• 한국실내디자인학회논문집
• /
• 제20권6호
• /
• pp.218-227
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제15권5호
• /
• pp.36-43
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제17권3호
• /
• pp.3-14
• /
• 2008

The purpose of this study is to clarify the historical circumstances under which the Korean Pavilion was established at the 1900 Paris Exposition Universelle, and the construction process and design features of the pavilion building. At that time, even though Korea faced difficulty due to lack of experience in the world exposition and funds, Korea attempted to positively participate in the international cultural event by establishing the Korean Pavilion under an official contract with assistance of the French Government. Moreover, the Pavilion shows significant architectural features which had not been shown until then in terms of the structure and design of the pavilion building. In this connection, in this thesis, among others, the historical circumstances under which the "Korean Pavilion" was established at the 1900 Paris Exposition Universelle, and the construction process as well as the process and features of the draft design prepared at an early stage by Baron Delort de Gleon on the part of France among the above parties to the project for construction of the Korean Pavilion, which have never been addressed in the field of architecture or interior due to lack of existing data, will be clearly studied based on relevant literatures. According to analysis of the study, it reveals that the representation method for the Korean tradition of Korean Pavilion designed by Baron Delort de Gleon was based on the Chinoiserie, the style widely seen in Europe. In addition, Delort de Glean's commerce-oriented concept is integrated into the design of the Korean Pavilion as well.

• 한국실내디자인학회논문집
• /
• 제40호
• /
• pp.68-75
• /
• 2003

The purpose of this study is to find out the expression style of space in Rietveld's early works in comparison with Mondrian's paintings. Through investigating the development of their works and analyzing the composition and disposition type of elements such as point, line, plane, color in the selected works, we can draw the following conclusions. .First, Rietveld pursues the dissolution of traditional volume and the de-composition of elements as Mondrian does. Second, the painterly property of plane is emphasized by the projection of separately floating elements on the picture plane. Third, the separating the layer of lines from the layer of planes and the re-combination of these two layers present the superimpositional image of three-dimensional objects. This leads into new conception of architectural space and develops the transparency and the extension of plan in modem architecture.

• 한국실내디자인학회:학술대회논문집
• /
• 한국실내디자인학회 1999년도 춘계학술발표대회 논문집
• /
• pp.102-105
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제14권5호
• /
• pp.10-17
• /
• 2005

This Study is concerned with the acceptance of Western timber structure and the interior space of church buildings in the early modern period in Korea. Timber roofs have represented a wide variety of constructional forms and have been fundamental to any technological appraisal of the evolution of both of Western and Eastern architecture. Especially the roof structure of the church buildings reflects the technological level, aesthetic sense, and spacial concepts of the age. Between Western timber structure and Korean timber structure, there are many differences in not only structural form but also form of roof, members, load, frame system and etc. And there were various types of framing technique such as timber truss, timber arch, timber vault in the western style church architecture in the early modern period in Korea. I have summarized the character of the acceptance process of Western timber structure and the influences on the interior space of church buildings.

• 한국농촌건축학회논문집
• /
• 제24권4호
• /
• pp.133-139
• /
• 2022

This study deals with the formation of Jongyeonbangjeok's Gwangju Factory in the 1930's to 80's, and the findings are shown below: In the period of formation, the factory was rectangular-shaped from north to south, and the structure was located at the center of the site, and in the east of it, there was a dormitory connected from south to north. The building was arranged with an open area on the south. In the east of the site where company houses were located, same-sized structures were arranged along the axis.In the period of change, the factory was restored about the damage from the Korean War, and it went through the process of division into two companies. As a result, the factory in the center of the site was divided into left and right ones, and the dormitory and the group of company houses were, too, divided into two, so division was made largely into southern and northern parts. In the period of stabilization, along with factory extension in each of the companies, welfare for factory workers was expanded by building more houses or opening sport facilities. After the 1980's, too, the existing factories were either extended or remodeled according to the induction of equipment, and some showed changes in their functions due to a fire or such.

• 한국실내디자인학회논문집
• /
• 제20권1호
• /
• pp.98-108
• /
• 2011

As people abroad have been much interested in the usage of modern architecture from the early days, many researches about various methods of using them have been progressed. In Korea, with the need to protect the modern architecture through active usage of them in the dimension of protecting the disappearing history, at present, many modern architectures were renovated and used. This research is to find out the sense of direction about the changes of design of the renovated modern architectures in Korea by analyzing the design changes after the renovations in Korea and abroad. Under the limitation of the modern architecture renovation case in Korea, Japan and China, the changes of design after the modern architecture renovation in Korea and aborad were analyzed by the analysis of the ways of remodelling for each case according to the case analyzing frame. Based on the reasons of renovations which had purpose of preserving social history with many other various reasons in common in both cases of Korean modern architecture remodelling and abroad, the common direction of design is to meet new with old to preserve the special image though they did it in different ways. However, different from the case of Japan and China which are coexisting present and past in space, Korean case focused too much on outside, which resulted in only outside designs. In the case of Korea, the past should have mutual understanding to have the firm space image by forming unique interior space culture through the architectural grafting the present in the past not only in the outside space but also in the indoor space. In another words, for the various changes of design in Korean modern architecture renovations, a systematic research should be done about the interior spaces of present architecture and modern architecture.

• 한국실내디자인학회논문집
• /
• 제20권3호
• /
• pp.215-224
• /
• 2011

Throughout the world, interest in issues relevant to energy, resources, environment, etc, is ever soaring. Therefore, the restoration of modern architecture that fulfilled its epochal function is working as a cultural, historic medium. In addition, it also plays its role in the side of environmental approach and so on. Moreover, the museum, which was only used for the possession of art collections and exhibition purposes, is currently expanding its scale and range as the center of culture and education. Also in reality, with the use of various programs, it is globally pursuing urban vitalizations. This study looks at the meaning of modem architecture restoration as well as its relationship with urban area. Furthermore, the purpose of this study is to look for design method's direction by finding the relevance between modem architecture restoration and museum during the restoration. This study is based on transformation and preservation scale during the restoration of modern architecture. It analyzed plane and design direction. Additionally, this study analyzed the architectural and regional effect caused by restoration. As a result, in accordance with the direction of museum and the usage, scale, structure as well as superficial aging condition of previous architecture, it shows difference in design methods in the process of restoration. The exterior of architecture was restored and preserved to its original form in order to show the symbolical form through historical value. This is essential to the modern museum. On the other hand, the interior of architecture put more value on utilization concept that its preservation and thus was restored accordingly. However, in all the cases, previous architecture were commonly used and even when alterations and additions were made due to aging and their change in usage, they were restored in a way that preserved and harmonized previous architecture. If the design method for restoration of modern architecture selects the restoration method by considering problems related to location, building value, structure, if it is studied from various angles and is restored after considering its usage as a museum, then we will be able to generate cultural and historical synergy effect. Furthermore, apart from architecture, it will have great impact on urban vitalizations.

• 한국콘텐츠학회논문지
• /
• 제21권6호
• /
• pp.113-127
• /
• 2021

본 연구는 탈근대의 건축 공간을 고정되지 않고 지속적인 변화의 개념으로 보고, 변화하는 관계 네트워크로 건축 내 공간 요소를 이해하는 것을 목표로 한다. 연구의 목적은 관계성이라는 관점에서 렘 콜하스와 SANAA의 작품에 나타난 공간적 특성을 밝힘과 동시에 두 건축가의 공간구성 전략을 분석하는 것이다. 연구의 방법은 관계성의 대한 이론적 고찰을 통해 비고정적 관계성의 의미를 정의한 후 렘 콜하스와 SANAA의 건축적 접근방법에 대해 살펴보았다. 관계성을 공간의 프로그램, 환경, 사용자 그리고 가구와 집기로 구분하여 두 건축가의 작품 분석하였다. 결과적으로 두 건축가 모두 조직화에 의해 경직된 프로그램을 거부하고 가능성이 내재된 관계성을 건축공간 활성화 목적으로 활용하고 있다는 점에서는 유사하지만, 렘 콜하스는 사용자의 행위유발 기제의 전략을 사용하고 있는 반면, SANAA는 사용자의 자율적 행위를 담는 이완공간의 전략을 사용하고 있음을 확인할 수 있었다.