Considering on the crisis and dilemma of monumentality in Modern architecture, this study analyse the historic reason of decay and new possibility of monumentality within the context of contemporary socio-cultural context. Historically monumentality has been considered as a main substance of High architecture in the tradition of Western Architecture. Difference between building and architecture mainly lies in monumentality which brings about esthetic quality. Usually architects take it granted that the physical and formal characteristics automatically cause the monumentality. But since the modern period the decline of communicative and representative function of architecture made this belief questionable. As Monumentality itself faced the dilemma with the modernity, ironically architects has to response to the task to handle the increasing social demands of monumental building. This study firstly shows the dilemma of monumentality in depth in case of the holocaust museum. Then we analyse the concept of monumentality itself by means of theoretical view of A Loos and A Riegl We also analyse the change of role which monumental building played in history. Cultural and social change of context, and fundamental change of architecture old way of building a monument impossible. In conclusion this study proposes the new concept and searches new horizon of monumentality with a finding of the otherness of monumentality. Conventional monumental building language has to give way to new approaches. With some examples we already can find a new possibility.

This study tries to analyze the development of architectural technologies appeared in several tall buildings and large spatial structures from 1955 to 1999 in Korea. We suppose that these buildings represent the development of technology in Korean modern architecture. By the detailed analysis of these buildings, we can arrive at a conclusion as such; During the years 1955-1999, there existed a great changement in the eighties. We can find this fact very well in the domain of structural system and curtain wall system. In large spatial structures, the structural-system of shell and steel truss dome was replaced by that of space frame, space truss and cable truss with membrane. In tall building, the structural system of rigid frame and shear wall was replaced by tubular system, core and outrigger system. Korean architects introduced the aluminum curtain wall in the sixties, but its low technological level caused many problems in reality. Therefore, precast concrete curtain wall appeared from seventies as the main method for an outer wall in tall building. With the augmentation of height after 1980, PC curtain wall was replaced by the aluminum curtain wall of unit type and structural glass wall system. These systems help to stress the transparency in a tall building.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

The subjects of the research is the architecture expressed traditionality from the time of the Open Port on, including North Korea region. The scope is divided into three periods; the first is from the Open Port to the Rehabilitation (光復),1945, the second is from then to 1960, and the last is from 1960 to the present. The expression of Koreanity(韓國性) should be concerned with the states at the time. In the beginning of the first period the alienate culture and the new modern facilities, like electricity, telecommunication system, train service, etc., rushes to Korea and the traditional architecture accepted the most of the new-comings; therefore, the original form was transformed. That seems to be the beginning of the discourse on traditionality in Korea architecture. The expression was showed up in four parts: ● Korea traditional architecture accepting the foreign culture and the modern facilities ● the compromise between foreign and traditional architectural form ● the compromise between the Modem and traditional architecture ● the Imperial Crown Style(帝冠樣式) which is the eclectic architecture with transformed roof. The figurative expression in the present architecture was showed up in roughly two parts: ● the traditional form directly depicted wholly / partially ● the abstract traditional form wholly / partially Moreover the results on the research traditional architecture have been collected, the principles have been drawn out. Especially the first beauty is not on form or figure of a building but on the composition of architectures and the harmony of the natural circumstances and architectures. So many contemporary architects make efforts to apply the principles to the composition and formation of current architecture.

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : 'Architecture belongs to poetry, and its purpose is to help man to dwell.'

Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.