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A Study on Classifications and Trends with Convergence Form Characteristics of Architecture in Tall Buildings (초고층빌딩의 융합적 건축형태 분류와 경향에 관한 연구)

  • Park, Sang Jun
    • Korea Science and Art Forum
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    • v.37 no.5
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    • pp.119-133
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    • 2019
  • This study is as skyscrapers are becoming increasingly taller, more constructors have decided the height alone cannot be a sufficient differentiator. As a result, atypical architecture is emerging as a new competitive factor. Also, it can be used for symbolizing the economic competitiveness of a country, city, or business through its form. Before the introduction of digital media, there was a discrepancy between the structure and form of a building and correcting this discrepancy required a separate structural medium. Since the late 1980s, however, digitally-based atypical form development began to be used experimentally, and, until the 2000s, it was used mostly for super-tall skyscrapers for offices or for industrial chimneys and communication towers. Since the 2000s, many global brand hotels and commercial and residential buildings have been built as super-tall skyscrapers, which shows the recent trend in architecture that is moving beyond the traditional limits. Complex atypical structure is formed and the formative characteristics of diagonal lines and curved surfaces, which are characteristics of atypical architecture, are created digitally. Therefore, it's goal is necessary to identify a new relationship between the structure and forms. According to the data of Council on Tall Buildings and Urban Habitat (CTBUH), 100-story and taller buildings were classified into typical, diagonal, curved, and segment types in order to define formative shapes of super-tall skyscrapers and provide a ground of the design process related to the initial formation of the concept. The purpose of this study was to identify the correlation between different forms for building atypical architectural shapes that are complex and diverse. The study results are presented as follows: Firstly, complex function follows convergence form characteristics. Secondly, fold has inside of architecture with repeat. Thirdly, as curve style which has pure twist, helix twist, and spiral twist. The findings in this study can be used as basic data for classifying and predicting trends of the future super-tall skyscrapers.

Analysis of Spatial Characteristics of Vacant House in Consideration of the Modifiable Areal Unit Problem (MAUP) - Focused on the Old Downtowns of Busan Metropolitan City - (공간단위 수정가능성 문제(MAUP)를 고려한 빈집 발생지역의 특성 분석 - 부산광역시 원도심 일대를 대상으로 -)

  • SEOL, Yu-Jeong;KIM, Ji-Yun;KIM, Ho-Yong
    • Journal of the Korean Association of Geographic Information Studies
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    • v.25 no.1
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    • pp.120-132
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    • 2022
  • Recently, the rapid increase in vacant houses in urban areas has caused various problems such as worsening urban landscape, causing safety accidents, crime accidents, and hygiene problems. According to the Statistics Korea Future Population Estimation results, the growth rate of Korean population and households is expected to continue to decrease, which is likely to lead to an increase in the occurrence of vacant houses. If the problem caused by the occurrence of vacant houses is neglected, it causes not only a physical decline such as a deterioration of the residential environment but also a social and economic decline. In order to solve this problem, it is necessary to grasp the spatial distribution characteristics of vacant houses at the local level considering the existence of regional characteristics and spatial influence. Therefore, in this study, in order to measure global spatial autocorrelation, the analysis was conducted centering on the old downtown area of Busan, where there are many vacant houses through Moran's I and Geographically Weighted Regression(GWR). In addition, the distribution of vacant houses in different spatial units in Eup_Myeon_Dong and Census was analyzed to evaluate the possibility of Modifiable Areal Unit Problem(MAUP), which differ in the results of spatial analysis as the spatial analysis units change. As a result of the analysis, the occurrence of vacant houses by Eup_Myeon_Dong in the old downtown area of Busan had spatial heterogeneity, and the spatial analysis results of vacant houses were different as the spatial analysis units were different. Accordingly, in order to understand the exact distribution characteristics of vacant house occurrence, spatial dimensions using the GWR model should be considered, and it is suggested that consideration of the MAUP is necessary.

A Study on Plant Symbolism Expressed in Korean Sokwha (Folk Painting) (한국 속화(俗畵)(민화(民畵))에 표현된 식물의 상징성에 관한 연구)

  • Gil, Geum-Sun;Kim, Jae-Sik
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.2
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    • pp.81-89
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    • 2011
  • The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.