• 건축사
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• 제4권12호통권12호
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• pp.14-27
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• 1969

• 건축사
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• 6호통권231호
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• pp.25-49
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• 1988

• 건축사
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• 통권623호
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• pp.22-23
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• 2021

• 건축사
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• 8호통권233호
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• pp.7-23
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• 1988

• 건축사
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• 8호통권173호
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• pp.35-48
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• 1983

• 과학과기술
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• 제2권4호통권8호
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• pp.23-24
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• 1969

• 건축사
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• 4호통권157호
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• pp.35-54
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• 1982

• 건축사
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• 9호통권162호
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• pp.33-72
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• 1982

• 한국주거학회:학술대회논문집
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• 한국주거학회 2006년도 추계학술발표대회 논문집
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• pp.341-345
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• 2006

zArchitect Kim lung-up used free-curved lines as his architectural language. We can categorize his language into 'overlapped curved lines' and 'juxtaposed circles.' We found that his language was expressed well when he applied a specific material, for example, overlapped curved lines - concrete and juxtaposed circles - brick. Furthermore, using the plasticity of concrete, he built roofs and columns in a curved form. He also created reliefs on the walls out of the characteristics of bricks. It can be evidence that he considered forms and characteristics of materials to design buildings. This research mainly focuses on his design method to use free-curved lines with specific materials based on the analyses of forms and materials applied in his architecture buildings and art works

• 건축역사연구
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• 제13권3호
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• pp.37-50
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• 2004

Presentation is the way of revealing regionality that is hidden into the inner world. The expression of regionality has to be based on the origin and at the same time created newness as always suitable for the present through combination of 'familiarity' and 'unfamiliarity'. Regionality that has been maintained even under the application modern trends, spirits, technologies and materials should be now disclosed. Creating new forms that reflect regionality is possible only when a keen sense(emotion) always focusing on the essence of the earth works together with foresight(imaginative power) clarifying global pattern changes, under high tensions between both of them. Kim Su-Keun succeeded in reinterpreting traditional spaces, but failed in communicating patterns of life, ultimately revealing stiffness with no tension and no creativity. Kim Jung-Up could not draw out a whole meaning of relations among traditional fragments or relations between them and the present. He only borrowed such fragments from the view of formative art. For 'disclosed abstract', 'familiarity' and 'unfamiliarity' are repeated circularly and cope with pattern changes, continuously creating new forms and showing unity as a complete calmness(rest). In "YangDuk Catholic Church" by Kim Su-Keun provides a simultaneous reactivation of various images through continuous cross-weaving rather than being inclined to either the earth or the world. Based on the technique of 'disclosed abstract', "YangDuk Catholic Church" created a new form and space never seen before.