• 건축역사연구
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• 제19권5호
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• pp.65-80
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• 2010

The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history.

• 한국주거학회논문집
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• 제15권5호
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• pp.21-32
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• 2004

The purpose of this study is to interpret Gaudi's philosophy of architecture through an analysis of the design characteristics in his remodeling of Casa Battlo. A review of the literature related to Casa Battlo as well as a field study in Barcelona to see the building were made for this study. The conclusions were as follows; Casa Battle is one of the best examples of Gaudi's attempts at creating a surreal atmosphere and should be evaluated in light of the following considerations: 1) Casa Battle as a remodeled house presented its own restrictions to Gaudi that he overcame by introducing characteristic design elements into the remodeling process; 2) the achievement, a perfect sculpture expressing continuity through a gorgeous colour scheme using different materials and design motifs with a dynamic spiral shape, originated from Gaudi's observations of nature and his experiences working in modeling studios; 3) a visualized embodiment of Gaudi's naturalism and functionalism through the impression of perpetual movement and continuity as formative symbols of genesis, life, death, and transmigration of the soul, originated from Gaudi's personal experiences of the early deaths of several close family members; 4) the design is meant to show the same processes of creation used by nature rather than a mere imitation of nature. Gaudi was not only a person dedicated obsessively to his profession as an architect, but also a rationalist fundamentally in the way he operated. It was expected that this study could be employed as a small stimulus to challenge the paradigm of housing remodeling projects -a hot issue in today's Korea- especially in their philosophical aspect.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.82-89
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• 2004

Today, people are bombarded with information, high-technology and multimedia. With that in mind, museum can no longer attract visitor with traditional concept, so it must find some solution or stimulation to attract their attention back. New museum is becoming a experimental space for new culture, new education, and most of all a place to fulfill one's satisfaction of life. Over the past centuries, Guggenheim Foundation has done a great job in providing place for art and place to get emotional stimulation. Out of all of their museums, Frank L. Wright's Solomon R. Guggenheim in New York and frank O. Gehry's Guggenheim Museum in Bilbao had most unique character yet share similar feature to be recognized as the architectural landmark of the 20th & 21st century Although there are close to 50 years of gap between two museums, their unique, attractive, site-specific, emotional value comes from the two most innovative architect of the past and present century. For Wright the Guggenheim was his last project but it had one of the greatest impact on his career and for Gehry the museum gave him confidence that anything is possible. This study will focus on the spatial organization as well as the architectural formation of both museum to compare and analyze. The goal of the research is to give fundamental data which will reveal emotional elements as well as concepts from each work. The content of this research will mainly focused on their architectural philosophy and it will reveal their concept on human emotion as well as the characteristics of the spatial organization. The result of the study will be a valuable reference for people designing art & cultural facilities in the future.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.223-229
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• 2004

The investment scale of design project has been increased rapidly following the recent social and economical demand. The demand of user has been changed variously together with social background like the increase of interest for the high level information oriented society and environment. In addition, it is necessary for the experts like coordinator, architect, color expert, and light designer to collaborate in the interior design process. The expertise diverse areas should be related closely and collaboratively for the smooth processing. It is necessary for the design environment to be changed in order to exchange the information effectively within the proposed period by the variety fields' experts. It is a collaborative design in the design studio that the multi-members collect the related data, suggest the idea, and discuss closely, which makes a decision for the new design concept and design plan in the fixed time. It is necessary to make a new kind of communication media concept in the design process, where the multi-members participate, and the collaborative design is processed in physically simultaneous space or in the far distance such as it is done above. In this paper, it is investigated for the communication for the design and creative behavior to explain the collaborative work in the process of design. The characteristics of collaborative design and demand design environment are summarized in the background of this kind of the creative behavior concept. Especially, the communication media for increasing the process effectiveness is explained and the concept for the development of web based collaborative design system is summarized.

• Asian Pacific Journal of Cancer Prevention
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• 제16권4호
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• pp.1587-1590
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• 2015

Background: Chronic lymphoid leukemia (CLL) is the most frequent type of adult leukemia. The Rai and Binet staging systems have been well recognized as standards for assessing the treatment requirements and overall survival in CLL patients. However, there is a need to seek newer prognostic markers to identify stable or progressive forms of CLL that will facilitate risk-adapted treatment strategies. Currently a molecular biomarker ZAP-70 has attracted interest as providing prognostic information in CLL patients. Objective: To determine the frequency of ZAP-70 positivity in B-CLL patients at disease presentation. Materials and Methods: From January 2011 to September 2014, 89 patients were diagnosed to have chronic lymphoid leukemia. Complete blood count was done on an automated analyzer (Cell Dyne, Abott Architect, USA), while immunophenotyping was conducted for each patient to establish the diagnosis of the disease. ZAP-70 expression was evaluated by flow cytometry. Data were compiled and analyzed by SPSS version 21. Results: Out of the total of 89 B-CLL patients, 62 (69.7%) were male and 27 (30.3%) were females with a male to female ratio of 2:1. The mean age was $57.5{\pm}12.1years$. The frequency of ZAP-70 positivity in our B-CLL patients was found to be 13.5%. ZAP-70 positivity was significantly correlated with stage III disease and high absolute lymphocytic count (P<0.05). No correlation of ZAP-70 could be established with age and gender (p>0.05). Conclusions: The frequency of ZAP-70 in our patients appears low. It is approximately half that in international data. We would recommend to screen all the newly diagnosed patients with CLL for ZAP-70 protein expression for risk stratification, family counseling and to predict overall survival.

• 미술이론과 현장
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• 제14호
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• pp.159-186
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• 2012

Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

• 한국건축시공학회지
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• 제16권5호
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• pp.447-453
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• 2016

건축사법 개정을 통하여 설계-감리 분리 제도의 범위를 확대 시행하기로 하였다. 개정된 법은 허가권자가 감리자를 지정 설계 참여자는 배제한다는 내용이다. 본 연구는 선행연구를 조사 감리제도의 현황을 분석, 전문가의 인터뷰를 통해서 도출 된 문제점을 바탕으로 설문지를 작성하여 실무자들을 대상으로 설계-감리분리제도의 현황과 문제점을 조사 후 앞서 조사한 선행연구, 감리제도의 현황을 토대로 개선방안을 도출하였다. 첫째 관계자들 사이의 업무 범위에 관한 가이드라인 마련, 둘째 감리업무의 적정 감리비 대가 보장이 필요하다. 향후 감리대가의 적절한 산정방식과 감리원의 능력향상을 위한 교육시스템 구축과 설계-분리제도의 가이드라인에 대한 연구가 필요하다.

• 한국건설관리학회논문집
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• 제5권3호
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• pp.71-78
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• 2004

In conventional method of supporting soil shuttering wall during excavation a system of struts and wales to provide cross-lot bracing is common in trench excavations and other excavations of limited width. This method, however, becomes difficult and costly to be adopted for large excavations since heavily braced structural systems are required. Another expensive and unsafe situations are expected when temporary struts must be removed for the construction of underground structures. This paper introduces innovative strut systems which can be used as permanent underground structures after its role as brace system to resist earth pressure during excavation phase. Underground structural system suggested from architect is checked against the soil lated pressures before the analysis of stresses developed from gravity loads. In this technology, named SPS(Struts as Permanent System), retaining wall is installed first and excavation proceeds until the first level of bracing is reached. Braces used as struts during excavation will serve as permanent girders when buildings are in operation. Simultaneous construction of underground and superstructure can proceeds when excavation ends with the last level of braces being installed. In this paper, construction sequence and the calculation concept are explained in detail with some photo illustrations. SPS technology was applied to three selected buildings. One of them was completed and two others are being constructed Many sensors were installed to monitor the behavior of retaining wall, braces as column in terms of stress change and displacement. Adjacent ground movement was also obtained. These projects demonstrate that SPS technology contributes to the speed as well as the economy involved in construction.

• 한국실내디자인학회논문집
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• 제18권4호
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• pp.31-42
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• 2009

Though Adolf Loos, an architect of 1920s said 'ornament is sin', feature of decoration has big gravity in modern architecture & its design trend. Embellishment as a new genre that combined new cultures, trends, and technologies is finally ascribing to skin design approach. For instance it is preference to rags, coarse fabric, external shape of fragments. Expressing surface as a ceremony in architecture or indoor design is also belong to the same category. In this respect, as a new approach on skin, the study focuses on visual and spatial changes that stimulate user's sensibilities consequently since skin design is based on human senses and sensibilities. As skin design expands the scope of human experiences comprehensively, and classify boundaries between internal parts and external parts or make them ambiguous, aesthetic embodiment on new trends is getting done. Through skins on buildings, a message is transmitted to a whole city, an opportunity for the city to be expanded into a new space is created, and human senses are stimulated through refusing a traditional sides by rediscovering decorations in space design and adapting the sides made in limitlessly-expressed styles. Thus, as a new approach on the skins that transmit a message through human senses, the study is to contemplate skin design, and to interpret them as works to eliminate boundaries among architecture, fashion, interior/exterior space design(especially exhibition and international fair)following their suits. Through interpreting this subject, the study is to understand and analyze comtemporary expansion situation on interactions among fashion and architecture, and interior design.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.