This article explores the hybrid modernity made through missionary architectural practices during... more This article explores the hybrid modernity made through missionary architectural practices during colonial Korea, by examining how the master plan of Yonsei University, one of the earliest mission schools in Korea, has gone through a unique evolutionary process throughout the convoluted modern history of the twentieth century. In doing so, this article conducts a thorough visual and spatial analysis of the given case with two emphases: first, analyzing three campus master plans—produced in 1917, 1925, and 2016 respectively—in a comparative way; and second, analyzing the layout and façade composition of major buildings that comprise the campus in great details. These master plans are crucial evidences enabling us to investigate the transatlantic architectural practices in early 20th century, as Henry K. Murphy, the architect in charge of the first two master plans of Yonsei University, was one who had long practiced in New York and greatly admired the values of Asian architecture through a series of field trips to major Asian cities, including Beijing, Shanghai, Tokyo, and Seoul.
While the 1917 master plan was in part influenced by the Western precedents, as well as ones from Japan and China some of which Murphy himself was involved in as a master architect—especially ones from Japan and China—the 1925 case deviates from it and illustrates multiple points of transformation that go beyond spatial symmetry and visual harmony. The 1925 one is marked by the rearranged spatial disposition and façade composition of dormitories and residential halls as influenced by the geographical peculiarities of Korea at that time. Long after the revision, the third, 2016, version illustrates the much expanded, triangular shape toward the south with added buildings and facilities, while the entombment area and other historical fragments in the upper part are well preserved. Hence, this article claims that the case of Yonsei University elicits the hybridization of missionary architectural practices and local Korean culture throughout the twentieth century, which is neither subsumed by the missionaries’ imposition of design ideas nor bound by the authentically Korean tradition of design.
Journal of Asian Architecture and Building Engineering, 2018
This article explores how idealized architectural plans are negotiated in relation to the practic... more This article explores how idealized architectural plans are negotiated in relation to the practical concerns and socio-cultural conditions of modern and contemporary Korea. As a case study, it focuses on analyzing the masterplans of Yonsei University, one of the key universities that illustrate the architectural modernity of Korea, as well as reflecting the continual interactions between different agents of power within and outside the country. Particular attention is given to the evolution of the university's masterplans at four different points in time: the plans proposed in 1917, 1925, 1957, and 1970 respectively, all of which are compared to the 2016 map. The 1917 plan is a product made by an American architect—Henry K. Murphy—who proposed a design without visiting the site. Such a process lacking tactile engagement resulted in generating an overly western-style and also an 'ideal' plan that does not adequately respond to actual site conditions. While the 1925 and 1957 plans are updated versions that are based on Murphy's site visits, they still seem idealized to a great degree. It is rather the last two maps—1970 and 2016 plans—where one can detect how they manifest themselves for the changing conditions of modern and contemporary Korea; a number of those working at the university participated in the design process, which focused on generating more realistic strategies in response to South Korea's 'compressed modernity'. Our in-depth visual analysis of the Yonsei masterplans shows how idealized plans are negotiated and reworked, thereby reflecting realistic demands for university life in material ways.
This article explores the hybrid modernity made through missionary architectural practices during... more This article explores the hybrid modernity made through missionary architectural practices during colonial Korea, by examining how the master plan of Yonsei University, one of the earliest mission schools in Korea, has gone through a unique evolutionary process throughout the convoluted modern history of the twentieth century. In doing so, this article conducts a thorough visual and spatial analysis of the given case with two emphases: first, analyzing three campus master plans—produced in 1917, 1925, and 2016 respectively—in a comparative way; and second, analyzing the layout and façade composition of major buildings that comprise the campus in great details. These master plans are crucial evidences enabling us to investigate the transatlantic architectural practices in early 20th century, as Henry K. Murphy, the architect in charge of the first two master plans of Yonsei University, was one who had long practiced in New York and greatly admired the values of Asian architecture through a series of field trips to major Asian cities, including Beijing, Shanghai, Tokyo, and Seoul.
While the 1917 master plan was in part influenced by the Western precedents, as well as ones from Japan and China some of which Murphy himself was involved in as a master architect—especially ones from Japan and China—the 1925 case deviates from it and illustrates multiple points of transformation that go beyond spatial symmetry and visual harmony. The 1925 one is marked by the rearranged spatial disposition and façade composition of dormitories and residential halls as influenced by the geographical peculiarities of Korea at that time. Long after the revision, the third, 2016, version illustrates the much expanded, triangular shape toward the south with added buildings and facilities, while the entombment area and other historical fragments in the upper part are well preserved. Hence, this article claims that the case of Yonsei University elicits the hybridization of missionary architectural practices and local Korean culture throughout the twentieth century, which is neither subsumed by the missionaries’ imposition of design ideas nor bound by the authentically Korean tradition of design.
Journal of Asian Architecture and Building Engineering, 2018
This article explores how idealized architectural plans are negotiated in relation to the practic... more This article explores how idealized architectural plans are negotiated in relation to the practical concerns and socio-cultural conditions of modern and contemporary Korea. As a case study, it focuses on analyzing the masterplans of Yonsei University, one of the key universities that illustrate the architectural modernity of Korea, as well as reflecting the continual interactions between different agents of power within and outside the country. Particular attention is given to the evolution of the university's masterplans at four different points in time: the plans proposed in 1917, 1925, 1957, and 1970 respectively, all of which are compared to the 2016 map. The 1917 plan is a product made by an American architect—Henry K. Murphy—who proposed a design without visiting the site. Such a process lacking tactile engagement resulted in generating an overly western-style and also an 'ideal' plan that does not adequately respond to actual site conditions. While the 1925 and 1957 plans are updated versions that are based on Murphy's site visits, they still seem idealized to a great degree. It is rather the last two maps—1970 and 2016 plans—where one can detect how they manifest themselves for the changing conditions of modern and contemporary Korea; a number of those working at the university participated in the design process, which focused on generating more realistic strategies in response to South Korea's 'compressed modernity'. Our in-depth visual analysis of the Yonsei masterplans shows how idealized plans are negotiated and reworked, thereby reflecting realistic demands for university life in material ways.
Uploads
Papers by Dai whan An
While the 1917 master plan was in part influenced by the Western precedents, as well as ones from Japan and China some of which Murphy himself was involved in as a master architect—especially ones from Japan and China—the 1925 case deviates from it and illustrates multiple points of transformation that go beyond spatial symmetry and visual harmony. The 1925 one is marked by the rearranged spatial disposition and façade composition of dormitories and residential halls as influenced by the geographical peculiarities of Korea at that time. Long after the revision, the third, 2016, version illustrates the much expanded, triangular shape toward the south with added buildings and facilities, while the entombment area and other historical fragments in the upper part are well preserved. Hence, this article claims that the case of Yonsei University elicits the hybridization of missionary architectural practices and local Korean culture throughout the twentieth century, which is neither subsumed by the missionaries’ imposition of design ideas nor bound by the authentically Korean tradition of design.
While the 1917 master plan was in part influenced by the Western precedents, as well as ones from Japan and China some of which Murphy himself was involved in as a master architect—especially ones from Japan and China—the 1925 case deviates from it and illustrates multiple points of transformation that go beyond spatial symmetry and visual harmony. The 1925 one is marked by the rearranged spatial disposition and façade composition of dormitories and residential halls as influenced by the geographical peculiarities of Korea at that time. Long after the revision, the third, 2016, version illustrates the much expanded, triangular shape toward the south with added buildings and facilities, while the entombment area and other historical fragments in the upper part are well preserved. Hence, this article claims that the case of Yonsei University elicits the hybridization of missionary architectural practices and local Korean culture throughout the twentieth century, which is neither subsumed by the missionaries’ imposition of design ideas nor bound by the authentically Korean tradition of design.