• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.99-109
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• 2007

In the 19th century, a series of study by Hittorff, Semper, Ruskin, and others on architectural polychromy in various perspectives appeared. This presumed that the architectural polychromy could become an essential part of architectural composition and contribute to create new architectural style, if not, at least new architectural and cultural context of the 19th century, the period when it is considered that the stylistic evolution in architecture is absent. In the course of the stylistic development of church architecture of the 19th century in France, the architectural polychromy, grounded in a theory of representation, played a critical role as one of the main sources to create new architectural vision. The church architecture during the Second Empire in France was particularly susceptible to be influenced by this inevitable phenomenon, which signified an epistemological mutation in architectural perception beyond optical and perspective effect in the history of architecture. Here the study attempts to recognize the aesthetic value of the architectural polychromy in the 19th century, and investigate its application, as not just an aspect of architectural embellishment but an indispensable portion of architectural vocabulary, on the church architecture in France throughout the 19th century, then to define its role in creating new architectural environment.

• Journal of architectural history
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• v.17 no.5
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• pp.55-69
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• 2008

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2011.11a
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• pp.49-49
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• 2011

GNP 증가 등의 요인으로 생활수준이 향상되면서 사람들의 고급스럽고 아름다운 공간에 대한 선호도가 점점 증가하고 있으며 따라서 실내 인테리어 산업에 대한 관심이 높아지고 있다. 인테리어 산업에서 주로 사용되는 무늬목은 나무 모양이 나게 무늬를 새겨 넣어, 외양을 장식하는 얇은 합판으로 나무의 고급스러움과 아름다움으로 인해 고부가가치 상품으로 자리잡고 있으며 주로 실내인테리어장식 및 가구, 마루바닥, 건축내장재, 제재목 등의 건축 자제의 용도로 사용되고 있다. 또한 천연목재를 이용한 다양한 가공법으로 아름다운 무늬의 재현 등을 실제 이루고 있으며, 천연 목재의 색감 외 표백/염색/가공을 통한 염색무늬목 제조도 이루어지고 있는 실정이다. 무늬목 염색가공에 대한 기술이 보편화되지 않은 실정에서 고부가가치형 기술로 자리 매김 하기 위해서는 제조공정 시 보다 안정적인 작업성과 최소한의 작업 변수를 확보하는 것이 무엇보다도 중요하다. 이에 본 연구에서는 고부가가치형 무늬목의 생산성을 향상하고, 불량률의 최소화를 궁극적 목적으로 하며, 실제 침염목의 건조공정 중 최적의 함수율을 확보할 수 있는 예비건조 시스템을 개발 적용하여 시간과 에너지 절감 효과를 확보하였다. 생산 중 최대의 불량현상으로 갈라짐(건조로 발생한 응력에 의해 목리방향으로 갈라지는현상:checks)과 건조공정의 지연으로 발생하는 부패현상도 개선하였다.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2013.05a
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• pp.133-135
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• 2013

The most difficult process in the construction of free-form buildings is to manufacture and construct exterior panels designed in a complex way. The façade of the free-form buildings include flat-panels, one-way curvature-panels, and bi-directional curvature panels. To construct these forms, it is necessary to go through the process of optimizing. But as for the optimizing technologies, BIM-specializing companies exclusively protect those technologies, so small construction companies have difficulty in rough estimates. Therefore, this study was aimed to provide the basic data in making the rough estimates of free-form buildings by carrying out the optimizing process for the façade of Dongdaemun Design Plaza and conducting the rough estimates according to the stage of production methods and optimization.

• Journal of architectural history
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• v.23 no.3
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• pp.55-63
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• 2014

This paper discusses Leon Battista Alberti's vision of the paradigmatic city. In his De re aedificatoria, Alberti proposes how the architecture of both individual buildings and cities should be ordered and embellished. Borrowing ideas from the ancient writers on one hand, and reflecting on actual urban reality on the other, Alberti proposes an ideal city where the sacred and the secular come together in hierarchical harmony, beautified under the principle of ornament. In Book VIII, dealing with secular public works of architecture, he writes about the composition of a new humanist city that transcends actual reality. Ornament, a central idea of his aesthetics, supports his conception of the paradigmatic city.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.7
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• pp.107-118
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• 2018

Taegeuk is Korea's flagship pattern, which has been handed down over centuries. During the Joseon era, it had an influence on all places such as the left side of the building and arrangement. In addition, Taegeuk was a bowl which contains the philosophy of right now. In Neo-Confucianism, it was understood that yin and yang were divided into five elements and created the universe. In buildings, Taegeuk was mostly used as decoration on the stylobate and doors. Taegeuk contains the fundamental thoughts about the creation of the universe. In architecture, it plays the role of a bridge between spaces. In ancient times, it was used as byeoksa. Entering the Joseon era, it played a role as a border. In the late Joseon dynasty, it was important in protecting the country. A Taegeuk pattern varies in diverse shapes to represent its dynamic aspects. After passing through many different stages, it developed into the pattern of today.

• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• Journal of the Regional Association of Architectural Institute of Korea
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• v.21 no.6
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• pp.119-128
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• 2019

The aim of this study is to examine the characteristics of facade expression designed by Kim. Han-sup, a key architect in the regional modern architecture movement in Gwang-ju and Jeonnam from the 1950's to 1960's. The study begins with the architectural background and thoughts of Kim. Han-sup through literature reviews and introduces an interview with Han. chong-un, a former college student and employee of Kim, which explains the aesthetic architecture that appeared in his design of facades that was reasonably applied to materials, technology, structure and function in line with the economically tough period in Korea. Furthermore, in order to investigate the characteristics of his facade expression, detailed analysis items will be derived from precedent studies. This study will attempt to conclude with statements that his aesthetic architecture can be defined as an emphasis on formative mass by contrasting between basic rectangular forms, implementation with detailed three-dimensional facade by extruding differently vertical and horizontal structural lines and with the pursuit of decoration through compartmental faces on his 12 representative architectural works.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2011.04a
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• pp.73-76
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• 2011

최근 건축물에서 공동주택의 비율이 증가하고 있으며 동시에 공동주택의 화재비율도 증가하는 경향을 보이고 있다. 또한 화재 시 인명 피해의 주원인인 가연물은 소재가 다양화되고 있으나 안정성 보다는 디자인, 기능성에 치중되어 그에 따른 화재 위험성도 커져가고 있다. 따라서 본 연구는 전보의 실내장식물에 이어 공동주택에서 많이 사용되어지는 적재가연물을 가연물 조사를 바탕으로 선정하여 Furniture Calorimeter를 이용해 그 연소특성을 알아보았다. 그 결과, 소파가 타 시료에 비해 화재 시 높은 위험성을 나타냈으며, 일본건축학회에 발표된 데이터와 비교한 결과 소파의 데이터가 유사한 것으로 나타났다.

• Journal of architectural history
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• v.3 no.1
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• pp.143-159
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• 1994

Ornament in late nineteenth century Art Nouveau movement, especially abstract ornament in Viennese Art Nouveau, has a very complex aesthetical background. Ornament, for them was not just decorations in outer appearance, but a determinant element of formal languages. Abstract ornament in Viennese Art Nouveau has its theoretical and aesthetical bases in the Interpretation of nature, that is, the theory of the abstract ornament was founded on a new interpretation of nature, which, in its turn, was derived from the differentiational selection of the contemporary views of nature. The modernity of abstract ornament consists in the very fact that it was founded on a new interpretation of nature. This study alms at reviewing how the new interpretation of nature by abstract ornament criticized, rejected and accepted the contemporary views of nature. The overall tendency of this study is to synthesize and analyze the historical background of Viennes Art-Nouveau in regard to aesthetic theories of nature. The analysis method of this study is interpretation of written documents which are related to the issue.