Lee Eunseok (, , born in 1962) is a South Korean architect and architectural theorist. He is a professor at Kyung Hee University and a French-registered architect. He was a student of Henri Ciriani, and known as the successor of Le Corbusier.
Lee's design style is classified as New Modernism, a Korean evolution of Modernist architecture. His works focus on public engagement and architectural hospitality. He is known in the architectural community for his monumental architecture and religious buildings.
Lee has designed numerous landmarks, 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, and Korean-American Art & Cultural Center in Los Angeles.
He has also designed houses, residential complexes, commercial spaces, cafes, hotels, schools, memorials, art galleries, museums, performance venues, corporate offices, research institutes, and convention centers.
Early life and career Eunseok Lee graduated from the Department of Architecture at Hongik University. He is a French-registered architect (Architecte DPLG), having also graduated from the École Nationale Supérieure d'Architecture de Paris-Belleville. Lee obtained a Doctorate in Art History (Doctorat en histoire de l'art) from Pantheon-Sorbonne University, Paris 1.
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. This competition saw participation from 475 teams with over 1,600 contestants from 68 countries. His victory left a significant impact in the architectural communities of the US, France, and Korea, and marked his first major recognition in both domestic and international architectural circles.
After returning to South Korea, Lee won first place again in the Millennium Gate competition in 1999. This competition saw registrations from 181 teams, including renowned architects and artists like Nam June Paik.
Lee currently serves as the lead architect at Atelier KOMA. He is also a professor in the Department of Architecture at Kyung Hee University. His past roles include President of the Architecture Design Institute of Korea, chief architectural consultant for Sejong City, and examination committee member for the Korean Institute of Registered Architects (KIRA).
Lee 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 been internationally recognized, winning awards such as the Architecture Master Prize (2019, 2020) and the Architizer A+Awards (2020).
Style Korean Modernism Lee studied architecture under Henri Ciriani, who is recognized as one of the most faithful interpreters of the works of Le Corbusier. Consequently, his designs align closely with the values of modernist architecture, a tendency particularly evident in his early works. He merged its principles with the values of traditional Korean architecture.
While his works adhere to modern architectural design principles, they effectively capture the essence of Korea's natural and urban landscapes. Lee Eunseok's designs incorporate 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.
Religious architecture 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.
Ideas Architectural hospitality 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.
Major works National Museum of Korean Literature 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.
Meditation Chapel 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.