This paper aims at researching the cave concept of the Japanese architect Terunobu Fujimori and the result could be summarised as follows. First, a cave is Fujimori's only theme related to the interior space. He set some design guidelines for practice concerning openings of the wall and finishing materials of the interior, following the two major characteristics of a cave: 'comfortability' and 'homogeneity in material'. And 'fire' was also the premise in the cave as a 'spirit' of the space. Second, Fujimori applied the concrete guidelines to Tanpopo House (1994~95), which had in fact borne the ideas. Yakisugi House (2005~07) that took the cave as its design theme showed the transition of his cave concept, from closedness to openness. Third, though his cave concept might deserve the criticism that it is inclined to 'image' rather than 'essence', it illustrates that he seeks after an archetype of human dwelling before the purity of the original space was tarnished with rationality and abstraction. And the cave idea allows the seemingly contradictory 'sachlich' and 'surrealistic' features to coexist. Summing up, Fujimori's cave concept proves that his architecture is a rejection of the Cartesian modernist ideal and the contemporary architects' desire for dematerialisation. In a fundamental level, however, it is a result of his strategic choice induced by his own primary principle that his building must not be similar to any styles in history or any other architects' works in the world.

Abstract
1. 서론
    1-1. 연구배경 및 목적
    1-2. 연구범위 및 방법
2. 후지모리 테루노부의 동굴론
    2-1. 동굴에 대한 후지모리의 기본 입장
    2-2. 건축디자인을 위한 동굴의 구체적 특성
    2-3. 소결: 동굴성의 실제적 적용점
3. 후지모리 테루노부가 창조한 현대적 동굴
    3-1. 원시 동굴공간의 연장: 조몬주거에서 파빌리온으로
    3-2. 나무의 동굴: 탄포포하우스 (1994~95)
    3-3. 동굴의 개방성: 야키스기하우스 (2005~07)
4. 후지모리 동굴론의 비판적 고찰
    4-1. ‘이미지’ 대 ‘본질’의 문제
    4-2. 즉물성과 초현실성의 공존
    4-3. 후지모리 건축의 역사적 조망
5. 결론
References

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