33rd Anniversary special issue
Korean Architecture
Diverse Perspectives beyond a Century
Korean Architecture – Diverse Perspectives beyond a Century_Hyun Yu-mi
A Century of Korean Architecture_Ahn Chang-mo
Contemporary Korean Architectur_Lee Joo-yeon
Cho Jung-goo – guga urban architecture
– Jeju Tosanri House
Learning from Tradition_Lee Sang-hee
Jeong Jae-heon
– Toh Cheon Lilac House
– Oryukdo Gawon Cafe
In Pursuit of Refined Familiarity_Kim Hyouk-joon
Mihn Hyun-jun
– MMCA, National Museum of Modern and Contemporary Art
Towards Open Architecture_Lee Sang-hee
Kwak Hee-soo
– Gijang Waveon
– Moken Resort
Materialize the Desire and Demand Attention_Hyun Yu-mi
Lim Jae-yong – Office of Contemporary Architecture
– HK Laser & Systems
– Hotel ORA
In Search of a New Prototype_Kang Jeong-ye
ISON Architects
– Iddeul Kindergarten
– Marimba House
Between Ordinary and Extraordinary_Jeon Hyo-jin
BCHO Architects
– Tilt Roof House
– Queenmama Market
As if it’d been there long_Hyun Yu-mi
Unsangdong Architects
– House ONE : Chronotope Wall House
We experiment, therefore we are_Jeon Hyo-jin
Yoo Hyun-joon Architects
– The Void
Coordinating Space and Recovering Relations_Chung Kwi-weon
VOID Architects
– SNU IBK Communication Center
Balance and Harmony for Coexistence_Choi Soon-young
Challenges and Opportunities – The Younger Generation of Korean Architects_Chung Kwi-weon
JOHO Architecture
– Platform L Contemporary Art Center
Material Sensibility and the Adjustment of Space_Chung Kwi-weon
Nameless Architecture
– DH Triangle School
Flexible Simplicity in Complexity_Chung Kwi-weon
Korean Architecture
Diverse Perspectives beyond a Century
Korean Architecture – Diverse Perspectives beyond a Century_Hyun Yu-mi
This special edition of C3 celebrates the 33rd anniversary and reviews diverse perspectives of Korean architecture beyond a century. How Korean architecture has evolved over the past century until today is illustrated.
First, Ahn Chang-mo covers the period from the end of the 19th century to the 1980s. He lays out modern Korean architecture by period and explains the influences of key historic events. The story begins in 1876, when the country’s ports were first opened to outside trade. Then, modernist architecture was introduced in the 1910s and 1920s under the Japanese colonial regime. Korea regained her independence in 1945, was immediately divided north and south and then suffered a devastating war from mid-1950 to mid-1953. The post-war reconstruction period represented a certain architectural style, as did the 1960s with the prevailing anti-Communist sentiment in the country. The 1970s witnessed massive urban redevelopment and high-rise office buildings, and the government led major cultural facility projects around the time of the 1988 Seoul Summer Olympics.
Next, Lee Joo-yeon describes Korean architecture in the 1980s and 1990s. He discusses various architects’ organizations that were established as the people came to resist the oppression of the military government of the 1980s. He also examines the influence that the 4.3 Group, formed in 1990, had on the architectural community, as some of the 4.3 Group architects became prominent figures. An increasingly diversified Korean architectural scene is also illustrated after the SA (Seoul School of Architecture) was opened in 1997, and the young architects who were trained there began their careers around the same time young architects who had studied abroad returned to Korea. Moreover, planning for the Paju Book City began in the late 1990s, and the Heyri Art Valley Project was carried out in the early 2000s.
Chung Kwi-weon describes the struggle to find survival opportunities after the onset of the Asian foreign currency crisis of the late 1990s followed by the global financial crisis that erupted in 2008. She goes on to discuss the current generation of young architects, who have created new venues for their profession by expanding their activities outward with the establishment of exhibitions, installations, and by working together with people in other business fields. At the same time, they have intensified their efforts to communicate with the public.
Given this background, C3 introduces diverse perspectives of Korean architecture today with twelve architects and their works. Ten of them emerged after the 4.3 Group years to make names for themselves in the early 21st century, while the other two are young architects who rose to prominence around 2010.
Korean Architecture
Diverse Perspectives beyond a Century
Korean Architecture – Diverse Perspectives beyond a Century_Hyun Yu-mi
This special edition of C3 celebrates the 33rd anniversary and reviews diverse perspectives of Korean architecture beyond a century. How Korean architecture has evolved over the past century until today is illustrated.
First, Ahn Chang-mo covers the period from the end of the 19th century to the 1980s. He lays out modern Korean architecture by period and explains the influences of key historic events. The story begins in 1876, when the country’s ports were first opened to outside trade. Then, modernist architecture was introduced in the 1910s and 1920s under the Japanese colonial regime. Korea regained her independence in 1945, was immediately divided north and south and then suffered a devastating war from mid-1950 to mid-1953. The post-war reconstruction period represented a certain architectural style, as did the 1960s with the prevailing anti-Communist sentiment in the country. The 1970s witnessed massive urban redevelopment and high-rise office buildings, and the government led major cultural facility projects around the time of the 1988 Seoul Summer Olympics.
Next, Lee Joo-yeon describes Korean architecture in the 1980s and 1990s. He discusses various architects’ organizations that were established as the people came to resist the oppression of the military government of the 1980s. He also examines the influence that the 4.3 Group, formed in 1990, had on the architectural community, as some of the 4.3 Group architects became prominent figures. An increasingly diversified Korean architectural scene is also illustrated after the SA (Seoul School of Architecture) was opened in 1997, and the young architects who were trained there began their careers around the same time young architects who had studied abroad returned to Korea. Moreover, planning for the Paju Book City began in the late 1990s, and the Heyri Art Valley Project was carried out in the early 2000s.
Chung Kwi-weon describes the struggle to find survival opportunities after the onset of the Asian foreign currency crisis of the late 1990s followed by the global financial crisis that erupted in 2008. She goes on to discuss the current generation of young architects, who have created new venues for their profession by expanding their activities outward with the establishment of exhibitions, installations, and by working together with people in other business fields. At the same time, they have intensified their efforts to communicate with the public.
Given this background, C3 introduces diverse perspectives of Korean architecture today with twelve architects and their works. Ten of them emerged after the 4.3 Group years to make names for themselves in the early 21st century, while the other two are young architects who rose to prominence around 2010.
