• Korean Institute of Interior Design Journal
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• no.20
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• pp.71-77
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• 1999

The purpose of the research is to reveal the process of the formation of modern church architecture in 20th century. In order to do that, neo-gothic architecture which starts in the point of view of ethic in the 19th century will be discussed first. Then the relations between Arts and Crafts Movement and church architecture which is the beginning of modern architecture movement will be revealed. After that, the purpose of Secession's church architecture which tried to separate from old architecture and the formation of background of localistic church architecture which is one of the modern church architecture will be discussed. Based on those discussions, the research in concluded the several characteristics of church architecture which makes it modern architecture. The research is focused to the portions which is related to the church architectures among the architectural conditions so complicated as to be easily confused. And also it is focused the architect those who should be mentioned in the same context and their works.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.102-105
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• 1999

The purpose of this study is to analyze the meanings and expressional characteristics of space-time concept in modern architecture. As the architecture spaces reflect and represent the characteristics of times, the meaning and modern expression of space-time concept was studied in the developmental process of space concept on the base of the background of philosophy, science and psychology. At the late 19th century, space concept was changed with relative time-space in philosophy and science and the theory of visual perception. In the beginning of 20th century, space-time concept that combined space with time in the process of image open space expanded movement was developed. In modern architecture, it was expressed as the freedom of movement by open space expanded infinitely and/or abstract space without spacial measure, multiple view point by superimposed and/or polyhedric space and kinetic vision by dynamic and/or continuous space.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.102-105
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• 2005

This study is an analysis about the typological characteristics of Luis Barragan's dwellings, especially on the masterpieces. For the purpose of grasps steam of his works, it classified into three categories ; landscape, space, and light-color. Through the analysis of the essential elements of his works, we can find that Barragan harmonize Mexican vernacular with modern, reason with sensitivity, geometry with landscape. It Is the recomposition of a tradition and identity, and it also can be a kind of solution of reinterpretation of history and tradition which we are faced with.

• Korean Institute of Interior Design Journal
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• no.32
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• pp.3-12
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• 2002

To purpose of this study is to find out a descriptive explanation of why, when and how modernization in Korea came out. Modernization in Korea has been constituted from a completely different context In comparison with the first world countries because of a sudden industrialization and external changing process of product was done under the structural influence of western modernization.. Therefore, by examing the relationship between the socio-cultural meanings of industrialization and the consuming style of the modern society, we can know about the formation of the ‘modern’ toward product and lifestyle. And in processing of mix with modern and tradition, we can understand that Korean characteristics and tradition becomes objectified, estranged and distorted to form the Korean style in Korea. A culture is changing in developing due to external influence ceaselessly, so it is significant that we will make ours in processing to our own receptive capacity.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.197-200
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• 2005

Many Japanese came to Kunsan and Many Japanese houses have built there in 1900's. Korean have lived in the house according to Japanese's leaving after restoration of independence. This study is purposed to prescribe remodeling of the house by case study, through interview, survey and taking photographs. Threre are lots of changes of the location, facility and interior material of the parlor, kitchen and entrance door of the houses. After Korean dwelling at the house, all of the houses have changed according to difference of life style between two peoples, change of every aspect of life, economic factor and so on. And the one of the principal cause of these remodeling is a facility development.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.124-134
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• 2011

The space has been interpreted from various perspectives, such as hierarchical, cultural, economic, political factors, etc. So we can see the space as a social existence. Space is now being formed through the dialectical relations of these elements. From this point of view, this study started to research the spatial practice of morden people through the case in the early 20th century film. With the discourse of Henri Lefebvre and David Harvey, and Michel de Certeau's theory, this research tried to find the mechanisms of spatial practice. Also Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. Modern people were individual unawared of the era, awakened to the ego. They were wandering the room and the street, private and public places. They were city dwellers walking around, collecting goods, and living of everyday life. Spatial practice is a fixed activity and have continuity. spatial practice appeared in the early 20th century film is at the intersection of social practices and the practice of everyday life. Social practices are a fixed practice and continuous practice. The practices of everyday life are nomadic practice and amusable practice. Modern people accommodate and adapt to a given space of the city through fixed practice. They realizes the access and the distance from spaces through continuous practice. They select and approved the spaces through nomadic practice. And they possess exclusively and utilize the spaces through amusable practice. Through These research spatial practices, it could easily found similarities and differences between modern space on the early 20th century and contemporary space of 21st century. True modern is not the past but the present.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.218-227
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• 2011

Korean commercial architecture is based on two distinctive characteristics of western modern architecture: grid frame structure and free facade. However, the original facade of the building disappears as numbers of commercial advertisements and signboards representing inner programs cover up the original facade. This is a unique feature of commercial architecture in Korea which I would call the surface phenomena of Korean commercial architecture. Common criticism on this type of building is that too many and too big signboards infringe upon the original pure facade of the architecture. Underlying assumption here is that signboards and commercial ads are inessential and decorative elements simply attached to the original pure facade of modern architecture. However, in this paper, I argue that commercial decorations is an essential aspect of korean commercial architecture rather than an inessential decorative element attached later to the essential facade of architecture and that it reflects the historical specificity of cultural and architectural modernity of Korea And thus, the surface phenomena of Korean commercial architecture should not be judged based upon the aesthetic paradigms of either western modern or postmodern architecture. Rather, it can be argued that surface phenomena of Korean commercial architecture is a reflection of a modernity beyond the paradigm of western modernism and postmodernism. The agenda of Korean commercial architecture is then not simply to restrict or to control signboards on the building facades with the intention to clean up facade of the building but rather to integrate the signs and commercial ads with the structure of architectural surface.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.36-43
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• 2006

Architecture is the product of a way of thinking. If the problems of architecture are to be traced to their roots, then attention needs to be focused on the thinking and considerations that inform its production. Adolf Loos occupies a truly exceptional place in the history of architecture. Adolf Loos's ideas and attitudes disagree with the notion that modernity is possible to develop a harmonious culture within the bounds of a modernizing society. Loos chronologically precedes the modern movement, but his ideas contain the seeds of what will be worked out later as a complex critique of the movement's notions about architecture and modernity. Loos holds the view that modernity provokes an inevitable rupture with tradition that has as a consequence the disintegration of one's experience of life. This evolution, he think, obliges architecture to display a number of languages corresponding to a multitude of different experiences. Through the discussion of Loos's opinions on dwelling and architecture, it explores the true features of position of Loos in modern architecture. Loos thinks that the rejection of the deliberate creation of a new style was a correct response to the diagnosis of life as being rootless and fragmented. Ornament is that which people use to attempt to relate different aspects of life and to join inner and outer worlds in a coherent whole. By getting rid of ornament the illusion is destroyed that a harmonious unity of this sort is still possible. One can only remain true to tradition if one acknowledges that its continuity is not an unbroken one. Dwelling can only be saved by separating it from other aspects of life.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.192-201
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• 2015

This research aims to find planning issues on reuse of an industrial heritage as a cultural cluster and to suggest planning factors which can be referred when designing the similar cases. Analysis standards were formed through reviewing of precedent literatures, and the selected cases(i.e Shanghai M50, Yokohama BankART1929, and Incheon ArtPlatform) were analyzed to identify both physical and nonphysical planning characteristics. By combining analyses, the following results were obtained; (1) The demand and supply of the arts coexist in one place, and the studios and galleries are designed with high ceilings; (2) The regional and historical characteristics are revealed from preserving major architectural elements of previous buildings, and open spaces are provided to promote a variety of activities for local residents; (3) Various strategies to overcome disadvantage in location are developed, and the concepts of design can be easily recognized by buildings' exterior as the reused industrial heritage and the cultural cluster; (4) Diverse supports for artists make it possible to gather many competent artists, and the cooperative networks among artists play a pivotal role in the development of cultural cluster; (5) The cluster runs educational programs reflecting the needs of local residents, and builds a strong relationship with the local community by supporting regional art industry or developing linked programs; (6) The cluster serves various functions such as cafes, pubs, restaurants, art shops, and bookstores, and hosts appealing events and festivals to attract many people even who are not interested in arts.