The church has historically developed architecture suitable for different religious communities under the deep influence of local culture. Church architecture reflects not only religious precepts but also the technical developments available at the time of design. This thesis introduces, analyzes, and suggests trends within modern church architecture with a focus on the relationship between church architecture and culture. The Gothic revival’s pursuit of aesthetics and Modernist efforts toward functionality have had an enormous influence on modern church architecture. Kenneth Frampton uses the term “Critical Regionalism” to describe a harmony between global universality and regional specificity. Among the issues the church faces today are post-Christianism, the expansion of cyberspace, and the widespread adoption of digital media. Church architecture today should acknowledge and respond to these societal changes. In particular, the architecture of the Korean Protestant Church should reconsider its theological and liturgical homogeneity to pursue harmony between functionality and aesthetics, universality and specificity. Churches have two divergent architectural responsibilities: to welcome the outside public and avoid rigidity, but also to differentiate themselves as churches from other buildings. In addition, they should serve the local community and protect the environment. Moreover, inculturated church architecture styles and democratized spaces are necessary elements of churches in the future. The writer also recommends an embracing perspective toward new platforms provided by the Internet and digital media. In conclusion, church architecture responds closely to the standards and demands of culture but is also accountable for differentiating the identity of churches from other buildings. The writer looks forward to a new church architecture that naturally embodies values such as inclusiveness and hospitality, humility and humbleness, beauty and holiness.