• Title/Summary/Keyword: 1960s in Korean modern Architecture

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Renovation and Conservation based on the Significance of Modern Architecture - A Study on Renovation of Korean Modern Architecture of 1960-70s - (근대 건축의 가치를 반영한 리노베이션과 보존에 관한 연구 - 국내 1960-70년대 모더니즘 건축의 리노베이션에 관한 연구 -)

  • Choe, Sanki
    • Korean Institute of Interior Design Journal
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    • v.23 no.1
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    • pp.34-42
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    • 2014
  • The early post-war modern architecture introduced to Korea in the 60's and 70's have reached its 50 year cycle to emerge as candidates for the registered heritage. However, conservation is a complicated topic when applied to modern architecture due to its social and political status among general public, and is often a sacrificial target for demolition or insensitive alteration. This research tries to identify significant values extracted from the intrinsic characteristics of modern architecture, that can be applied to conducting successful renovation projects on modern architecture. The conservational values of modern architecture to be maintained are identified in this paper as: flexible open space, material and structural system, and extension of interior-exterior relation. These values are examined through the filter of comparative analysis on domestic and international conservation standards, along with cross-examination on recently renovated local works performed on the modern architecture of the period. This research aims to bring focus on conducting respectful conservation and renovation to modern architecture by identifying the significant values that is intrinsic to the modern architecture and is worth preserving.

Paljak Roofs and Modern Joseon Architecture in North Korea: Selection and Exclusion (팔작지붕과 북한의 현대 조선식 건축: 선택과 배제)

  • Park, Dongmin
    • Journal of architectural history
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    • v.28 no.2
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    • pp.65-76
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    • 2019
  • Modern Joseon Architecture is North Korea's unique building style that interprets Korean traditional architecture in a modern way, and its most distinctive design feature is the Paljak roof that decorates the upper part of the buildings. This paper argues that continuous attempts at characterizing the nature of traditional Korean architecture in the late 1950s and early 1960s developed the theoretical rationale for the exclusive use of the Paljak roof in Modern Joseon Architecture. It also argues that the construction of the Pyongyang Grand Theater and the Okryu Restaurant during this period became a decisive moment for the formalization of the Paljak roof. The double roof rafters and gables and the "cheerful yet solemn" roofline were considered as main characteristic features of the Korean roof and the Paljak roof perfectly fits this description. Particularly, in North Korean society where Kim Il Sung became idolized as an impersonalized deity, an anecdote in which Kim Il Sung fixed a prominent gabled roof in the Pyongyang Grand Theater into a Paljak roof has allowed for the roof to gain an exclusive status. Hence, almost all Modern Joseon Architecture since the 1960s accepted the Paljak roof's monopoly position, rather than experimenting with other traditional roof types.

A Study on the Characteristics of Minimal Architecture and Literal Space (즉자석 공간예술과 미니멀리즘 건축의 현대적 의미에 관한연구)

  • 이은석;임종엽
    • Korean Institute of Interior Design Journal
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    • no.14
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    • pp.121-129
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    • 1998
  • It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

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A study on the Characteristics and Changes the Interior Design of Modern Korean houses -based on the analysis of the interior design of living area- (한국 현대주택의 실내디자인 특성과 변화에 대한 연구 -거실공간에 대한 분석적 결과를 토대로-)

  • 윤지영;박영순
    • Korean Institute of Interior Design Journal
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    • no.16
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    • pp.116-125
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    • 1998
  • This study attempts to analyze the characteristics and changing trends of the interior design of modern Korean houses since 1960s and to understand the impacts of Western architecture and design. the photos of 101 houses were selected from the magazines published since 1960s. The data collected were analyzed via frequency percentage and average. The result reveals that the interior design of the living rooms in modern Korean houses has undergone lots of changes in finishing materials window treatments types of cabinets and use of lighting fixtures. It is concluded that 1960-1960s is a period of introducing Western design as a superior while 1980's is a period of exploring various ways toward harmony between Korean style and Western styles and 1990's is a period of settlement of koreanized modernism style.

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A Study on Seoul Cosmetic Retail Store from 1960s to 1990s -Through Comparative Analysis of Distribution Trends of AMOREPACIFIC- (1960년대에서 1990년대까지 서울의 화장품 판매공간 연구 -아모레퍼시픽의 유통 전략 추이의 비교분석을 통하여-)

  • Lee, Dasol
    • Journal of architectural history
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    • v.26 no.3
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    • pp.31-38
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    • 2017
  • The retail store, which appears in various ways of the modern city, is the architectural result that the merchandise is finally delivered to consumers. The relationship between the commerce based on manufacturing and distribution and the retail store as urban architecture can be understood not only from the viewpoint of economics and business administration but also the problem of the formation of urban history and urban organization. The modern industrial development in Korea had been progressed by the state led, as the manufacturing and distribution developed in turn. This social and economic situation influenced the formation of the retail store of the city. This is different from the West, which the development has been conducted together. The cosmetics sales space, which is the subject of this study, has changed in various forms from the 1960s to the 1990s. Cosmetics brand retail shop is a corporate brand-based space, but paradoxically, it has a historical characteristic of urban architecture in that it is branding city street. This specificity of Seoul is unexplained by the development process of the Western and does not exist as a physically huge or special construction sometimes. However, it operates as a urban architecture in Seoul where the complicated.

A Study on the Relation of the Theory of Language and Architectural Discourses Appeared after 1960 (1960년대 이후 등장한 건축적 담론들과 언어이론과의 상관관계에 관한 연구 -포스트 모더니즘, 해체주의 건축, '주름잡힌(folding)' 건축을 중심으로-)

  • Jung, In-Ha
    • Journal of architectural history
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    • v.8 no.2 s.19
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    • pp.87-108
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    • 1999
  • Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

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A Study on the Brick laying Techniques and Design Characteristics of Modern Churches in Jeonbuk province area (전북지역 근대교회의 조적기법과 의장특성 연구)

  • Kim, Hyun-Yong;Hong, Seung-Jae
    • Journal of the Korean Institute of Rural Architecture
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    • v.7 no.1
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    • pp.51-60
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    • 2005
  • In Korea, there still exist a number of modern architectural structures which were built from 1876 - when Korea first opened its port to foreign trade - to the early 1960s. Modern architectures have been rather neglected from the study of Korean architecture history partly because of its short period and negative attitude toward them that they are remains of the Japanese colonial period. However, interest in modern structures is recently increasing, and researches and studies are actively going on. This dissertation is a study on brick laying techniques and design characteristics of Modern brick structure churches in Jeonbuk-province. The results demonstrate that modern brick structure churches in Jeonbuk-province have become small and simple with time and that their structures and designs are closely related.

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A Study on Ex-Formal Expression Observed in Space.Form of Korean Modern Architecture (한국 현대건축의 공간.형태에서 나타난 탈정형적 표현에 관한 연구)

  • Jang, Hoon-Ick
    • Journal of The Korean Digital Architecture Interior Association
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    • v.9 no.3
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    • pp.85-93
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    • 2009
  • In this study, the ex-formal expressions observed in space form of Korean modern architecture are distributed for characteristic analysis based on the period and type. The result of the study is certified by the work analysis and the result is as follows. Initially, due to the limited materials and influence of western brutalism, the works developed during 1960~70 tend to be plastic and contain expressionism. Around 1980's, the works tend to show forms of amusement and popularity. In 1990's the works show significance in deconstructive expression. From after 2000, ecological concept of architecture was introduced and organic expression started increasing Secondly, the ex-formal expressions are found to be in four different types. The organic expression is shown regardless of the period. In modern days, not only the physical properties of materials, but also the ecological concept is combined with the organic expression and is in increase. The plural expression started appearing after the 1980's and the sculptural diversity is enhancing with the addition of decorative factors or modification of geometrical form. The ex-construction and deconstructive expression show significance in some characteristics such as folding, inclination, and geometrical explosion. The free form and nonlinear expression tend to increase dramatically based on the development of structure technology as well as execution and introduce of the digital design technique.

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A Critical Reading of Freedom Center Apacle by Architect Kim Su Geun (김수근의 자유센터에 대한 비평적 독해)

  • Khang, Hyuk
    • Journal of architectural history
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    • v.21 no.1
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    • pp.135-154
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    • 2012
  • The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.

Doble Contexts for Reading Manfredo Tafuri's Criticism of Ideology (만프레도 타푸리의 이데올로기 비판 독해를 위한 이중의 문맥)

  • Park, Junghyun
    • Journal of architectural history
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    • v.25 no.2
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    • pp.21-30
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    • 2016
  • Autonomia movement that emerged in Italy in the 1960s from workerist (operaismo) communism gives historical and discursive context to Manfredo Tafuri's famous criticism of ideology. His thesis on the death of architecture was a radical criticism of Keynesian intervention which was a strategy to cope with the Great Depression. For him, this capitalist development had taken away ideological prefiguration from architecture. At least Tafuri's this early intellectual phase was formed in the wake of magazine Contrapiano and Antonio Negri's influence. Tafuri almost entirely adapted Negri's thought on the importance of capitalist innovation that was uncovered by Keynes, Schumpeter, and Manheim and the periodization in modern history. When we read Tafuri's text with this concrete context, we can avoid being plunged into his abstruseness. On the other hand, 1980's Korea cannot understand Tafuri comprehensibly. 1980's situation to struggle to acquire democracy prescribed only one mode of reception of Tafuri's historiography in Korea. Tafuri's so-called pessimist view point could not satisfy student activists. They want to take intellectual means to sustain student movement and to secure political dynamics of protest. But at the same time they have anxiety to understand tafuri's thesis that they consider ad a critical theory for Korean Architecture. Double contexts of Tafuri's criticism of ideology bring to light to historicize both Tafuri's historiography itself and reception of his text in Korea.