houses a full-scale reconstruction of the Sarangbang—a scholar’s room from Changdeokgung Palace—as well as paintings by Suh Se-Ok. Later this year, the museum will feature Do Suh’s 2019 “Self Portrait,” a thread painting of the hanok that explores themes of mobility and identity inherent in the house’s design.

Reflecting on his artistic journey and personal connection to his childhood home, Do Suh describes the hanok’s flexibility as central to his work and identity. He sees preserving his parents’ hanok as a mission that extends beyond art, embodying a commitment to safeguarding Korean heritage in an era of swift modernization.