• Korean Security Journal
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• no.13
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• pp.279-303
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• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.10-20
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• 2007

The materials on the development of modern architecture in Korea are being collected and organized in a systemic fashion. However, this is not the case with the materials relative to interior design. They are gradually disappearing or being lost. In particular, no serious attempt has yet been made to determine the characteristics and historic value of the interior design of the modern bank buildings. The purpose of this study is to trace the disappearing legacy of the interior design of modern bank buildings by learning the inner space arrangements of these buildings and the characteristics of modern interior design in order to determine the historic significance of modern commercial interior design. Banks of relatively large scale were selected for the purpose of this study. They consisted of: Chosun Bank(1911) and its Andong, Wonsan and Cheongjin branches; Chosun Shiksan Banks and its Busan, Daegu and Pyongyang branches; the Busan branch of the 18 Bank; Dongil Bank, Chosun Savings Bank(1935) and their branches. The study focused on the space arrangements and design characteristics of these banks. Although they aimed at modernization in designingtheir interior spaces, the modern bank buildings were not representative of any particular style of interior design. While western style designs were prevalent, eclectic designs incorporating many different styles existed. The characteristics of the interior design of banks of the time included installation of such decorations and use of high quality construction materials for interior and exterior expressing the wealth as to create an aura of credibility for the banks, while the floor arrangements were relatively stereotyped and simplified.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.113-127
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• 2021

This study aims to view the architectural space of the postmodern era as a concept of continuous change without being fixed, and to understand the spatial elements in architecture with a changing network of relationships. The purpose of the study is to analyze the spatial composition strategies of the two architects while revealing the spatial characteristics shown in Rem Kolhaas and SANAA's works in terms of relativity. The method of the study defines the meaning of non-fixed relationships through theoretical considerations of relativity and then looks at the architectural approaches of Rem Kollhaas and SANAA. The relationship was divided into programs, environments, users, and furniture and furniture in the space and analyzed the works of the two architects. As a result, both architects are similar in that they reject rigid programs by organization and use potentially inherent relationships for building space activation purposes, while Rem Koolhaas uses the user's behavior-inducing strategy, while SANAA uses the user's relaxation strategy.

• Journal of architectural history
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• v.20 no.6
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• pp.21-39
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• 2011

This research is to analyze the modern warehouses in Gunsan during the Japanese Colonial Period. They were the spatial and urban symbol of City of Rice, Gunsan. The main purpose of this study is to survey the modern warehouses in the original center of city, to find their architectural characteristics and to set up a possibility of reuse. 7 existing warehouse buildings are located at Jangmi-Dong and Jooksung-Dong, and they have been built between 1935 and 1940. The warehouse buildings have a module of 6m and they are generally 12m wide, 24~48m long and 8m high. Their structure is composed of reinforced concrete and wooden truss. All warehouse buildings have a rectangular form. Now the diverse commercial programs occupy the original space. Modern warehouse in Gunsan has the spatial and symbolic value as industrial heritage. Therefore, it is necessary to respect the original value of modern warehouse and to create a reusing space for the current generation. It is also essential to verify restoring possibility of three symbolic warehouse buildings in the harbour that were demolished.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.44-51
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• 2006

Careful attentions should be paid on the renovation of historical building, not only because it conservations architectural heritages by affording new roles of the present days, but also determine their successive value in the stream of the preservation of cultural properties. Among drastically-increasing interest in the remodeling of the modem architecture in Korea, it is meaningful to research the cases in Japan since there are precedent, accumulative, and ample example of lengthened time. In this paper, two examples with different renovation concept, 'harmony' and 'confrontation' are compared. 'Minami-za' is the typical example to harmonize the present requirement with the original purpose and the memories of the buildings, where the use and the design are preserved. On the contrary, 'Shinpu-kan' is exemplified as confrontation where everything except the facade and the structure was remodeled. It is suggested to understand 'harmony' and 'confrontation' as a way to the coexistence of 'new' and 'old' on the basic of the historical meaning of architectures, not only as a design trend.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.21-28
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• 2018

Environmental issues had arisen following industrialization with rapid physical growth of city and its consequences: widened metropolitan areas, uncontrolled reconstructions of new metropolitan areas, many social issues, such as declines of existing metropolitan areas. Due to these issues, new development policies have been made in order to find identities and reconstruct new images of cities. This research aims to remind the meaning of conservation of modern construction and building re-use, and to identify values of modern architectures in the context of a city. Regeneration of cities is not only finding national identities, but also expecting to increase inflow of foreign travellers. However, this regeneration hasn't stayed sustainable, focusing only on short-term curing of the problem in limited areas. This work analyzes cases of modern architecture, historic buildings from various cultures: Western, Japanese, Chinese. The result of the analysis shows that the value of existing buildings and citizen participation is necessary to revitalize cities. Four characteristics have been also identified: historic relationship, spatial identity, spatial presence, and approachable efficiency. For a potential solution, cities need to be viewed from multiple perspectives to find a method to generate new vitality for a city whose values should be recognized as an asset through sustainable re-use, by transforming modern construction as a heritage.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.52-61
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• 2005

Ecological traces appearing in contemporary architecture are based on modern architecture and most aspects on the contemporary architecture are related with the successive trend or break of the modern architecture. The concept of environment in the modern age has established clear destination, as it has been considered as nature. The architecture under a mechanical world view in the modem age has sustained the opposing connection with nature as environment. However, there have been architects maintaining the sympathy with nature in that vortex. This trend has been regarded as same context as ecological architecture and estimated to the outpost of ecological characteristics appearing in the contemporary architecture. This study is to make it clear that the ecological manifestation in the contemporary architecture is based on the ecology in the modem architecture through considering ecological ideals of architects in the modern architecture and considering space composition and structural properties in the modern architecture of ecological paradigm. The scope of this study contains spacial analysis, design strategy, and design types of organic architecture in nature, which has appeared from the modern age. First, the division into period is carried out according to the organic tendency of non-mainstream in the modern architecture: Arts and Crafts Movement, Art Nouveau, Sezession, Expressionism, Organic Architecture, Regionalism, Internationalism. Therefore, this study is significant to be on the search for a start to suggest ecological point of view to architectural space in modern architecture and is search organic characteristics for ecological characteristics in modern architecture; organic relation, thermal buffer space, regionalism, multi-layer, energy efficiency.

• Journal of the Korean housing association
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• v.20 no.5
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• pp.61-72
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• 2009

The purpose of this study was to examine how the interface between "place of work" and "place of living" in the housing sphere has changed, and to understand its social background. During the korean modernization period, changes in economic structure toward industry has an influence on many aspects of modem life in addition to occupations. The traditional mixing of heterogeneous activities in the home-such as between reproduction and household affairs, first changed into a coexistence of two spaces with different functions within the boundaries of home, and finally into a spatial separation between functions in an urban dimension. As a result of this process, the primary role of the modem home is as a place for relaxation without work. One important kind of home, in which a retail shop is integrated with it, was researched as a transitional form. Its spatial layout showed a various combined usage of both spaces. In conclusion, changes in relevant macro-social aspects are very concretely reflected m the function and spatial organization of the home.

• KIEAE Journal
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• v.9 no.2
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• pp.73-80
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• 2009

In the early twentieth century, many architects still practised eclectic design elements. Emergence of new building materials such as steel, concrete and glass were not yet found fresh roles in architectural design. It was Brussels that the use of modern materials gave rise to their new forms and gave influence to not only building skins but also spatial organization. Art Nouveau architecture is often seen as revolutionary and pioneering modern architecture against eclectic classicism prevalent in the 18th and 19th centuries. Despite the fact that some scholars point out that Art Nouveau is more a transient phenomenon than modern architecture proper, no one would deny that Art Nouveau carries a good deal of modern characteristics. This paper intends to show rather ambivalent perspectives upon Art Nouveau architecture. Although it insinuates overly dynamic nature in architectural languages, it does not hamper us from reading Art Nouveau as a vital component of modern architecture. Through a careful analysis of the early domestic designs of Victor Horta, it becomes evident that his work can provide modern architecture a meaningful alibi for its growth. Victor Horta's house design is well known to the public, both for his classical tastes and for its changing implementation. Horta's modern quality is never adequately recognized, partly due to his eye catching modern iron properties and sinuous ornamentation. This paper tries to offer an insight into the complicated stage set of the fin-de-$si{\grave{e}}cle$ through the work of Victor Horta whose influence has been immense in the making of modern architecture.

• The Science & Technology
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• v.10 no.9 s.100
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• pp.33-39
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• 1977

토목기술이란 토목사업을 지탱하는 기술로서 여기서 토목기술이란 토목을 주로 하여 건축구조의 공학적인 것을 포함한 기술이라고 할 수 있다. 토목사업은 오늘날 국토의 보전ㆍ수자원개발ㆍ교통로정비(항만포함)ㆍ도시와 지방계획 및 상하수도를 포함한 도시건설 등이며, 어느 것이나 국민의 생산과 생활환경개선 등 우리 인간의 앙적한 생활과 복지편익을 추진시키는 기간산업이 아닌 것이 없다. 그래서, 인간사회가 발전을 갈망한다면 토목건설사업이 선행되어야하고, 토목사업으로 확립된 기반아래 국민들의 건전한 생활이 영위되는 것은 물론이다. 토목이라하면 주로 우리나라에서는 국토건설로서 지역, 또는 국가사회의 경제발전에 크게 영향을 미치는 토목건설사업을 말한다. 이것은 토목기술의 발전이 그때 그때의 건설사업으로서 구상화되는 까닭이라 하겠다. 한편, 인간의 가치관에 변화가 생기고 자원문제ㆍ공공문제ㆍ생활환경문제 등이 크게 변화하는 단계에 있어서도 그 방향을 탐색하고 우리 인간 및 국가사회가 의도하는 건설공간구상을 계획하고 사업화 하는데 매우 중요한 것은 토목건설인 까닭에서이다. 이런 의미에서 최근 100년간의 경이적인 서구의 근대화 과정에서의 토목기술 발전, 즉 이 기술이 매우 오늘날 세계를 변혁시킨 사실에서 출발한데 대비하여 우리 나라 개항 100년 이후의 안타까운 우리의 기술수용과정을 볼 때 1986년 강화도조약 이후 한반도는 일본 및 청국을 위시한 구미열강외세의 각축장으로서 혼미된 서구근대기술의 도입요람기로 시작하여 1810년 한일합방에서 8.15해방까지 일본통치하에서 타율적인 토목ㆍ건축기술의 도입으로 한마디로 말해서, 거의 70년간의 진통기가 있음을 엿볼 수 있다. 하지만 최근 30년 사이에 그야말로 우리 토목기술터전은 급격하게 성장 발전하고 있다.