Architect Kim Won: 'Architecture's Essence is Public Use,' Reflects on Career in New Essays

Architect Kim Won, a distinguished figure in Korean architecture, recently released his fourth essay collection, "Still Untold Stories." Born in 1943, Kim graduated from Seoul National University's architecture program and honed his skills under the renowned architect Kim Swoo-geun. His career boasts significant projects, including the master plan for the Seoul Arts Center, the Motherhouse of the Sisters of Charity of St. Paul the Apostle, and the framework design for Nam June Paik's "The More, The Better."

Beyond his architectural achievements, Kim has been a vocal advocate for social responsibility, actively participating in environmental and cultural heritage preservation movements, such as opposing the Donggang Dam and advocating for the preservation of Yi Sang's house. Despite his public profile and influence, Kim reveals in his book that he often harbored unspoken thoughts and frustrations, finding solace in writing.

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The essence of architecture is contributing to public use. Even a private home affects the perspectives of others. When accommodating legal regulations and client demands, architects must inevitably restrain their own ideas.

In his Seoul office, surrounded by architectural models and historical maps, Kim discussed his views on architecture's role. "The essence of architecture is contributing to public use," he stated. "Even a private home affects the perspectives of others. When accommodating legal regulations and client demands, architects must inevitably restrain their own ideas."

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You, I'll have you arrested!

Kim's career coincided with South Korea's rapid economic and cultural growth, leading to his involvement in numerous large-scale public cultural projects. Works like the Independence Hall of Korea, the National Museum of Modern and Contemporary Art (Gwacheon), the Seoul Arts Center, and the National Museum of Korea (formerly Central Government Complex) were realized through his master plans. He wryly acknowledges the "Fifth Republic Architect" label, a term born during that era, and addresses controversies surrounding these projects in his book. For instance, he details his involvement in selecting the site for the Independence Hall of Korea, navigating political pressures and architectural competition.

Reflecting on his extensive career, with approximately 200 of his over 400 designed structures built, Kim shared a memorable encounter from the late 1970s. Tasked with designing the Korea Exhibition Center (COEX) under President Park Chung-hee's directive, he clashed with the project's supervisor, Baek Haeng-geol. When Baek demanded he replicate a design from a British exhibition, Kim refused, arguing that the building was for future users, not just the client. This led to a heated exchange, with Baek threatening him. Kim, recalling the era's political climate, strategically mentioned a connection to a high-ranking official, which diffused the situation. He continues to advocate for architecture that respects natural and historical contexts, expressing a long-held dream to establish an architecture school focused on "proper architecture."

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If another charlatan emerges, they will rationalize the scenario of deifying Chun Doo-hwan, but I will not do that.