• Journal of the Korean housing association
• /
• v.25 no.6
• /
• pp.57-66
• /
• 2014

With regard to the pavilion buildings of Imcheonggak Gunjajeong and Donglakdang Gyejeong that are located within residential areas, this study focused on the construction background, the building owner's circumstances and the location environment of these buildings, and attempted to derive the architectural characteristics presented by these two pavilion buildings and, through this, to grasp the architect's intention of plan. The results of this study are as follows. With regard to Gunjajeong, it could be confirmed that, first, it is located in a propitious site and took the composition that follows the family ritual standards for the family rituals of the scholar-gentry class and opens to visitor access, and second, the floor height of the site and interior space was designed so that Munpilbong on the south and the Sarangchae on the west, and the Sadang on the east can be connected visually, and third, the authority and dignity of the head family were built through the symmetric 丁-shaped plane figure, the wide partition module, the form-centered building, and the hierarchical composition of the roof. On the other hand, with regard to Gyejeong, it could be confirmed that, first, it is located along the stream of Jagye valley that has no mountains in the front and in the back and took the composition that put the name symbolizing Taoist thoughts on the surrounding natural environment and was closed to visitor access but opens to nature, and second, with Jagye and Jagye surroundings as the main landscape, it built the concept of intended landscape that symbolizes the Taoist thoughts by giving names not only simply to the visible objects but also to surrounding rocks, and third, the asymmetric ㄱ-shaped plane composed a yard-centered space rather than emphasizing the shape, and connected the part of the plane with Jagye so as to be embodied as a personal inner self-perfecting place that closely communicates only with nature away from the mundane world.

• Journal of architectural history
• /
• v.24 no.6
• /
• pp.45-55
• /
• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• Archives of design research
• /
• v.12 no.3
• /
• pp.29-40
• /
• 1999

Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

• Korean Institute of Interior Design Journal
• /
• v.19 no.2
• /
• pp.66-72
• /
• 2010

The purpose of this study is to pronounce design trends in contemporary architecture collaborated with new media art concept. Currently, the prevalence of media presence has evolved perspectives on contemporary aesthetics today. To make clear demonstration on the issue, this study categorized new media art's expressional characteristics applied in the contemporary architectural design in conjunction with analytical researches on typologies and expressional characteristics appear in new media art. More specifically, the study selected architects who adopted new media art's expressional characteristics into their works from the year 2000 and performed analytical case studies with regard to the effect of the new media art into their architectural practices. By following methodologies mentioned above, conclusively the study categorized distinct expressional characteristics appears in contemporary architecture as a result of merging with new media art. The characteristics of the new media art appeared in contemporary architecture are categorized into three groups such as the design controlling external environment, the design utilizing web environment and the design participated by users. These observation could be translated that architects could present interactive design between users and building as a result from architect's capability of designing protocols which generate variable forms, colors and patterns in architecture. In particular, architecture utilizing web environment has characteristic capability of configurating user's program in virtual space. Also it is anticipated to suggest new patterns in generating architectural programs and forms. These patterns would not recognize the city merely as an incident or fragmented image but would configurate forms and images constructed by individual notional character. In conclusion, the architecture itself is expected to perform as media to open up opportunities that enables to contribute in expediting interactions among environment, users, and buildings by deviating from perspectives of representation as an object expressed in modernism architecture or as a classical decoration in post-modernism architecture in the past era.

• Journal of Families and Better Life
• /
• v.23 no.5 s.77
• /
• pp.63-77
• /
• 2005

The purpose of this study was to examine the changes and the characteristics of the attitudes toward children and spaces provided for them. by analyzing people's daily lives in housing spaces and architects' floor plans between the 1920s and the 1960s. Different kinds of data were obtained from a variety of early literature, research reports, newspaper articles, historical documents, and magazines from the period. Findings of this study are as follows: 1. Before modernization in Korea, children had been regarded as immature persons. Confucian ideas of children viewed them as 'small adults' or 'immature adults.' Thus spaces for children's daily lives were neither differentiated from those of the adults' nor deemed important. However, since the Western invasions and colonization by Japan, a remarkable change in the attitudes toward children took place. Children began to be considered a hope for the future as well as members of modem families. In addition, the introduction of the new word, 'eorini (children),' by Mr. Bang Jeonghwan, brought about a significant change in social consciousness of children. 2. The appearance of 'adongshil (children's room)' on architects' floor plans, which was a result of the social critique against androcentrism during the l930s and 1940s, was highly meaningful. The new floor plans not only emphasized rationalization of the space but also upgraded the children's status in the family. 3. Since the liberation (1945), children's space was differentiated from parental spare by the introduction of private rooms and shared spaces. The privacy of each generation was expressed by the division, and the generations were considered equal in this space distribution. In conclusion, the appearance of children's rooms required conflict-laden changes of social ideals and of the family system. It also was a symbol of modernization.

• Journal of architectural history
• /
• v.2 no.1 s.3
• /
• pp.54-73
• /
• 1993

This study focuses on the staffs of the Governmental Organization of Construction who actually led this organization. Two main points of this study are as follows; 1) The composition and appointment of staffs, before and after the Korea-Japan Treaty in 1907, are evaluated, and 2) The working and academic career of each personnel are analyzed in connection with understanding of internal characteristics of this organization. Special attention is given to Korean personel and Japanese engineers who undertook a leading role. Korean engineering staffs were very few in number. It is thought, viewing their records of careers, that almost all of them didn't have any engineering basis, and simply they had some relations to Japan. It is certain that their role in this organization was interpreters using their Japanese language ability, and their roles were only limited to non-technical areas, if any. The early engineers from Japan were selected among the officials with comparatively rich careers of the Temporary Architectural Dept. or the Temporary Engineering Dept. of Custom House in Japan. But, in later days, the quality of Japanese engineers changed to the level of premature without practical experiences who unwillingly came to Korea to have a job under the depression of construction economy of Japan. The academic careers of Japanese engineers were various, from self-taught to regural college education, but the leading engineers were from Tokyo University. The civil engineers became high-level technical officials in the Government-General after the Japanese Annexation of Korea. But, sometimes later, many of the architectural engineers became practicing architect managing design offices on private basis.

• Proceedings of the Korean Institute Of Construction Engineering and Management
• /
• autumn
• /
• pp.618-621
• /
• 2003

The purpose of this study was to propose the participation of consultant pertinent to ground situations. The careful consideration of participating consultant reduces life cycle cost. duration and improves quality. The first step is studying Curtain-wall construction process by researching the documents, and Second step is analyzing Curtain-wall construction's problem through having a interview with a concerned experts (Architect, Gene-con, Sub-con. Consultant). Then we study how consultant solves the problem, propose the way of participation of consultant. The way of participation consist of three phases. the first one is to participate in design & construction process and the second one is to participate in design process, the third one is to participate in construction process. These participations are decided by evaluating project, design phase. construction phase. The verification of these participating strategies was implemented by the interview with the experts.

• Korean Institute of Interior Design Journal
• /
• v.13 no.3
• /
• pp.84-92
• /
• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• Korean Institute of Interior Design Journal
• /
• v.15 no.5 s.58
• /
• pp.238-246
• /
• 2006

Renzo Piano was first introduced to us when he got together with Richard Rogers and won the Grand Prize on Center George Pompidou Competition in Paris. Since then, he designed number of world renowned museum architecture such as Menil Collection & Museum, The Cy Twombly Gallery, Beyeler Foundation Museum, and most recently the New Pavilion of High Museum of Art. His museum design, in particular, showed very consistent feature which is differentiating the 'Served Space(exhibition area) and the Servant Space(service core or mechanical system area)'. In addition, the way he treats natural light as a special feature within his museum space was nicely done and it is remarkable both in design and engineering side; he always designed a very unique roof structure system to give life and to simulate emotion of light within the space. These are just a few points of his special design characteristics which differentiate him from the rest of the architect working today. While interested by works of Renzo Piano, we found that his work had very close relationship to Louis I. Kahn's design. Specially the way Renzo Piano differentiating serving and servant space and the way he treating natural light. Therefore, the purpose of study is focused on providing typology of museum exhibition organization as well as finding evidence of Louis I. Kahn's influence and concept he has shown in his museum projects through actual site visits and reference research. The method of research was as the following; first to find typology and its characteristics of exhibition space organization of all Renzo Piano's museum projects. Secondly to distinguish projects which show 'differentiated servant and served space'. As the result of this study, it was clear that Renzo Piano had influence of Louis I. Kahn on adopting 'Servant and Served Space' concept. But the research concluded with the facts to approve the uniqueness of Renzo Piane's design concept.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.34 no.2 s.115
• /
• pp.113-127
• /
• 2006

As the local self-government are stabilized and the environmental value is becoming more important among local residents, the occurrence of the anti-movements against waste treatment facilities is getting more frequent. Opposing to build the reuse facilities of wastes takes place because of concerning of health and hygiene, as well as matters of unclear policy making process. However, these facilities must be built in somewhere for the convenience and profit of the public. The NIMBY phenomenon against reuse facilities of wastes could be a burden for the city operation system, and it could worsen citizens' quality of life in the long run. In these lights, reuse and recycling facilities of wastes in East region are necessary facilities improving citizens' quality of life and enhancing the growth of cities in the region. However, there have been concerning of deforestation during the construction process of the facilities. The landscape design presented here for these facilities considers the features of the environmental ecosystem and tries to establish a plan to preserve the natural environment of the City of Ichon. This paper presents methods minimizing adverse effects of the facilities on the existing environments and promoting the city image with integrating culture, tourism, landscape and environment of the city. The landscape design makes efforts to harmonize natural environments in the site, human activities and culture. Well-being park was aimed to lead healthy and energetic outdoor activities of local residents. Ecological park was aimed to enhance the ecological functions of the forests and restore the valley ecology. Culture park was aimed to capture the city identity by creating a place that contains all the variety of meanings of the City of Ichon.