• 한국실내디자인학회논문집
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• 제16호
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• pp.135-141
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• 1998

The objective of this study is to examine the specific progress in modern architecture with a premise that structure-oriented paradigm, as a primary factor, exerts a strong impacts on 18th and 19th centuries architecture. For this purpose, the concept and meaning backgrounds of structure-oriented paradigm have been checked also intrinsic thought s and critical aspects of modern architecture with the light of structure-oriented paradigm have been studied, This study summarized as follows: 1) The concept of structure-oriented paradigm in accordance with ideologies and technologies is framework of through which is shared as collective consciousness. 2) The backdrops of this consciousness are scientific methodologies stemmed from Renaissance and Enlightenment spiritual absoluteness claimed by German Idealists developed structural engineering with newly introduced material like iron steel and reinforced concrete. 3) The intrinsic through in architectural theories are rational and technological idelolgies which is derived from the backdrops of structure-oriented paradigm. 4)The critical sapects of modern architecture in structure-oriented paradigm point of view are $\circled1$ material alteration and directive imitation of vocabularies in classical architecture with simply using newly introduced building material and structure systems $\circled2$ morphological substitution with abstractly interpreted materials and structure systems $\circled3$ revolutionary conversion into engineering architecture through maximum consideration in compliance with tectonics capabilities

• 한국실내디자인학회논문집
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• 제15권5호
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• pp.12-19
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• 2006

The artistic features of German Expressionism in the early twentieth century are often recognized for its abstract and emotional representation in art and architecture. Expressionism departed from the paintings, notably the works of Der Blaue Reiter and the Bruck, but the architectural works with curve and organic features were also taken as expressive. German architects Hans Scharoun (1893-1972) and Hugo Haring (1882-1958), in this regard, have long been regarded as Expressionist architects, but recent studies suggest that their architectural designs include a profound idea of modem functional building. Scharoun and Haring held a socialist utopian vision as other modernists have also had, but their inherent view upon modern architecture was function which was mistakenly viewed as Expressionism in earlier documents. This paper intends to exemplify how Expressionism is inappropriate to represent the expressive presentations of Scharoun and Haring. Despite the fact that their designs possess certain expressionist elements, their works can also be constructed as an advanced functionalism. Many young architects in Germany were not given chances to build due to economic hardship after the First World War, and they were naturally led to imagery sketch designs for future architecture. Abstract Idea was freely exposed in its preliminary visual form, and it is also uneasy to draw a borderline between expressive presentation and the Expressionism itself.

• 한국실내디자인학회논문집
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• 제26호
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• pp.95-103
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• 2001

This study was performed to search for the geometrical principles in modern architecture and design based on Frobel's educational idea and Kindergarten system. Especially, it studies on the geometrical principles of Froebel's building gifts and it's types, and then illustrates applied examples in modern architecture and design. As the architectural scope, the architecture and design theory of Frank Lloyd Wright and Bauhaus in early 20th century is analyzed. The conclusions of this study that starts these purpose are as follows. First, Froebel's educational theory is based on principles and rules which are perceived through the observation of nature, and Froebel's Kindergarten system consists of geometrical building gifts and categories of geometrical forms. Second, the characteristics of Froebel's building gifts are mathematical size, proportion, symmetry and the rules of spatial relation. Third, the influence of Froebel's kindergarten system on Bauhaus is that it based on the rational rules of $\bigtriangleup\square\bigcirc$ organized by geometrical basic forms as like Froebel's educational idea. And the influence of Froebel's Kindergarten system on Frank Lloyd Wright is that he used unit system, unity of space and structure and modular system as like the Froebel's building gifts.

• 한국실내디자인학회논문집
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• 제6호
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• pp.53-62
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• 1995

This research aims at proving the fact that the forms, spaces and many other design concepts of Modernism are much related with the changes of materials, struc-tures, and the way of construction as well as the idealis-tic and aesthestic things through the history of steel, one of the most important materials of the style. The meaning steel has in the modern architecture can be studied in the structure and industrial production system. 1) Steel frame broadened the range of understanding the space and created the new form through the skeleton/skin structure by reinterpreting the existing space fac-tors while it was being adopted to the architecture. Walls could be freed from the traditional function of bear-ing wall and roofs gave the transparancy to the interior by being linked with the glass. Posts lost the function which confines the space in the frame of the grid system and gave the flexibility to the interior due to the economical materials. These changes made the movable partition, screen with various materials and the system furniture which divides the space more important. 2) In the aspect of the industrialized architecture, it be-came the moment that the most of the archtectural com-posing parts were in mass production as they were standarized, high qualified, and generalized by the indus-trial characteristics of steel, and the specialization of structure and cladding, but the neither of the efforts to make the building itself by mass production or to standarize it was fulfilled. The high-tech architecture which borrows its archtectural manifestation from the high technology, however, is consistently paying efforts on such industrialization.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.71-79
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• 2014

The purpose of this study is to elucidate that photo, which has been used as original photo's purpose of information transfer in modern age, is now used as romantic reproduction which is the communication methods of architect's idea and thought through photographic vision which is beyond photograph own capabilities. The photos of Mies van der Rohe and Le Corbusier's architectural works are taken as an example for studying and analysing the way of deliverying the concept of creative work in the functional spaces in the modern era. It looked at the way of modern archirecture configuration, which architects wanted to show by pictures, such as concurrency, movement, sense of exhibition and concept of time-space and planarity on photographic vision such as multiview, movement, daily life exclusion, scenography and perspective loss. Reflecting that, I presents Le Corbusier and Mies van der Rohe's intention through photo by analyzing their picture of architecture by way of photograph techniques-camera position moving, over exposure, photomontage, silhouette technic and overlap technic. Mies van der Rohe and Le corbusier demonstrated the change and manipulation of the their architectural photos in different point of view. They express their architectural theories by photos of their works and overcome the limitation of expression of constructed building designed by them. The photos of architects's works in the case study with photos and descriptions introduce to their design concept. The design concept of the architects have become ideal concept for many contemporary architects and keep reproducing through the photos of their architectural works.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.21-28
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• 2010

This study is purposed to understand the spacial usage of the furniture in detail for interior architecture. Many documents have prescribed the spacial furniture at random. While modernist have been interested in the spacial usage of the furniture, the importance of the spacial furniture stands out in architectural space. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. The villa, the weekend home of the Savoye family, was built between 1928 and 1931. Particularly, the villa Savoye was focused for this study. Le Corbusier viewed desks and case pieces for storage as architecture, and the unite furniture and architecture by developing cabinets in standard modules that could be painted either the wall color to become part of the wall or in contrasting colors to stand out as furniture. Spacial furniture was used architecturally in the interior as well, it gives the space an unexpected playfulness with the color of the finishing materials. The various usage of the Spacial furniture constitute an element of great architectural richness. They have a unique principle based on emotional order and make the man move to another space and experience the spacial connection. In particular, the furniture that was considered by Corbuisier have rational function, division of the space, leaning the structure, and so on. The furniture as the element of the space composition can change the architectural space and view as well as connecting each other. Spacial furniture appear as physical ones called wall, floor, column, and existential value as a living space.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.112-119
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• 2013

This study focuses on an innate 'spiritual' quality of arts including building art, or a meaning of the religious philosophy of 'creativity-art'. In particular, this focuses, among two aspects in roots of modernism, especially on the irrational facet veiled by the name of 'a new' religious faith, rather than the rational such as the function. In fact, although modern Avant-gardes' religious philosophical faiths called by different names respectively have generally considered as one of the sources for their designs, nevertheless it had veiled because of the religious 'orthodoxy power' at that time. Arguably, as known well, the creativity of art is intimate relation with a religious ideas. Thus, for this purpose, this study treats this theme in central these three issues; Orientalism, Universalism, and Froebelianism which are intimate in the realm of religious philosophy. Ultimately, through a research on the universal religious philosophy in all three objects as keeping a quality not of pantheism but of 'Panentheism' emphasizing the individual's 'divine' artistic volition, this study deepens the understanding on the Creativity-art as the main characteristic of modernity. Namely, it is very important to draw a distinction between pantheism and Panentheism; because, through the pantheism, it is difficult to comprehend a stream and a characteristic of the twentieth new religious thoughts including those of modern avant-garde artists, as well as their existential free-will as a whole.

• 한국실내디자인학회논문집
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• 제20권5호
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• 한국실내디자인학회논문집
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• 제19권1호
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• pp.16-26
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• 2010

In recent, as rediscovery of the modern value is developed through the support by the government and the reinterpretation of the traditional culture, a Korean-style house(Hanok) also becomes an object of interest. Among these various viewpoints to see the Korean-style house, the necessity of a new spatial design approach to contain the types and functions of the architectural space of the Hanok appropriate to the modern society is raised which is not a passive approach to preserve the existing cultural assets. Out of the methods of the new spatial design of the Hanok which reflect the paradigm of the times, this study has the purpose to make an approach from the viewpoint of 'Restoration design'. As the 21 st century started, the recycle design whose active discussion and performance is made largely by Europe and Japan can be called a design method in the hardware part which enables continuous adaptive use of a building by applying a new use purpose and method to a building which doesn't use the recycle design or has low efficiency. In that meaning, it can be considered to be a very important architectural activity historically, archltecturally and spatially. Based on the methodological characteristics of the recycle design, this study largely divides the types of recycle into coherent recycle and imagery recycle and dedto s detailed methods of space, consinto ion and material and wardrobe used for each case to analyze the methods of concrete recycle design through the methodological analysis of recycle cases of the existing modern buildings. For the objects of recycle cases of the Hanok made recently based on the design methods acquired here, it was examined how the architectural and spatial characteristics of the Hanok can be reconsinto ed through what kinrecycmethods. The approach of the recycle design is considered to be a cornerstone to show a new architectural and spatial value in the viewpoint of the Hanok existence in modern times.