their houses. The system offered an outright cash grant combined with a no-interest loan to hanok owners who renovated their houses according to architecture and design guidelines. As word of the coming change spread, aficionados of traditional Korean culture began to buy hanok in Bukchon with the aim of renovating them. By the early 2000s, the economy had recovered from the 1997 economic crisis and renovations to hanok in Bukchon began in earnest and continue, albeit at a slower pace, today.
The first wave of renovations caused controversy because it changed the appearance of the houses considerably. Preservationists were alarmed at the extent of the changes and began to complain that the scale of the renovations went beyond what was necessary and, in some cases, equaled new construction. Architects and builders, meanwhile, argued that the houses needed a full-scale gut renovation or, in some cases, complete reconstruction so that they could be updated to contemporary needs. The city’s design guidelines complicated the matter because they required owners to abandon the aesthetics of the city hanok in favor of traditional Joseon-period aesthetics of the eighteenth and nineteenth centuries. Sliding glass windows were replaced by outward-opening windows with a dense lattice typical of traditional Korean design. Traditional Korean paper was pasted onto glass panes to make the windows look traditional. This created a neo-traditional or “neo-Joseon” style that evoked images of rural gentry, or yangban, living in country estates.
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