• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.59-68
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• 2020

The purpose of this study was to measure and observe Memes of people in Korean modern architectural discourse. After extracting Memes from the text of 'SPACE' magazines, network analysis was used with the Memes which were obtained. The results of this study were as follows; 1. Korean modern architectural discourse field was influenced by people in order of American, French and Korean. 2. Korean modern architectural discourse field was influenced by people in order of Le Corbuiser, Mies Van der Rohe, Louis Kahn, Kim Soogeun and Gilles Deleuze.

• Cement
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• s.128
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• pp.30-39
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• 1992

• Archives of design research
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• v.11 no.3
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• pp.69-76
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• 1998

The purpose of this study is to present a method of preparing for a more enduring built environment, being fully aware that, in consideration of time flowing from past to present, there is no ardlitecture in creation that is not abandoned. Efforts were made to find the problem solutions in relation to the hierardlial structure, evolvement and adaptation of living beings. The process of study was as follows, ·The built environment's affordance to human beings and the designer's role was explained. ·Having an understanding of the necessity of user minded planning, the architectural adaptation of the multi-layered hierarchy system of holon theory and adoption of time conception into architectural space were examined to explain that the importance in ardlitecture should be placed in transition, not in perfection. ·The design of Parc de La Villette by Bernard Tsdlumi was analysed from the above viewpoint. Having a practical case analysed, this study is expected to offer a basic information for use in case of visual presentation of a theoretical viewpoint.

• Journal of architectural history
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• v.29 no.5
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.2
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• pp.83-92
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• 2019

This study set out to analyze James Turrell's Skyspace works by applying the object relations theory, compare them with several modern architectural works with a sky window based on the analysis results, and check common and differentiating features between them. The findings were as follows: first, Turrell's Skyspace works shed new light on the images of the sky by projecting inner light to the outside; second, sky windows in architecture make the self-representation of inner space clear through the introjection of light; third, 'Hill of the Buddha' reflects the most general aspect of the object relations theory as the nature of projection found in Turrell's Skyspace is added to it; and finally, Turrell installed event-like spaces and steps in 'Roden Crater' to apply the introjection of others that was deficient in Skyspace.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.827-836
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• 2015

This study aims to research the Kisho Kurokawa's architectural concepts, that are comprised of complex theories system, for globalization of Korea. Kurokawa's architectural concepts are composed by Metabolism, Metamorphosis and Symbiosis. And intermediate zone, ambiguity, multivalence are theories that work as media in changing process levels to three main concepts and these are used as media of Metamorphosis which embody Symbiosis. Metabolism include concepts of Metamorphosis and Symbiosis. Symbiosis is comprise of concepts of Metabolism and Metamorphosis, and is a ultimate goal of these three main concepts. Metamorphosis works as a medium in changing process levels from Metabolism to Symbiosis.

• Journal of The Korea Institute of Healthcare Architecture
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• v.9 no.1
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• pp.25-33
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• 2003

The purpose of this study is not to understand functionalism from a simple program or effectiveness and economic perspective, but to reinterpret from a substantial perspective that modern architects assert commonly and to apply it to hospital design in a new way.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.238-248
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• 1997

The spatial form of architecture in the same era has its own common characteristic spatial form. This study is based on this proposition and is focused on how architectural spatial forms have been changed up to now after modern ages(from the beinging of 1900s to the early days of 1990s ; from early modern age, golden modern age, post modern, late modern architecture to recent experimental trend) and how architectural theories of spatial forms will be changed in the future is predicted.

• 방재와보험
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• s.118
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• pp.36-41
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• 2007

한국화재보험협회는 지난 2월 건축공학의 이론적 기반기술 및 실무 관련 자료가 수록된 "NFPA 5000, 건축물 구조 및 안전 코드" 한국어판(총 680페이지)을 발간하였다. 이번 한국어판 발간은 최근 건축물의 초고층화, 심층화, 자연재해 및 실내 환경의 중요성 증대 등에 따라 이루어진 것으로, 100년이 넘게 건축 환경과 관련 코드 및 기준을 개발해온 NFPA의 결정판인 NFPA 5000코드를 국내에 소개하여 관련 업계 종사자들에게 도움을 주고자 하였다. 본 고에서는 이 코드의 내용을 간략히 소개하고자 한다.

• Archives of design research
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• v.19 no.1 s.63
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• pp.49-58
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• 2006

This study is on the general characteristics of 'Monolithic' architecture. The intentions of monolithic architecture can be assumed as an attempt to replace the formal looseness or difficulties of understanding formal complexity of modern architecture, or a trial to react against contemporary avant-garde architectural tendency typically characterized as unstableness, uncertainty, fluidity, and articulation to reestablish autonomy of architecture. Buildings in this category coincide in their extreme economy and simplicity of overall form and consistency of external appearance while showing great expressional capacity with very limited formal means. Even though monolithic architecture still seems a little unstable and ambiguous in historical aspects, it can be considered as strikingly shaped objects or autonomous forms with identities, logics, and representation that promote recognition. Using architectural techniques of scale, colors, materials and finishes, monolithic architecture shows strategically invested surfaces that mediate between the inside and the outside, and shows unexpected and mysterious autonomy. This kind of monolithic approach is also found in interior space as a separate objects that contain functional space inside, or as formal elements that overflow the boundaries of conventional architecture by eliminating the distinction between floor, wall, and ceiling.