• Korean Architects
• /
• s.638
• /
• pp.128-135
• /
• 2022

• Korean Architects
• /
• s.639
• /
• pp.140-145
• /
• 2022

• 주택과사람들
• /
• s.214
• /
• pp.58-63
• /
• 2008

• Korean Architects
• /
• s.612
• /
• pp.153-157
• /
• 2020

• Korean Architects
• /
• s.513
• /
• pp.40-45
• /
• 2012

인사동은 서울 도심의 한 복판, 그 중심(中心)에 있다. 조선시대 이래 중심이었으며 오늘날에도 중심성을 유지하고 있으며 전통문화적 공간을 표현하는 하나의 아이콘으로 사용되어지고 있다.

• Journal of the Korea Construction Safety Engineering Association
• /
• s.50
• /
• pp.42-47
• /
• 2009

1910년대부터 조성된 전주시 전통한옥은 민족정신이 생생히 살아 숨쉬는 격조 높은 문화 유적으로 연간 80만명이 즐겨찾는 전북의 명소로 자리매김하였다. 대통령 자문 '건설기술 건축문화선진화위원회'(위원장 : 김진애)에 건축환경문화로 '전주 한옥마을'을 선정된 바 있는 전주시 교동과 풍남동 일대에 위치한 '전주 한옥마을'을 소개한다.

• Journal of architectural history
• /
• v.32 no.3
• /
• pp.63-76
• /
• 2023

Homogot Lighthouse is located in Pohang of the easternmost of Korean Peninsula. Homogot has become first known as Cape Clonard in the West through the navigation log by La Perouse, a Frenchman who embarked on a global exploration in 1785. Homogot Lighthouse represents an outstanding accomplishment of modernization that numerous civilized countries scrambled to attain in the early 20^th century. Located where the geographical risk of earthquakes is high, the structure was nonetheless built to be 26.4m high with brick masonry. Structurally safe and aesthetically graceful, it demonstrates neoclassical ideas superbly in terms of style as well. Although the history of Asian lighthouses is shorter than that of European ones. Homogot Lighthouse, which demonstrates the history of a modern lighthouse along with those in Japan and China, is differentiated by the following characteristics. ① The 'living lighthouse heritage' is linked to one of the largest lighthouse museum in the world. ② Where you can see the earliest sunrise at the easternmost of the Eurasian Continent. ③ The completion of a modern-style lighthouse constructed at the easternmost of the Far East after being initiated in Europe. ④ Differentiated historical, architectural, and aesthetic value. ⑤ The heart of the national marine park.

• Journal of the Korean Institute of Rural Architecture
• /
• v.14 no.2
• /
• pp.11-18
• /
• 2012

Carlos Jimenez's 'House and Studio' was self-designed to fully function as both a home and workplace. Since its establishment in 1983, the installation has been continuously updated for almost 30 years solely under the guidance of the owner's life occurrences and routine needs. The additions and alterations succeeding the building's erection were executed to incorporate small yet symbolic fragments of the resident's memories and life episodes. The particularity of the 'House and Studio' can be compared with other residential remodeling and expansion projects in regards to certain key aspects. These means of comparison include, but are not limited to, building strictly under the direction of a master plan of development vs. allowing natural adaptations that comply with the resident's needs, rapid development vs. gradual advancement, the ornamenting by exposing showy features vs. the enhancing by addition of modest natural components, sustainability vs. sustenance, systematic room divisions vs. ambiguous spatial organization, possession as a materialized asset vs. preservation as a recollection of memories, and finally the recognition as one example of signature architecture vs. the witnessing of a maturing animated shelter. The given propositions can be further explained with the comprehension of Erich Fromm's theory of the 'Having' mode and 'Being' mode, two mechanisms that categorize the essence of human life. The 'Having' mode is described by the human greed for wealth, power, and influence, whereas the 'Being' mode is comprised of compassion, joy, and productivity. Fromm's thesis applies to the general sense of human life, but the ideas can be narrowed to accommodate the architectural standpoint. In architecture, the 'Having' mode can be translated to be the conspicuous form-oriented and self-contained object. The 'Being' mode, on the other hand, is transposed as the more natural form, incorporating the needs of the owner before commercialization. The growth of Jimenez's 'House and Studio' can be perceived as an architectural suggestion to the overcoming of human indifference caused by fixation on the 'Having' mode.

• Archives of design research
• /
• v.21
• /
• pp.41-52
• /
• 1997

The development of architecture made it possible to predict human's dream having a perfect control over his environment be fulfilled by the development of the electric engineering after the twentieth century. During a century, throgh the renovation of systems, the design concepts of its environment, dwelling space, and the relationship between human and system. By exploring any possible new idea on the basis of the technical limits of the current system, let us suggest the advanced products ahead of a century.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2002.11a
• /
• pp.79-84
• /
• 2002

디지털 삶에서 인간들은 더 이상 보호막으로써의 건축 환경이 아닌 함께 상호작용 할 수 있는 감성반응 환경을 요구한다. 즉, 실내 공간은 사람들의 요구를 충족시키거나 사람들의 기분을 만족시키기 위해 건물이 마치 살아 있는 유기체처럼 쉬지 않고 변하는 공간이다. 그러나 건축공간의 물리적 특성의 한계에서 유동적인 감성반응 환경의 요구를 충족시키는 데에는 많은 한계점이 따른다. 그래서, 본 연구에서는 이러한 한계점을 극복하기 위해 디지털 환경을 이용한 가상공간에서 실행하였다. 이는 실제공간에서의 시행착오를 줄일 수 있을 뿐만 아니라 빠른 시간 내에 인간의 반응을 연구할 수 있다. 특히, 본 연구에서는 감성반응의 실내배색에 의해 실내공간에서의 디지털 벽면의 디자인을 가상공간에서 개발하여 거주자의 감성 반응을 평가하는 것을 연구 목적으로 두었다. 이와 같은 거주자의 감성반응형 환경 디자인은 미래의 디자인의 패러다임이 될 것이다.