• Korean Institute of Interior Design Journal
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• no.16
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• pp.126-134
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• 1998

In Contemporary architecture we could find rough and stiff feeling expression as a special phenomena. This style is combined regionalism to the modern spirit that we could imagine such a phenomena of the modern design toward vernacular culture. it's conception is conformed to the regionalist architecture in that period and the 3rd world experiences, From 1930s resident house Le corbusier introduced vernacular phenomena that considered productional condition of the region and regional environment This tendancy attempted by few young architects. they built building in vernacular phenomena based on the 3rd world experiences and Le Corbusier's architecture. After Le Corbusier's unite d'hbitation in Marseille Ando finishing with diversified material. but Le Corbusier's intention concerned not only to finishing of material but also to practical and human building as he had experienced in vernacular architecture.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.213-220
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• 2006

Le Corbusier (1887-1965) is known as a great architect ranking with such master architects as Frank Lloyd Wright and Mies van der Rohe who produced great architectural achievements in an era from the dawning to the maturity of the modem architecture. His works are marked for their peculiarity in expressing his architectural concept as perceived through his artistic sensibility. He has brought the form of his architecture to perfect through the influence of Purism. His architectural concept has instigated him to construct the relations between structure, form and the notion of space through the 'Dom-ino' structural system and the 'Five Principles of the Modem Architecture.' As a result, he has become such an architect as has ripened his works by adopting the 'Modulor' for human measurement. During the decade from 1929 to 1939, he made public the 'Museum of Unlimited Growth' programs in an attempt to give a concrete form to his concept of 'unlimited space' spreading to all directions, which was actually visualized by the constructions of three art museums, located Ahmedabad and Chandigarh in India and Tokyo in Japan. Although a number of researches have so far been publicized on the works and the architectural ideas of Le Corbusier, no systematic research has yet been released on the idea of 'Museum of Unlimited Growth' as a matter of fact. Therefore, this study has set its purpose to grasp the peculiarities of his exhibition space design through an analysis on the characteristics of the 'Museum of Unlimited Growth' so designed as to reflect the concept of a space, which is centrifugally growing. With this purpose in mind, this research is also to suggest how the design of the 'Museum of Unlimited Growth' would influence the modem museum exhibit space. The contents of this study comprise the consideration on the early ideas of Le Corbusier, the typical features of the growing museum and the analysis as well as the integration of his works.

• Journal of the Korean housing association
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• v.27 no.5
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• pp.37-44
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• 2016

The purpose of this study is to investigate the relationship of architectural ideology and characteristics of spatial composition between Moisei Ginzburg's Narkomfin communal house and Le Corbusier's Unite d'Habitation. Narkomfin communal house and Unite d'Habitation is considered as example of experiment to construct ideal community housing model. Moisei Ginzburg designed Narkomfin communal house to make typical housing model for socialist city. Meanwhile, Le Corbusier is considered as a leader of modern functionalism architecture. His Unite d'Habitation in Marseille is important experiment for housing model in modern period. Unite d'Habitation is known to be affected by Narkomfin communal house in terms of architectural ideology and its spatial composition. This study focuses on comparative analysis between Narkomfin communal house and Unite d'Habitation through drawings, pictures and various literatures. Narkomfin communal house and Unite d'Habitation have common ideology to realize ideal community housing model. Moreover, both of them have considerable similarities in their spatial composition. First of all, unit housing of Narkomfin and Unite d'Habitation are maisonette type. Secondly, both of them have unique system that one corridor serve two of housing unit. Also, both have common facility such as laundry, childcare which is connected with their housing.

• Journal of architectural history
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• v.24 no.5
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• pp.7-20
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• 2015

Drago $Gali{\acute{c}}$ (1907-1992) has been acknowledged as one of most important modern Croatia architects of the 20th century and noted for his controversial apartment buildings at 35-35a and 43-43a blocks on Vukovar Street in Zagreb, Croatia. Although the two housings were highly regarded as the best examples of the post-war housing design in Croatia, a plagiarism controversy arose due to its similar exterior looks to Le Corbusier's $Unit{\acute{e}}$ d'Habitation in Marseille in 1952. This research intends to comparatively analyze architectural features implemented on the works of apartment of Drago $Gali{\acute{c}}$ and Le Corbusier's $Unit{\acute{e}}$ d'Habitation. The analysis focuses on architectural characteristics categorized in three parts: unit plan, community space, and unit combinations. The site survey was carried out to yield more useful information for the analysis. During this process, written and photographic documentations are collected for the further interpretation. In addition, scale drawings are reconstructed for the in-depth analysis of the project.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.40-49
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• 2012

The purpose of this study is to look into an articulation between architecture and site of Le Corbusier's works. The first of his principals, "piloti" shown in "5 principals in new architecture" represents the articulated relationship between architecture and site. It certainly works as a driving force of new architecture Le Corbusier pursued. The study presumed that this is the constructive application of "Modernity" with new technology and materials during the turn of century. It also seems to be a tool for visual presentation of implied "Will of Form" for his paintings and architecture as well. In this perspective, this study suggests an assumption of a certain connection between the principal of spatial articulation on his purism paintings and the architectural spaces created by piloti. The study finds evidences that supports the above mentioned assumption; first, the inter-relationship between the interval spaces on his paintings and lifted box, second, the movement of space as overlapped spaces, and finally, overlapped volume which is represented by intersection.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.21-31
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• 2004

There are probably no architects of the 20th Century who had more influence on modern architecture than Mies van der Rohe and Le Corbusier. Although the two architects share one thing in common, namely, both are master of modernism, each has developed unique architecture of his own. The objective of this study is to investigate the characteristics of their works through a comparison analysis of the Ideas, design principles and architectural language reflected in the works, focusing on the houses. this study will also aim to provide a foundation for a new design that harmonizes the design principles and architectural language of the two. Through the study the following common points and differences were found between the houses of the two. A) Common points: Both architects avoided ornamentation In houses while placing weight on the functions of houses and they tried to plan rational floor plans by separating the wall from the structure. B) Differences: \circled1 The houses of Mies express the structure in a straight forward manner, while those of Corbusier are formative houses focusing more on shapes. \circled2 The shapes of the houses of Mies are limited to basic shapes, quadrangle while those of Corbusier employ various geometric curves. \circled3 Using steel and glass, the houses of Mies are light and transparent. On the contrary, using concrete, the houses of Corbusier are somewhat bulky with Three-dimensional changes. \circled4 The houses of Mies show the value of moderation based upon the classical principles of design, while the houses of Corbusier show the value of moderation based upon geometry. \circled5 The houses of Mies feature horizontal intoners with flexibility. However, Corbusier's houses have vertical interiors with some changes in the cross sections. \circled6 In terms of material, the interiors of Mies' houses employ materials with various tones and textures, while interiors of Corbusier's houses are painted in simple white. Summing up these characteristics, it could be said that the houses of Mies have logical and rational beauty, whereas the houses of Corbusier have more emotional beauty.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.162-170
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• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• Journal of architectural history
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• v.12 no.1 s.33
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• pp.25-41
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• 2003

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche-Jeanneret and Stein-de Monzie. It proceeds on the basis of the following three themes: first, the relation between the regulating line and the dom-ino frame; second, its status as a proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vortical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzie. The repetition of its A:B grid and the standard $2.5m{\times}1.0m$ sliding window determined the proportions of both its plan and elevation, and thus the regulating line became 'automatic,' losing its viability as a practical tool. Though the regulating titles of the La Roche-Jeanneret look as if they were an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly 'redundant' regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that Le Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His 'parti' ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.