Lee Eunseok

Lee Eunseok (Korean: 이은석; Hanja: 李恩石, born 1962) is an architect and architectural theorist from South Korea. He is a professor at Kyung Hee University and a French registered architect. He was a student of Henri Ciriani, who is known as the successor of Le Corbusier. Lee has designed various structures including the Millennium Gate (Seoul Ring), Saemoonan Church, Meditation Chapel, Son Yang Won Memorial Museum, National Museum of Korean Literature, National Gugak Center Performance Practice Hall, Bujeon Glocal Vision Center, Heavenly Gem Church, Korean-American Art & Cultural Center in LA.
Eunseok Lee's design style can be classified as New Modernism, a Korean evolution of Modernist architecture. His works emphasize 'geometric shapes' and 'conceptual verbs,' with a strong focus on public engagement and architectural hospitality. He has designed a wide range of buildings in various types and sizes, including houses, residential complexes, commercial spaces, cafes, hotels, schools, memorials, art galleries, museums, performance venues, corporate offices, research institutes, convention centers, and landmarks. He is particularly well-known in the architectural community for his monumental architecture and religious buildings.
Eunseok Lee graduated from the Department of Architecture at Hongik University and is a French registered architect (Architecte DPLG), having graduated from the École Nationale Supérieure d'Architecture de Paris-Belleville. He also obtained a Doctorate in Art History (Doctorat en histoire de l’art) from Pantheon-Sorbonne University, Paris 1. Currently, he is a professor in the Department of Architecture at Kyung Hee University. His roles have included President of the Architecture Design Institute of Korea, a chief architectural consultant for Sejong City, and a member of the examination committee for the Korean Institute of Registered Architects (KIRA).
In 1995, Lee became the first Korean to win first place in an international architectural design competition by winning the Korean American Museum of Art and Culture Center in Los Angeles, USA. This competition saw participation from 475 teams with over 1,600 individuals from 68 countries worldwide. The jury included Richard Meier (Chairman), Michael Graves, Robert A.M. Stern, Kim Jong-sung, and Yoon Seung-jung among the seven members. His victory as a young, relatively unknown Korean architect left a significant impact in the architectural communities of the USA, France, and Korea, and marked his first major recognition in both domestic and international architectural circles.
After returning to South Korea, in 1999, he won first place again in the Millennium Gate competition. This competition saw registrations from 181 teams, including renowned architects and artists like Nam June Paik, with 36 final design entries submitted. The jury was composed of leading figures in the Korean architectural scene at the time, including Jang Seok-woong (Chairman), Kang Seok-won, Ko Joo-seok, Kim Jin-kyun, Oh Hwi-young, Yu Wan, Lee Woo-jin, Ji Soon, and Han Do-ryong.
Lee serves as the lead architect at Atelier KOMA. He has received numerous domestic architecture awards, including the Korean Architecture Culture Award (2003), the Korean Institute of Architects Award (2017, 2018, 2023), the Korean Architectural Design Association Award (2019), the Church Architecture Culture Award (2010, 2015, 2018), and architecture awards from Gangnam-gu, Seoul, Busan, Daegu, and Gyeonggi-do. His works have also been internationally recognized, winning awards such as the Architecture Master Prize(2019, 2020) and the Architizer A+Awards(2020).
Lee studied architecture under Henri Ciriani, who is recognized as one of the most faithful interpreters of the works of Le Corbusier, often hailed as the father of modern architecture. Consequently, his designs align closely with the values of modernist architecture in their broader context, a tendency particularly evident in his early works. However, rather than simply emulating Western modernism, he skillfully merged its principles with the values of traditional Korean architecture, further developing and refining it.
While his works adhere to modern architectural design principles, they effectively capture the essence of Korea’s natural and urban landscapes, with spatial arrangements and utilization that are distinctly Korean. Lee Eunseok’s designs stand out for incorporating values of traditional Korean architecture, such as chagyeong (차경; 借景), the practice of integrating natural elements into the architecture; geomibullu, hwaibulchi (검이불루 화이불치; 儉而不陋 華而不侈), which emphasizes being modest without being shabby and splendid without being extravagant; and the flexible use of space through features like madang (마당), openness, and yobak (여백; 餘白), the deliberate use of empty space. In this sense, it might be more accurate to describe Lee Eunseok's designs not as pure modernism but as a form of Korean modernism or neo-modernism that builds upon and advances the legacy of modernism.
It is clear that Lee Eunseok has made significant contributions to the development of contemporary religious architecture. Among Korean architecture students, there is even a joke that "studying church architecture is complete with just Lee Eunseok and Atelier KOMA." Starting with Mokyang Church in Daejeon (1996), his first church design, and culminating in Saemoonan Church in Gwanghwamun (2019), Lee is known to have designed over 100 churches in South Korea. Given that church construction has significantly declined in many other countries, architects who have designed as many churches as Lee are rare even on a global scale.
Lee's prolific work has gradually challenged and reshaped the public perception of Christian architecture, which was once confined to the Gothic stereotype of "churches must be pointed." Each new church he designed has influenced other architects, driving the evolution of modern church architecture. His ability to accomplish such an extensive portfolio can be attributed not only to his skill as an architect but also to his devout Christian faith, which allowed him to deeply understand and reflect the needs of worshippers in his designs.
In his book, New Church Architecture: Do It This Way, written after returning to South Korea, Lee proposed new directions for contemporary church architecture and categorized practical design types that churches could pursue. Later, in Beautiful Church Architecture, he explored the question of "What makes a church beautiful?" through an analysis of various domestic and international examples. This book became a bestseller in the field and is regarded as a textbook for church architecture.
Lee is also credited as the first architect to use the "boxed cross" design. In an interview, he revealed that he was inspired by the bell tower of the La Tourette Monastery, designed by Le Corbusier, during a past visit. Unlike the decorative spires of Gothic cathedrals that aimed to stand out, Lee's boxed cross integrates seamlessly with the church’s existing volume and functions, emphasizing practicality. This design has since been widely adopted by other architects and has become a trend in modern church architecture. Variations include windowed boxed crosses, engraved boxed crosses, embossed boxed crosses, "ㄱ"-shaped boxed crosses, "ㄷ"-shaped boxed crosses, and "ㅁ"-shaped boxed crosses.
Architectural Hospitality is a concept extensively explored by Eunseok Lee in his book "Hospitality of Architect Eunseok Lee: Seven Thoughts Towards Open Architecture." In this book, the author describes seven architectural languages that can realize publicness and hospitality in building design: 1) Promenade and Escort, 2) Heritage and Consideration, 3) Symbolism and Metaphor, 4) Embracement and Fellowship, 5) Elevation and Openness, 6) Filling and Sharing, and 7) Nature and Meditation.
The National Museum of Korean Literature, also known as Munhak Village (문학 마을), is a cultural institution designed to celebrate the depth and breadth of Korean literary heritage. Situated near Mt. Bukhan, the museum's design reflects a harmonious blend of natural and urban elements, aiming to immerse visitors in the rich cultural context of Korean literature.
The architectural concept of Munhak Village begins with a humble, background-oriented approach, embracing the horizontal simplicity characteristic of traditional Korean architecture. This design minimizes the visual weight of the structures, allowing Mt. Bukhan to remain a prominent natural backdrop. The overarching goal is to create a literary village where the architecture serves as a vessel for interaction, performance, and movement, rather than as a mere object of visual admiration. This transforms the museum into a living space where the experience of literature is dynamic and participatory.
The museum complex consists of four main buildings and five gardens, collectively referred to as 사건오간 (四建五間). Thus, architecturally, the complex features four solids and five voids. Each garden represents one of the five classical elements—metal, wood, water, fire (interpreted as air), and earth—symbolizing the seamless integration of nature with the built environment. These open spaces are designed to foster interaction between the museum, the surrounding park, and the adjacent art village, erasing boundaries and encouraging the free flow of people and nature.
The museum’s spatial organization is based on the balance between solid and void, a concept rooted in Korean literature and philosophy. The solid structures of the museum are designed to capture and reflect the natural beauty of Mt. Bukhan, while the voids allow for panoramic views of Seoul’s urban landscape. This interplay creates a dramatic yet harmonious dialogue between the natural and urban settings.
The design includes flexible boundaries that blend indoor and outdoor spaces, creating a continuum of experiences. The museum houses various functional areas, including classrooms, a library, galleries, and storage facilities. These are connected by a circulation path that integrates the different sections into a cohesive whole. This approach supports a wide range of activities, from exhibitions and educational programs to interactive experiences.
In response to the evolving needs of the post-pandemic era, the museum's layout offers spatial flexibility. The underground level serves as a universal plan, while the above-ground structures are divided into four independent masses. This separation ensures the independent operation of spaces, including dedicated entrances for community facilities like cafes and multipurpose rooms, which can function autonomously.
The museum's design reflects its cultural and historical context, particularly its location in Eunpyeong-gu, a district known for its literary significance. The concept of "borrowed scenery" (차경; 借景) is deeply ingrained in Korean architectural tradition and is prominently featured in the design. The structures borrow the natural beauty of the surrounding landscape, creating a serene and immersive environment for visitors.
The National Museum of Korean Literature embodies the principles of a "rakevium"—a hybrid of archive, library, and museum—by offering spaces that not only store and display literary artifacts but also encourage active engagement and reinterpretation of literature.
The Meditation Chapel, known as the "멍때림 채플," is conceived not as a traditional urban worship site but as a minimalist sanctuary for existential reflection amidst nature. Open to all, this public chapel serves as a meditative retreat for pilgrims seeking solace and introspection, embodying the essence of an existential pilgrimage space.
The architectural concept of the chapel is embodied in its simple, lifted concrete volume, symbolizing separation from the secular world. Elevated above the ground, this minimalistic design fosters a serene atmosphere through its minimalist spatial sequence. This architectural languages diverges from the Japanese style, which emphasizes firmly grounded structures (due to earthquake risks) and complex spatial sequences to create authoritative spaces. The chapel invites visitors to pause and reflect beneath an open sky, offering a space free from distractions and complexity.
The chapel's interior (Sea Chapel) is defined by four distinctive walls, each enhancing a unique sensory dimension of the space. The Wall of Meditation (멍때림의 벽), with its translucent window facing the West Sea, offers a serene view of the blurred seascape, fostering contemplative stillness. The window features a deep recess to minimize distractions from the scenery above and below, focusing attention on the intended view. The Wall of Sound (소리의 벽) incorporates a pipe organ, designed and built by Hong Seong-hoon, the only Korean Organ Builder Meister. The layout of the pipes symbolizes Mt. Mani of Gangwha Island and the West Sea, enriching the environment with auditory harmony that complements the tactile and visual experiences. The Wall of Light (빛의 벽), adorned with twelve green square funnel windows, symbolizes the verdant surroundings and establishes a profound connection with nature. The stained glass, designed by stained glass artist Chung Kyungmi, symbolizes "the Ties of Love" in the Hosea, adding a spiritual dimension to the space. Lastly, the Wall of Background (배경의 벽), a neutral concrete screen, reflects light and embodies a minimalist aesthetic, contributing to the overall tranquility and simplicity of the chapel.
The Meditation Chapel consists of three distinct spaces, each designed to offer a unique meditative experience. The Sea Chapel (바다 채플) offers a faint view of the sea when standing and a view of the sky when seated, encouraging quiet contemplation. The Closet Chapel (골방 채플) provides an intimate, secluded environment for solitary reflection on fundamental values. The Sky Chapel (하늘 채플) opens to the sky and is surrounded by greenery, fostering a deep connection with the natural world. The wall of this space rises above average human sight, shielding the ground-level scenery and guiding visitors' gaze toward the sky.
The Meditation Chapel has garnered acclaim for its meticulous architectural design, as recognized by the 2023 Korean Institute of Architects Awards, which praised its architectural promenade and the interplay of light with the natural surroundings. The exposed concrete’s sleek finish and formwork patterns transcend economic value, focusing more on the experiential than the functional. Its design exemplifies extreme minimalism, presenting a floating box from the outside while transforming the interior walls into thematic variations that underscore the chapel’s role as a space for pilgrimage and existential reflection.
The design philosophy of the chapel draws heavily from the Eastern concept of emptiness (비움; 여백), inviting visitors to engage more deeply with the environment than with the architectural elements themselves. The front horizontal window offers a view of the sky and sea, encouraging prolonged gazing and a meditative state. The concealed pipe organ within the concrete walls resonates harmoniously, enhancing the immersive experience.
Envisioned not as a traditional place of worship but as a space for experience, the chapel fosters an inclusive environment open to all. Visitors can journey through the space, from the open embrace of the Sky Chapel to the secluded introspection of the Closet Chapel, exploring a spectrum of existential experiences. Ultimately, the Meditation Chapel stands as a testament to the power of minimalist architecture, seamlessly blending with nature to offer a profound sanctuary for contemplation and reflection.
Saemoonan Church, the oldest Protestant church in Korea, celebrated its 132nd anniversary with the completion of a new sanctuary in Gwanghwamun, Seoul. The new building is designed to symbolize the figure of a mother, arms outstretched towards the sky, offering a nurturing embrace. This design reflects the church’s deep-rooted history as the mother church of Korean Protestantism and its symbolic association with loving God and loving neighbor. The architectural concept emerged in response to contemporary concerns surrounding church design in Korea. In 2010, during a national design competition, the trend was toward functionalism, with large-scale churches emphasizing monumental structures. In contrast, Saemoonan Church’s design aimed to convey spiritual themes through architectural form, prioritizing four guiding principles: historical legacy, the symbolism of an open door to heaven, a space that reflects Christ as light, and the meaning of baptism and reconciliation. These principles were expressed through innovative spatial configurations that served as metaphors for loving God and loving neighbor.
Departing from traditional church architecture, Saemoonan Church challenges the use of Gothic spires and ornate decorations by focusing on simplicity and abstraction. A soft curved surface replaces the conventional pointed spires, symbolizing divine love and mercy, rather than asserting the church’s authority. The design prioritizes an inclusive, modern approach, with a fan-shaped worship hall that encourages dynamic participation among worshipers. The soft, flowing curves of the design symbolize God’s nurturing and maternal qualities, contrasting with traditional sharp spires and towering Gothic imagery. This approach shifts the emphasis from authority and grandeur to openness and connection, creating an inviting atmosphere for both worshipers and the surrounding community.
A key aspect of Saemoonan Church’s design is its concept of “Loving Neighbor,” reflecting the church’s desire to engage with the urban context and serve the broader community. Unlike typical church designs that prioritize inward-facing sanctuaries, Saemoonan Church opens itself to the public through a sunken courtyard and arching gates, offering a welcoming space for city dwellers. The church’s openness is further emphasized by its connection to the Sejong Center for the Performing Arts and the continuous flow of space through the lobby, inviting interaction with the wider community.
The building’s transparent glass box and curved walls contrast with the rigid forms of surrounding urban buildings, enhancing visual harmony and offering a calm, open space that protects future generations from the bustling city. The top floor of the education building and the cross-tower, which provide panoramic views of Seoul, serve as public spaces open to all citizens. Additionally, the church’s exterior uses Saebi stone, a type of granite, to evoke a sense of tranquility and comfort. The use of Saebi stone, one of the cheapest materials, reflects the Korean architectural philosophy of '검이불루 화이불치' (儉而不陋 華而不侈), which values simplicity without being shabby, and elegance without being extravagant, highlighting how the material is thoughtfully integrated into the design. The careful integration into the urban environment—maintaining a distance from the main road and offering an open public courtyard or madang (마당)—demonstrates the church’s commitment to community outreach and accessibility. The architect and the church's decision to allocate substantial portions of the site to public spaces is particularly noteworthy, given its prime location in one of Seoul's most expensive areas.
The new building integrates sustainability into its design. The education building features a rooftop garden, providing a bright and sustainable space, while the church’s layout ensures it blends harmoniously into the dense urban landscape. The focus on preserving memory while embracing modernity highlights the church’s dedication to both honoring its historical roots and creating a meaningful space for contemporary worship and public life.
Saemoonan Church has received several prestigious awards in recognition of its architectural excellence. In 2019, it won first place in the Cultural Architecture category of the Architecture Master Prize (AMP). The church also earned the Jury Award in the Religious Architecture and Memorials category of the 2020 Architizer A+ Awards. Furthermore, Saemoonan Church was named a finalist for ArchDaily’s 2020 Building of the Year Award, further solidifying its reputation as a significant architectural achievement.