[4][2] 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.
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.
[10] 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.
[9] Lee Eunseok’s designs stand out for incorporating values of traditional Korean architecture, such as chagyeong (차경; 借景),[11] the practice of integrating natural elements into the architecture; geomibullu, hwaibulchi (검이불루 화이불치; 儉而不陋 華而不侈),[12] 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.
[2] 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.
[15] 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.
[19] 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.
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.
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 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.
[22][20] 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.
This separation ensures the independent operation of spaces, including dedicated entrances for community facilities like cafes and multipurpose rooms, which can function autonomously.
[24] 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.
[23][24] 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 Wall of Light (빛의 벽), adorned with twelve green square funnel windows, symbolizes the verdant surroundings and establishes a profound connection with nature.
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.
[25] 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.
[24] 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.
[25] 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.
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.
[5] The soft, flowing curves of the design symbolize God’s nurturing and maternal qualities, contrasting with traditional sharp spires and towering Gothic imagery.
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.
[15] 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.
[12] 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 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.