• Korean Architects
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• no.11 s.259
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• pp.38-49
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• 1990

• Korean Institute of Interior Design Journal
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• no.22
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• pp.69-76
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• 2000

Contemporary architecture in Japan is entering an entirely new phase in the second half of the 1980s. In the late 1960s, doubts began to be expressed about Modernism, which until then had been the recognized mainstream of architecture. There was much discussion, but it was only in the early '80s that an active debate was initiated concerning Post-Modernism. Today, however, matters have gone beyond this, and the situation appears particularly significant. The Japanese architecture world was hitherto understand to be fundamentally very different from its western counterparts. There are several trends in current Japanese architecture which have still come out of the Japanese tradition of life, culture, region, climate itself. At the same time, stance of contemporary Japanese architecture start from a common basis in world's design stream which can be called Post-Modernism, Deconstructivism, Neo-Modernism. This study is aimed at analysis of 'Regional Characteristics' in Contemporary Japanese Architecture.

• Korean Architects
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• no.8 s.268
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• pp.61-71
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• 1991

• Korean Architects
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• no.2 s.262
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• pp.56-66
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• 1991

• Korean Architects
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• no.5 s.265
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• pp.64-75
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• 1991

• Korean Architects
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• s.600
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• pp.112-117
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• 2019

1974년 10월 '월간 건축사'에 글이 하나 실렸다. 건축 작품이 정치사회적 논쟁의 중심에 섰던 최초이자 마지막이 아니었던가 싶은 김수근의 <부여 박물관>에 대한 일본풍 논쟁이었다. 논쟁의 발단은 한참 선배인 김중업의 언급에서 시작됐다. 한국 현대 건축의 시작점에서 프랭크 로이드 라이트를 일본을 거쳐 배운 김수근과 유럽의 르 코르뷔지에 말년 3년을 같이 한 김중업의 논쟁이었다. 일본풍은 <왜색>이라는 자극적 표현 때문에, 독립된 지 얼마 안 된 우리 정서로는 매우 민감한 부분이었고 사회적으로 파란이 일었다. 여러 사람들이 논쟁에 가담했었는데, 이런 논쟁이 단 몇 차례로 끝나고 이어지지 않은 것은 우리 건축계를 위해선 안타까운 일이었다. 600호 특집을 준비하다 발견한 <월간 건축사 1974년 10월호> 글은 놀라웠다. 그리고 1974년의 통렬한 비판이 아니라 지금까지도 언급할 가치가 있는 내용이었다. 자그마치 45년 전 건축계 전체에 대한 발전을 촉구하는 글에서 지금을 생각하게 됐다. 특히 두 '귀화인'이라는 표현에서 여전히 자기 정체성을 확보하지 못한 대한민국 건축계에 울리는 소리가 크다. 여전히 직수입된 사고와 생각을 유행매체에 마케팅하는 전략이 먹히는 풍토에서 이 글은 반성의 시간을 가지게 만든다. 피터 춤토르가 스위스 산속에서 혼자 뚝딱거리면서 조용히 건축을 하고, 중국에서 왕 슈는 폐자재로 수공예하는 건축을 하다 세계에 존재감을 알리게 되고, 알렉한드로 아라베나는 빈민주택으로 사회적 정체성을 알렸다. 해외대학 이력이 국내 대학보다 활동하기 좋은 대한민국 건축계는 반성의 시간을 가져야 할 것 같았다. 과연 45년 전 보다 선명해 졌는가? 원문을 거의 그대로 옮긴다. 다만 한자 표현이나 이해 어려운 문장은 다소 변환했다. 천천히 음미하면서 읽어보시길${\ldots}$ 1974년 10월 두 귀화인의 논쟁에 대한 학문적 비판글.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.39-47
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• 2013

The purpose of this study is to search for values and meanings of everydayness as a design concept by organizing concepts of 'everydayness' shown in contemporary architecture and systematically describing its characteristics through various analysis methods. 'Eerydayness' shown in contemporary architecture is defined and the criteria of case study are suggested, so that characteristics of everyday can be identified by systematically classifying and analyzing the Japanese cases in order to find the values and meanings of everydayness. The findings of this study are as follows: first, materials that show users' everydayness has indefinite potential as an element of architecture concept, and they play the role of communication and sympathy between architecture and users; second, implementation of everydayness leads to design emergence; third, everydayness can be widely applied to architecture; fourth, everydayness can be implemented regardless of architecture uses. In conclusion, the value of everydayness in contemporary architecture is that it draws user-based diverse and fresh architectural expressions that lead to opulent designs. To users, everydayness improves satisfaction of life gained from architecture and provides rich life environment because it changed common human life to a form of art.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.223-233
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• 1998

We intend to illustrate how contemporary architects have conceptualized spaces with words. Language practice is so much important work for the contemporary architects as designing realistic building (material practice) As this point of view we need to interest in theses of architects which contains their unique ideas an characters. The purpose of this study is for understanding how contemporary japanese architects embody through special conception when day design the mixed wooden construction and for looking for the possibility of the development of it. As a result the mixed wooden construction candy understood as an expression form how an architects things about relationship between parts and parts, parts and the whole and the character of materials that consist it and such relationship is determined by the requirement of space.

• Journal of the Korea Convergence Society
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• v.9 no.6
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• pp.191-201
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• 2018

This study aims to analyze the causes and results of the significant changes in the architecture of Japanese architect Kenzo Tange in the 1960s. For a new era and new architecture of Japan, Tange who has been successful in leading the early modern architecture of Japan. since the 1960s, proposed a structuralist approach, deviating from the existing functionalist tendencies that he has pursued. Therefore, in this paper, we examine what structural changes tend to be made in the post-1960s from the functionalist tendencies of the previous period, and what causes the changes to structuralist tendencies. In conclusion, rather than suggesting alternatives to deny the existing concept of functionalism, Tange's theory encompassed both functionalism and structuralism and achieved the effective reorganization of functions while complementing the disadvantages of existing functionalism through functional elements and their structuring.

• Archives of design research
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• v.14 no.3
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• pp.15-26
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• 2001

The goal of this study is threefold. First, this study explores the historical origin and architectural characteristics of cultural facilities in Japan. For this purpose, I examine various cultural facilities in Japan such as theaters, multi-purpose halls, convertible spaces and cultural centers. Second, this study also sheds a new light on the meaning of the relationships between cultural activity and architecture design in Japan. For this, I primarily look at the various categories of cultural buildings in Japan and their main functions. Finally, I demonstrate how both traditional and modem design elements are embodied in Japanese cultural facilities.