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Korean architecture entered a new phase of development during
the post-Korean War reconstruction efforts, with the return of two ambitious
young architects of great talent from overseas--Kim Chung-op
from France and Kim Su-gun from Japan. The
office-residence of the French Embassy in Seoul by Kim Chung-op,
and the Liberty Center by Kim Su-gun, both
constructed in the early 1960s, were a refreshing addition to Seoul's
architectural environment. Both artists were influenced by the brutalism of Le
Corbusier, but their different approaches have contributed greatly to the
development of Korean architecture and have been a point of continuing academic
debate.
Some structures of special note in Seoul include Kim Chung-op's
Samillo Building, significant because it introduced new technology in the 1970s;
Om Tok-mun's Sejong
Cultural Center; Pak Chun-myong's 63-story Daehan
Life Insurance Building; and Kim Su-gun's Kyongdong
Presbyterian Church and the Olympic Stadium, showing the influence of the lines
of Choson ceramics.
After the era of Kim Su-gun and
Kim Chung-op, there came an age of experimentation
and diversity in Korean architecture. Some of the most notable examples are Kim
Seok-chul's Seoul Arts Center, Kim Won's Kugaktang and Yun Sung-jun's
High Court Complex, Hwang Il-in's City Airport Terminal and Cho Sung-ryong's
Athlete's Apartments at the Olympic village.
In the aftermath of the 1988 Seoul Olympics, South Korea has
witnessed a wide variation of styles in its architectural landscape due, in
large part, to the opening up of the market to foreign architects. Moreover,
forced to keep abreast with international trends, Koreans have been coming up
with ways to combine the traditional Korean sense of aesthetics and beauty with
the international tastes and the functional demands of contemporary life.
Needless to say, one of the greatest tasks of the
architectural community is to protect the country's great architectural legacy
by achieving a harmonious relationship between the ancient styles and modern
structures.
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