• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.28-35
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• 2007

This study aims to analyze the projects of Rem Koolhaas and Kazuyo Sejima in terms of program organization and spatialization methods. Diagrammatic methods are frequently used in their design process and are articulated in the graphical presentations in many publications to explain their projects. Even though diagrammatic methods can be used in diverse ways, Koolhaas and Sejima tend to use them to systematically organize the given programs in their specific ways. Furthermore this organization generate spatialization process in which the final building form is flexibly derived from the process itself. After the detailed studies for each architectsquot concepts, design process, and several unique characteristics that have vital roles to construct their ideas into real building were found. This research has a couple of steps to critically analyze the spatialization process: Conceptual Background, Circulation Organization, Structural Method and Furniture. After the examination based on these elements, similarity and difference between two architects are discussed in the conclusion. Ultimately it has been found that there are unique design development processes in each architectquots projects even though they tend to apply somewhat similar program-based spatialization process. It has originated not only from the each architectquots personal view of architecture, but also from the cultural backgrounds. It is hoped that this sort of comparative study would generate more diverse discussions in program-based design process as well as clear application of any related methods.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.32-39
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• 2007

The Program from modern architecture is an indispensable condition which must put in all buildings today and it is a relationship setting of a various functions. According to changing society consequently, a complicated form and program in modem appear again. Through this background from, we intend to observe the meaning which the program is having in the construction in this manuscript. Sejima is the architecture who try to use variously special formation of the program. Specially, we are planning to research the quality which his program is haying form Sejima's architecture and how it is reflected ill this construction. Resultantly, each program which appears from Sejima's architecture makes a gap space and irregular arrangement. The characters of the space which is put each through the gap don't have a deceptive plan each other and they are compounded. Also, each character to have their territories is intersected and putting out of the various features in the program coat. First, form of the maze plane, Intersecting each territory. Second, forming the territory as fitting their act oneself in the space where can be existing. Third, having more interest in the event that happens inside than existence problem of thing.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3220-3230
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• 2014

This paper analyzes the house designs of Kazuyo Sejima and Ryue Nishizawa from the 1900s to the early 2000s' works. By analyzing the degree of space integration of each house using the Convex Map of the Space Syntax Theory, this study arrived at the following conclusions in the respects of private space and public space. First, from period 1 (the 1990s) to period 2 (the first half of the 2000s), the differences between average integration values of private space and public space in their works have decreased. Over time, in general, average integration values of private space have increased, and, on the other hand, those of public space have decreased, leading to smaller differences between two sets of values, which means that, as the integration degrees of private and public spaces have become similar, the boundary which divides spaces becomes blurry. Second, in terms of private space, average integration values of private space in S-3 (House in a Plum Grove) and S-4 (House in China), works of period 2, are the highest among those values of their all 10 works. We can identify that, closure degrees of private space in their works have fallen over time. Third, in terms of public space, average integration values of I-2 (Villa in the Forest), I-5 (S-House), and I-6 (Weekend House), works of period 1, are the highest among those values of their all 10 works. Public space has become more central and open from period 1 to period 2.

• 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.