• Korean Architects
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• s.599
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• pp.18-21
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• 2019

• Korean Architects
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• s.614
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• pp.12-13
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• 2020

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.11a
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• pp.79-84
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• 2002

디지털 삶에서 인간들은 더 이상 보호막으로써의 건축 환경이 아닌 함께 상호작용 할 수 있는 감성반응 환경을 요구한다. 즉, 실내 공간은 사람들의 요구를 충족시키거나 사람들의 기분을 만족시키기 위해 건물이 마치 살아 있는 유기체처럼 쉬지 않고 변하는 공간이다. 그러나 건축공간의 물리적 특성의 한계에서 유동적인 감성반응 환경의 요구를 충족시키는 데에는 많은 한계점이 따른다. 그래서, 본 연구에서는 이러한 한계점을 극복하기 위해 디지털 환경을 이용한 가상공간에서 실행하였다. 이는 실제공간에서의 시행착오를 줄일 수 있을 뿐만 아니라 빠른 시간 내에 인간의 반응을 연구할 수 있다. 특히, 본 연구에서는 감성반응의 실내배색에 의해 실내공간에서의 디지털 벽면의 디자인을 가상공간에서 개발하여 거주자의 감성 반응을 평가하는 것을 연구 목적으로 두었다. 이와 같은 거주자의 감성반응형 환경 디자인은 미래의 디자인의 패러다임이 될 것이다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.513-520
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• 2016

This study is an architectural design thesis aimed at designing a building at the River Thames in London, which could float along the river and be anchored in the river, in terms of the concept of the sense of place. The process of the study was as follows. First, theoretical backgrounds of the concepts of sense of place, placelessness, and non-place were examined and the sense of place of River Thames was analyzed. Second, the architectural planning elements could be applied to architectural design in terms of the relationship between the place and architecture, form of architecture, and behaviors of peoples. Third, the architectural design concepts and programs were specified based on the planning elements and a cultural complex that floats on the River Thames in London, England was proposed. The focus of this study was the process of formation of a sense of place by the cognition of architecture and people's activity, and this study claimed that the sense of place could be materialized by the metaphorically inherent property of the architecture.

• Korea Science and Art Forum
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• v.37 no.4
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• pp.205-216
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• 2019

Today, there have been more museums with architectural freeform structure. From an academic perspective, that caused a change in the paradigm of the genealogy of architectural forms. Accordingly, it has been required to find whether the freeform architecture influences an exhibition space. Therefore, in order to analyze the correlation between freeform architecture and exhibition space, this study looks into the tendency of actual freeform architecture through case analysis after 2000. An exhibition space of museum serves as a socially, culturally, and locally symbolic icon and has the function of delivering information to viewers through the aesthetic presentation of articles on exhibition. This study is meaningful in the point that it drew the conclusion of the correlation between freeform architecture and exhibition space in order to infer that a freeform exhibition space is more effective at viewers' spatial experience. The method and results of this study are presented as follows: Firstly, literature survey on the concept of the freerform architecture of museum and the classification of architectural forms was conducted and previous studies were analyzed in order to establish criteria. Secondly, a case study was conducted through visits to Singapore, Germany, and the Netherlands in order to look into the current state and characteristics of freeform architecture and exhibition space. In this case, Karel Vollers' architectural freeform criteria were used for analysis. Thirdly, to prove the correlation between freeform architecture and exhibition space, each case was cross-checked on the basis of Karel Vollers' architectural freeform criteria and freeform exhibition classification, and then results were drawn. The study results are presented as follows: Firstly, EX(angle, ortho) of freeform architecture had a significant correlation with the diagonal form of exhibition space. That was proved 92.3% accurately more in the Netherlands and Germany than in Singapore. However, the curve form of exhibition space had a unclear correlation. In Singapore case, the curve form correlation was made through RO, FR, and TW. Secondly, freeform architecture had complex-typed combination with the diagonal and curve forms of exhibition space. In particular, N-02 and G-02 had a combination form, basically EX, and partially various forms so as to induce the complexity of free form. As such, architectural freeform makes it possible to achieve infinite transformation in various combinations. For responses, combinational approaches are required in multilateral ways. Based on this study, it will be planned to analyze the correlation between freeform architecture of museum and exhibition presentation.

• Korean Architects
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• no.8 s.268
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• pp.94-98
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• 1991

• Korean Architects
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• s.616
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• pp.22-24
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• 2020

• Korean Architects
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• s.618
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• pp.16-18
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• 2020

• Korean Architects
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• no.1 s.142
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• pp.35-38
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• 1981

• Korean Architects
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• no.9 s.127
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• pp.29-34
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• 1979