This paper aimed at investigating into the origin and meaning of the Japanese architect Terunobu Fujimori's 'piercing column', and drew a conclusion as follows. First, the piercing column that made its first appearance in his architect debut work Jinchokan Moriya Historical Museum (1991) was conceived unexpectedly from pencil lines on a sketch that went through over the building's roof. And the tree-like natural treatment of the column's surface was influenced by Takamasa Yoshizaka's description of a Mongolian mud-house. Second, most of piercing columns in his later works have nothing to do with a structural role as in Jinchokan, but were designed for a visual effect and as a symbolic gesture. Again, they allude to a tree in nature through a roughly peeling treatment of the surface. Third, considering his ideas in History of Humankind and Architecture (2005), his column could be related to a universal origin of architecture and a symbol of the sun-god faith, and in particular to independent columns of Japanese Shito shrines, such as 'Onbashira' in Suwa and 'Iwanebashira' in Izumo. That is to say, the Fujimori column is a medium that implies the animistic nature-faith of Japan. Nevertheless, Fujimori's naturalism hints at a disquieting quality through an intentional artificiality and a provocative conflict between structure and finish of a building, which might be one aspect of the modern condition, 'uncanny'.

Abstract
1. 서론
2. 후지모리 기둥의 출현과 적용
    2-1. 진초칸의 디자인과 돌출기둥의 시작
    2-2. 돌출기둥의 출현 경위
    2-3. 돌출기둥의 반복된 적용과 변이
3. 후지모리 기둥의 의미와 해석의 확장
    3-1. 건축의 보편적 원류로서의 기둥
    3-2. 일본 신사건축의 독립기둥과 후지모리 기둥
    3-3. 후지모리 기둥이 함의하는 바
4. 결론
References

• 김현섭(고려대학교 건축학과 부교수) | Kim, Hyon-Sob Corresponding author