A RESONANT DIALOGUE FOR MONUMENTAL AND NON-VERBAL ARCHITECTURE
Architects Summoned by Public Architecture
The architects in the circle of the so-called 4.3 Group, who enjoyed their heyday in the 1990s and 2000s, and those ten years thier junior under their influence, grew mainly through private sector projects. Although they offered a strong discourse on the publicity of architecture in large urban development projects such as Paju Book City and Heyri, they belonged to the private sector. Making their debuts and increasing their portfolios through private projects, like the gallery in Heyri and a publishing company’s office, architects of this generation are now playing the leading role in Korean contemporary architecture in their 50s and 60s.
The 2010s was a period at which art museum projects attracted young architects with high cost-effectiveness but poor portfolios, opening opportunities for them in the public art realm. In particular, despite the economic crisis triggered by the collapse of Lehman Brothers in 2008, they opened many studios and grew their businesses mainly relying on the accessible market of neighbourhood living facilities and multi-family houses which were established as baby boomer’s sources of income after their retirement, as well as through urban collective housing targeting grown-up apartment kids who formed independent households, or through country houses which were constructed as solutions to soaring rents which were nearly 70 per cent of the house prices in the suburbs
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