『Architecture Criticism』 is an architectural theory critique journal founded in 2015.
Published quarterly, four times a year in spring, summer, fall, and winter, the book is packed with architectural topics worth considering, architects and architectural work read from diverse perspectives, and other voices on architecture.

The architectural possibilities dreamed of by mannerism and anarchism are not so much about presenting a model of a new vision as about revealing an attitude and method that embraces contemporaneity, which seems closer to a utopian impulse than to the utopian form mentioned by Jameson.
In other words, it can be said that the emphasis is on the structuring of architectural discourse rather than the structuring of the construction and practical use of buildings.
--- p.7 From Park Young-tae's "Introduction"

From that perspective, I would not hesitate to select Windy Hill as one of my representative works.
To put it another way, this work allowed me to see myself, and furthermore, I have the confidence that I would have done this much because it was me.
Its basis is architectural values ​​that differ from the thematic approach of the civil war, such as the relationship with the surrounding nature, the harmony of individuality and unity, the interpretation of topography and landscape, and the quality of the finished product.
--- p.40 From Hwang Du-jin's "Civil War and Foreign War"

This Gosan-ri housing project seems to be a question of what solutions architects should propose if the direction of universal architecture is to move away from 'main-city living.'
Just as the topic of discussion in this era of population decline shifts from centrality to decentralization, from centralized cities to local small and medium-sized cities, and from the settled population to the related population,
--- p.66 From Kang Nan-hyung's "Questions for the Third Neighborhood"

The second is the courage to question.
They question architecture.
It is easy to repeat (learn), but it is difficult to question.
Because the results of the inquiry are not guaranteed.
Yet, they seem to enjoy the journey of reflection.
Let me add a word here, there is no need to rush.
Since architectural thinking is revealed through construction (or secondary results), someone will watch and chew over their construction (or counter-question).
So, if you work hard like this, it will work out.
--- p.129 From Jeon Sang-hyeon's "Unfamiliar to Us"

Both SOA's Brickwell and Promenade Ring demonstrate a structure in which the landscape plays a significant role and the architecture surrounds the landscape, but the positions and effects of the landscape and architecture are quite different.
In Brickwell, architecture plays a proper role and can dramatize the central effect of the landscape, but in the latter, the intervention of architecture is so suppressed that even the landscape becomes meaningless, and the architecture reproduces the symptoms of that suppression.
--- p.170 From Jo Soon-ik's "Architectural Experiments in the Triangle and the Phases of the Void"

However, discussions related to architectural education in our country have focused on the architectural education accreditation system (hereinafter referred to as the accreditation system) rather than the actual content of education, including design studios.
Given the impact of certification systems on education, it is clear that discussions about the system must continue.
However, it should be noted that discussions about the certification system have taken away the opportunity for a more thorough discussion about the content of the classes, from the subject matter and method of conducting the design studio to the criteria for selecting educators.
This is why this project focuses on the content of the design studio.
--- p.175 From Lee Hee-jun's "Positions"

Redefining architectural design as material design could be the architect's attitude and strategy in responding to the climate crisis.
But by doing this, architecture is placed in a dilemma where it cannot solve its own problems.
The Earth, the vast foundation of our lives, is a flexible and ever-changing organism, but the building materials that form our microscopic foundation almost always inevitably require permanence and durability that do not change.
But if we really look at it, there has never been a moment in the past, and there will never be one in the future, when architecture has been able to resolve or escape the innate dilemma it faces.
That is the original sin and fate that architecture bears.
--- p.258 From Hyun Myeong-seok's "Some Thoughts on Seeing the Gwangju Biennale Circular Poly"

This book looks back at Korean houses from the 1960s and 1970s, but its perspective is not retro.
It is not a gloomy gaze looking back on a history that once existed but has since been lost, but a passionate gaze that closely examines the form of the lost history projected onto the horizon of the present.
The expressions reproduced today for this book do not merely serve as a medium for explanation.
These testify to the author's attitude.
The author captures the signals of past events in the space and describes them on the parchment of the present, and the author tries to tie up, even if only through models, stories that have not yet ended.
--- p.262 From Lee Ji-hyung's "Lost Houses of Korea"

I think there is a phenomenon in which the ability and depth that Kim Young-jun reached when raising the topic of collective form is not widely communicated and shared, either because of excessive compression of logic or because of his usual unfriendly way of explaining things.
I sincerely hope that this book will serve as an opportunity to resolve such a phenomenon.
So I hope that his architectural theory will become a subject of lively discussion.
Because the trajectory of his thoughts is too 'rare' and precious to just let it pass by as if nothing happened.

--- p.272 From Jeong Man-yeong's "Branches of Collective Form"