연구자는 개교회의 우간다 선교담당으로 사단법인 유니온비전미 션과 함께 2019년부터 2023년까지 연합선교사역을 진행하였다. 거기 에서 연구자는 우간다 교회의 부흥을 보았다. 본 고에서 연구자는 우간다 선교의 역사를 간략하게 살펴보고 우간다 교회의 부흥에 스며들 어 있는 세 가지 요인들을 살펴볼 것이다. 그 세 가지는 바로 미국의 복음주의를 닮은 우간다 본어게인(Born-again) 기독교의 전파, 우간 다의 도시화, 그리고 오순절&은사주의의 경험중심 선교와 예배이다. 여기서 중요한 점은, 그러한 교회성장의 요소들이 상호 영향을 주며 서로 녹여낼 수 있는 곳이 바로 교회당이었다. 유니온비전미션은 연합 선교, 집중선교, 믿음선교를 통해 낡고, 위험하고, 무너져가는 현지 목회자들의 교회당을 새롭게 건축함으로서 교회성장의 기반을 다져주 고 있다. 이들의 선교를 통해 깨닫는 것은 이제 세계선교에서 한국교회 는 우리가 선교한 나라들의 교회들이 스스로 설 수 있게 만드는 선교를 실행해야 함을 깨닫는다.

The purpose of this paper is to study on the architecture and extension project for the Church of St. Lorenzo. This study is composed of a through analysis of the extension elements on the church building and extension type for extension project of the Church of St. Lorenzo. The results of study are as follows: 1. The extension project for the Church of St. Lorenzo was basically consisted of the concept of a horizontal extension plan through both the interior and exterior space of the church building. This project was the plan of concept of additional or affixing extension through existing spaces with necessary spaces to make up for the previous simple space and form as well as functional aspect. 2. The unit spaces of the nave, the aisle, the small chapels bilaterally adorning the aisles, the transept and the chapels around transepts, and the sacristies by the extension project for the Church of St. Lorenzo is composed of regulation, balance and harmony as geometric space composition according to simple proportion system on whole and parts as well as parts and parts, through the definite articulation by each space zoning. 3. The most important innovative aspect different to previous churches in the extension project for the Church of St. Lorenzo is the compositive system of each other symmetrical spaces through long centrical axis of central part, applying the module system for horizontal arrangement. In particular, the use of regular module on repetition and proportion of rhythm from architectural composition system was precisely composed with the alter that consists of visual focus to express more accurate perspective.

Stained glass, which flowered with Gothic architecture, the climactic era ofMiddle Ages art, conveyed to the faithful theological messages encoded in light, aswell as protecting sacred places from thee elements, made visible the true sun, thatis, the light understood as seen consubstantial with God. The splendid light andbrilliance radiating from the gem-like glass fragments to all intends and purposesmade visible the new Jerusalem on earth. This stained glass with bound formed anexus for the aesthetics and theology of the Middle Ages was to change throughtime and varied ways.Stained glass, overshadowed by painting from the Renaissance till the 18thcentury, came into prominence in the 19th century with the appearance of theEnglish pre-Raphaelite school, the beginnings of art nouveau style, and therestoration of stained glass in French Gothic churches in which Viollet le Ducplayed a central role. Artists such as John Ruskin in the U.K., John la Farge andLouis Comport Tiffany in the U.S. had a great influence on the development of the19th century stained glass, resurrecting stained glass from the lowly status ofcommercial art, and reuniting stained glass decoration with architecture through artnouveau. Due to their efforts, the distinct character of stained glass was restored butits intrinsic religious value in the context of historic church architecture wascompromised.In the 19th century the relation between the church and the artist was not as close as during the Middle Ages or the Renaissance period. Secular artists working withreligious themes had few opportunity to furnish works for churches. Churches, intheir turn, were filled with archaic works following the dictates and styles of the pastand supported academism in religious art. But at the beginning of the 20th century anew wind of reform began to blow through the decadence of church art. As a resultmainly of the reformers in Germany and France, the artists of Europe and the U.S.created stained glass works that reflected the new modern aesthetic and once againrestored the place of stained glass in modern churches through its incorporation intoarchitecture.

The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history.

This study aims at searching the Church Building Type and Design Sources of a German church architect who had designed many churches and other buildings in Korea. P. Alwin Schmid(1904-1978) had designed 188 Catholic buildings in Korea for 20 years from 1958 to 1978. In his works there are many excellent Catholic ritual buildings. It was caused by his conviction on the theology and the principles of Church Architecture. And His remarkable achievement is affected by the works of Dominikus Bo"m(1880-1955) and Rudolf Schwarz(1897-1961). Alwin's 5 plan type is relevant to Schwarz' iconographic model, and their approach to 'light' is much the same. But the Character of inner space is the middle of Dominikus Bo"m and Rudolf Schwarz. His works rotted in the Liturgical Movement had been developed in the line of connection with 20th German church architecture. The works of Dominikus Bo"m and Rudolf Schwarz played the role of the teacher of Alwin Schwarz.

The plan type of Korean protestant church architecture underwent changes as following five stages according to the changes of the distinction between the sexes. First stage - At the beginning of missionary work in Korea, Koreans generally worshiped in missionary houses which were traditional Korean styles. The plan type of these houses was a simple '-' figure. At that time, men and women worshiped separately because of the idea of the distinction between the sexes. They either worshiped in different places at the same time or in the same place at the different time. Second stage - At this stage, men and women started to worship together in the same place. At the beginning of this stage, men sat in the front of the chapel on a rostrum, and women sat behind the men. The plan type of the chapel was a simple '-' or a rectangular figure. Later, they sat separately on the right and left side. There are the visual interceptions which were set up between them. As the number of church members increased rapidly, a new type of church architecture appeared. It was a 'ㄱ' figure. At that time the entrances were separated by the sexes. Third stage - At this stage, the visual interceptions disappeared as the idea of the distinction between the sexes became weak. As new churches had been constructed by the plan type of rectangular figure, the visual interceptions weren't set up anymore. Fourth stage - At this stage, the separated entrances were unified as one. But the arrangement of their seats didn't change because of the old idea of the distinction between the sexes. Fifth stage - In the final stage, the plan type of the church architecture was not determined by the idea of the distinction between the sexes but social, economical, technological facts and the influence of the foreign architecture. At this stage, new and various kinds of the plan type appeared such as the fan, round, squared, or oval figure as well as the rectangular figure. Men and women were not classified anymore. They started to sit and worship together in the same place. Also, when men and women sat separately from side to side because of the Idea of the distinction between the sexes, men sat on the right and women sat on the left side of rostrum. It didn't applied Confucian ideas but the idea of protestant church; protestant churches have the idea that the right side is more important but it does not in Confucianism.

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).

Main theme of this study is the acceptance phase of western architectural culture in modern east-north asia through a series of actual survey and typological analysis of existing church buildings in modern Korea. China. Japan. For this study, 126 modern church buildings of Korea, China, Japan are selected. Also, main subject of this study has deal with the side of culture - thought which background of christianity acceptance and acceptance mind of acceptance main-body, culture adaptation and transformation based on characteristic culturalization of Korea, China, Japan. Especially, I would consistently tried to see the acceptance phase of western architectural culture according to differential acceptance mind of acceptance main-body based on characteristic culturalization of three countries. Conclusively, in the point of view of western architectural culture acceptance phase, it could be said that Korean church architecture had characterized as a blending phase of the two eclectic architectural culture. And in the case of china, as a coexistance phase of the two architectural culture with more western style-oriented. On the other hand, Japanese church architecture had characterized as a syncretism phase of the both traditional and western architectural culture, though it is eclectic style-oriented. Therefore, it is thought that different acceptance mind of western culture had main factors caused of differential acceptance phase, when the two architectural culture, the traditional and the western, encounters.

This is a study on the ㄱ-shaped church in Korean Protestant churches. Since the Protestantism had been introduced into Korea, the style of ㄱ-shaped church was the popular style that have been fashioned in all the country of Korea. When the Protestantism was introduced into Korea, ideology which ruled over the Society of Chosun Dynasty was the Confucianism that emphasized the precepts, for example, the loyalty for the King, distinction between the sexes and so on. The Korean Protestants built the church which had ㄱ-shaped plan, so that they solved the second problem : 'distinction between the sexes'. The style of the ㄱ-shaped church is one of the characteristics which distinguish the Korean church from other nations'. Actually the ㄱ-shaped churches had been built by Korean Protestant denominations, from the early days of introducing the Protestantism till the end of 1920's. Even though most of the style of the ㄱ-shaped church is replaced with the modern style according to the extension of religious influence, luckily the ㄱ-shaped two churches : Kumsan Church(1908), Toodong Church(1929) are in existence in the Provice of ChonBuk. The purpose of this study is to make the architectural characteristics of the ㄱ-shaped church clear. This study is based on the actual survey of the ㄱ-shaped churches in existence: Kumsan Church, the Toodong Church and on the documents, photographs, interviews and so on for investigation not existing one now. The ㄱ-shaped church have the plan to separate men's side from women's with a right angle and have a pulpit which was placed at the meeting point of the front part of men's and women's sides. Generally, seen from the court, the churches have men's side in left and women's one in right. There was a screen blocking both sides in the church. But it disappeared in 1920's according to the change of the social conventionality. Most of its structural form is the Korean wooden style. The ㄱ-shaped church appeared in a transition period of the Korean church architecture.