威尼斯，这种体验的精髓在于漫步威尼斯街头。沿着街道漫步，进入漂亮的商店购物，在香气扑鼻的餐厅用餐，沿着小路一直走到圣马可广场，所有这些步行体验构成了对这座城市本身的体验。世界上大多数城市都是如此。城市就是街道，街道决定城市。已故韩国建筑师古永忠曾说过：“走在这条街上，就是成为这条街历史的一部分”。走在街道上，就意味着成为城市历史的一部分。

Venice, the essence of this experience lies in wandering through the streets of Venice. Walking along the streets, entering beautiful shops for shopping, dining in restaurants with delicious aromas, and continuing along the path until encountering St. Marco's Square—all these pedestrian experiences constitute the experience of the city itself. This holds true for most cities worldwide. A city is its streets, and streets define a city. The late Korean architect, Guyon Chung once said, "To walk this street is to become part of its history." Walking the streets means becoming part of the city's history.

札幡路是一条古道。20 世纪 20 年代，白云洞溪被改建，扩大了道路范围，现在这条道路已成为瑞川的主要干道和人行道。在青瓦台搬迁到龙山之前，每到周末，前往青瓦台的队伍就会出现在查哈门路，现在这条路仍然是人们探访道路两旁隐蔽的老街区的必经之路。随着隐藏在查哈门路背后的老街区发生变化，查哈门路本身也在不断发展，设计整洁的餐饮空间和各种爱好的店铺为这条街道增添了特色。West Glow 就是镶嵌在这条街道历史中的一个小变化。

Jahamun-ro is an ancient path. It is said that during the Goryeo and Joseon dynasties, this route was used to pass through this area to get to Kaesong and Uiju, crossing over Jahamun Hill. In the 1920s, Baekun-dong Stream was converted, expanding the road, and now it serves as a major thoroughfare and pedestrian walkway through Seochon. Before the Blue House relocated to Yongsan, weekends on Jahamun-ro were marked by processions heading towards the Blue House, and it remains a street where people visit the hidden old neighborhoods on both sides of the road. As the old neighborhoods hidden behind Jahamun-ro undergo changes, Jahamun-ro itself is also evolving, with neatly designed dining spaces and diverse shops with various hobbies, adding character to the street. West Glow is one small change embedded in the history of this street.

由于贾哈蒙路拥有六至七车道的宽阔道路，行人可以充分把握对面水平立面的连续性，从东侧可以看到西侧的立面，反之亦然，如同一个全景。建筑立面在确定水平方向的特征方面发挥着重要作用。因此，设计新建筑的基本主题是 “如何面对街道”。

Due to the wide six to seven-lane road, Jahamun-ro provides conditions where pedestrians can sufficiently grasp the continuity of the opposite horizontal facades, allowing the eastern side to perceive the western facade from the west side and vice versa as one panorama. Facades of buildings play a significant role in defining the character of the horizontal. Hence, the fundamental theme of designing new buildings is "how to face the street."

West Glow 旨在巧妙地介入贾哈蒙路的悠久历史，主要有三个意图。首先，作为 “连续的城市外墙，连续的城市景观的一部分 ”的一部分进行干预，它将在未来不断变化。其次，它作为 “复调音乐 ”而存在，多种独立的旋律和谐地融为一体。第三，作为一件小工艺品。

West Glow aims to subtly intervene in the long history of Jahamun-ro with three main intentions. Firstly, to intervene as a part of the "continuous urban facade, a section of the continuous cityscape," which will continuously change in the future. Secondly, it exists as a "polyphonic music" where multiple independent melodies harmonize into one. Thirdly, to stand as a small craftwork.

为了作为连续城市立面的一部分而存在，它在面向街道的整个宽度上使用单一的语言，而没有将场地宽度划分为左侧和右侧。该地块还有一些小路与 Jahamun-ro 垂直，形成一个 L 形立面，使用相同的语言来保持连续性。这样做是为了暗示贾哈蒙路不断变化的建筑单元可能具有的体量和规模。

To exist as a part of the continuous urban facade, it fills the entire width facing the street with a single language without dividing the width of the site into left and right. This site also has small roads perpendicular to Jahamun-ro, resulting in an L-shaped facade, applying the same language to maintain continuity. This is to imply the volume and scale of the building units that Jahamun-ro's changing buildings could have.

在音乐创作中，将多个独立的旋律合并在一起被称为 “对位”。West Glow 的玻璃表面构成了第二种节奏，与内部的框架隔热墙完全分离。它在外墙两侧形成重复的褶皱，使建筑侧面的起点和终点保持开放。弧形部分以半径为 30 厘米的波浪状图案重复出现，在 3.8 米高的压缩强化玻璃上涂抹液态陶瓷涂层（碎玻璃），形成从上到下的渐变效果。玻璃表面的深度约为 60 厘米，构成了建筑的深层表面，下面是透明/半透明区域和不同等级的不透明框架-隔热表面。

Merging multiple independent melodies in musical composition is called “counterpoint.” The glass surface of West Glow forms the second rhythm, entirely separate from the framework-insulation wall inside. It creates repeated folds on both sides of the facade, allowing the beginnings and ends of the building's sides to remain open. The curved parts repeat in a wave-like pattern with a radius of 30 centimeters, creating a gradient from top to bottom using liquid ceramic coating (fritted glass) applied to compressed reinforced glass at a height of 3.8 meters. The glass surface, with a depth of around 60 centimeters, constitutes the deep surface of the building, having transparent/semi-transparent areas and opaque framework-insulation surfaces of different orders underneath.

West Glow 是一种通常被称为 “kkoma（kid）楼 ”的邻里生活设施。这个命名似乎反映了韩国社会对这类建筑的看法。它意味着一种谦逊的态度，承认虽然业主在建造这些建筑时考虑到了租金收入，但回报可能并不可观。在韩国，尤其是首尔，大多数建筑都具有这样的规模和局限性，小规模的限制实际上可以促使人们重新考虑建筑的工艺。West Glow "不是遵循传统的建筑或标准做法，而是旨在唤起一种工艺感、好奇心和存在感，反映出新设计的细节及其执行过程。在 “西部光辉 ”的整个设计过程中，人们不断想到玻璃工匠在玻璃工作室中将热玻璃块吹到金属管上的情景。

West Glow is what is commonly referred to as a "kkoma(kid) building" for neighborhood living facilities. The naming seems to reflect Korean society's perspective on such buildings. It implies a sense of humility, acknowledging that while landlords build these buildings with rental income in mind, the returns might not be significant. Most buildings filling up Korea, especially Seoul, are of this scale and limitation, where the constraints of small scale can actually prompt a reconsideration of the craftsmanship of buildings. Rather than following conventional construction or standard practices, it aims to evoke a sense of craftsmanship, curiosity, and presence, reflecting the process of newly devised details and their execution. Throughout the design process of West Glow, there was a continuous thought of glassblowing artisans blowing hot glass lumps onto metal pipes in a glass studio.