Borders hold deep meaning, but they are just lines. Throughout history, the definition of territory has remained a fundamental determinant of power. Borders carry immense historical, political, and cultural implications; at the center of conflict, there is delineation; there is drawing lines. Borders are representations in plan view–lines on a map which are not necessarily tied to any physical thing. At most, they materialize in the common form of a wall which seldom traces the entire length of the border it delineates. One notable exception is the Korean Demilitarized Zone (DMZ).   If the traditional border is a line, then the DMZ is a surface. At four (4) kilometers-wide, it is a border territory: a border with its own border; a boundary space; a materialized, geopolitical line separating North and South Korea. It is one of the most heavily militarized and fortified borders in the world, and is representative to the nature of one of the most high-tensioned, ongoing, conflicts in recent history.    
 A border is an imaginary line that divides two territories. Wall often occupies the physical space of a border as its materialized form. In our proposal, we introduced an undulating wall along the border between North Korea and South Korea below surface to reshape their undefined underground territories. However, the undulating wall is mutually permeable to encourage communication between the two sides and therefore inverts the meaning of border. To reinterpret the traditional Korean jjimjilbang, a series of open pools and individual rooms are organized along the permeable wall to accommodate both individuality and collectiveness.
 The project aims to explore how border functions as key element that embraces two contradicted territories into one united entity rather than separates them. By introducing an undulated line that dramatically dances in-between the two countries, a continuously weaving underground wall ties a series of collectively shared open pools and solid individual rooms with round shape geometry which is inherited from the mechanism of traditional Korean bathhouse typology Jimjilbang. By inviting natural sunlight and topographical landscape from above-ground to underground, this form creates multiple crossing-border interstitial conditions that mutually encourages people from both North and South Korea to interact physically. 
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