• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.

• Architectural research
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• v.15 no.2
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• pp.69-75
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• 2013

Within residential high-rise market there are many value determining factors. Site condition, view, program, units and structure are important parameters that are directly related to the financial aspect of the project. However, most of the studies of high-rise building design focus on the facade and the shape strategies from an esthetic point of view without considering these factors. The objective of this study is to investigate new design approach that incorporates site, program and structural information at an early stage as a generator of building form and explore a wide range of strategies to negotiate these factors in the process of design/decision making. Not being based on designer's subjective preference or style, architects still can create interesting building design through integration and negotiation of various building information. Since this form is based on real data, not just play of form, we can expect that this form has great potential to be developed into real one at the later design phase.

• Journal of Information Technology Applications and Management
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• v.10 no.1
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• pp.71-89
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• 2003

This paper firstly introduces a classification model for designing the architecture of backup centers in terms of business continuity management. We propose that the replication solution, the level of disaster recovery, and the outsourcing style as three important factors that help explain the architecture of backup centers. We provide the details of each factor of the model and apply them to the real world cases of backup centers in Korea. We conclude that the model is well fitted to many cases of currently available backup centers and can provide backup center architects with a well classified architecture model with specific guidelines.

• International conference on construction engineering and project management
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• 2017.10a
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• pp.167-175
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• 2017

Building Information Modeling (BIM) comes to be implemented into architectural design, construction, and maintenance in Japan in order to convert design information thoughout a construction project. However, various problems are taking place in data transaction. It is not also clear about the role and the responsibility of the architects and the enginners in charge.There is a movement to establish a BIM manager as a general coordinator concerning BIM in Singapore and other countries, though it is not yet popular in Japan. This paper deals a BIM manager as a new profession in a construction project. The function and skills necessary to a BIM manager is analyzed, and the strategy of Japanese general contractors is discussed. General contractors from Japan are operating BIM in Singapore compatible with open system of supply chain. This style is different from the one in Japan even they belong to the same company. In this paper it is analyzed based on the survey in detail.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.2
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• pp.1-14
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• 1998

The purpose of this study is to find out how the urban landscape of Korea, especially Seoul, changed during the last half century since 1945. The modernization of Korea, which had begun in 1960's after the chaotic period caused by Korean War, influenced the rapid growth of cities and the radical changes of its structures. But the Western-minded planning theories based on rationalism and positivism was directly applied in developing our traditional cities and consequently the modern urban landscape including urban pattern, architectural style, and commercial and residential landscape revealed disharmony, discrepancy and inconsistency in skylines, streetscape and so on. The findings are summarized as follows. 1. Because the urban structure and pattern changed in undesirable manner in terms of land use and traffic circulation, cities as a whole resulted in exclusive and heterogeneous landscape, and citizens lost their identity and felt alienated. 2. Because the architectural forms of important and monumental buildings which influenced the character of streetscape were not so successful in inventing contemporary Korean Style in true sense, we still have difficulty in creating the urban landscape of originality and legibility. 3. Because from the beginning of this era almost all highrise buildings were designed by modernism-oriented western architects, the commercial landscape of central cities did not evoke a sense of place, and after the introduction of postmodernism this tendency is ore striking even in everyday ordinary streetscape. 4. The newly formed residential landscape which was mainly composed of highly dense and highrise apartment, not only evolved very overwhelming and ugly visual impact but also exposed many social problems in living condition, neighboring and face-to-face contact. In conclusion, in ordr to define the 'Koreanness' of our urban landscape, we have to struggle to combine traditional architectural heritage and native townscape with Western shape, thought and theory, no matter how difficult it may be.

• KIEAE Journal
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• v.16 no.3
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• pp.13-23
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• 2016

Purpose: In this paper, based on the design drawings of Naju Agricultural Technology Learning Center by focusing on features of New-Hanok applied technology in the design and construction process of New-Hanok Type Public buildings by looking at the characteristics of the whole building is planned to be presented in the future development direction and value of public architecture applied to public buildings. Method: we first review the Phase 1 study results of technology development and application technology to look at the type and characteristics of the technologies applied in Naju Hanok Experience Agriculture Learning Center. As construction designs through the consultation suggestions reflect changes were seven times. By analyzing the changes in the basic design and conduct design in the process were organized for the new technologies applied and whether the application of existing technology hanok. Result: (1) Complements the shortcomings of technology and R & D to offer an alternative to the reinforcement was omitted modify the construction method or irrational process. (2) Implementation of a technique aiming to apply new-hanok workability and economic efficiency is based on a combination of the modern construction techniques and materials. (3) The use of modern materials to the extent that can assist in the purpose and function of the building are to be accommodated. (4) There is sufficient historical study and design plan for establishing identity is necessary in order to reflect the history and tradition of new-hanok public buildings.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.104-111
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• 2003

Most residential buildings in Korea are preferred to have maximum interior spaces, rather than consider its original design, overall building performance, and any other aspects since early 1990's. Especially in high-rise apartment buildings, balcony has been merged to living room to get more interior spaces and this renovation trends have been producing deep and narrow shapes of living rooms that was not initially intended by architects. On the other hand, the same gross area of each unit does not necessarily mean same width and depth ratio of each residential unit. Generally, we can categorize it to the deep or wide unit based on its width and depth ratio. Under these circumstances, this study analyzes the room usage pattern changes based on the space width and depth ratio and the effect of expansion of room space to the balcony. This study also includes about 180 apartments plan case studies to find out the relationships among w/d ratio changes, furniture arrangement types, and room configurations. In this research, general apartment room w/d ratios are 0.97 ∼ 1.23; 0.7(south facing sitting room), 1.23(south facing bed room), and 0.95(north facing bedroom). But, after expanding room space to balcony w/d ratio increased as follows; sitting room become 1.31, general south facing bedroom become 1.23, and north facing bedroom become 1.45. In addition to user preference of w/d ratio, many people prefer rectangular room shape a little(w/d ratio is 0.9 or 1.2) than square style (w/d ratio is 1.0) or very deep room style (w/d ratio Is more over 1.5). Accordingly, expanding the room space to balcony may make unsatisfactory room w/d ratio. Expanding room space to balcony should be considered by existing room w/d ratio.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.12-26
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• 2021

The purpose of this research is to analyze the influence and legacy of Le Corbusier, who has been neglected in the past discourse of landscape architecture, on the formation of modernism in landscape architecture. The research examined the relationship between Le Corbusier's ideas and practices and modern landscape architecture in three parts. The first part analyzed chronologically the relationship between architecture and landscape in Le Corbusier's theories and practices. The evaluations and criticisms of Le Corbusier's landscape practices were also examined. The second part analyzed the relationship between Le Corbusier and European Modernism in landscape architecture and his influence on European modern landscape architects focusing on Vera, Lurcat, and Canneel-Claes. The third part looked into Le Corbusier's influence on American and British modern landscape architects including Tunnard, Chruch, Rose, Eckbo, and Kiley. The result of the research showed Le Corbusier's works and theories heavily influenced important landscape architects in Europe and America, who played key roles in forming Modernism in landscape architecture. Rather than introducing Le Corbusier's Modernism theory into the discourse of landscape architecture without questioning, modern landscape architects accepted his theory and practice of Modernism selectively with praise as well as criticism. Canneel-Claes, Turnnad, and Eckbo were the pioneers who tried to establish the basis of Modernism in landscape architecture by positively accepting Le Corubiser's thoughts on Modernism; whereas, Steel and Rose criticized Le Corubiser's attitude on landscape architecture. Church and Kiely were indirectly influenced by Le Corbusier in forming their Modernism style.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Korean Architects
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• s.539
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• pp.70-75
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• 2014

This study strives to seek the background in Ho-Seo Bank(HQ)'s foundation and its urban meaning. First, the thesis intends to understand the autonomous characteristics of Ho-Seo Bank which had been supported by Korean capitalists(landowners and merchants), keeping their pure capitals acquired by regular traditional marketplaces and farming works around Yesan. Second, through quantification data, it deals with reasons that the Ho-Seo Bank have been situated on a triangular corner that meets three roads toward a main thoroughfare toward Gongju to Hongseong, a railroad station, and a downtown area(Honmachi(本町通)) each. Third, it discusses the subsequent changes of Yesan's urban landscape that resulted from the Ho-Seo Bank's foundation(1913). In other words, thanks to a newly founded Ho-Seo Bank's headquarter(1922) and partly opening of a railway(Gyeongnam, 1922), Yesan became more advanced constructing both a political venue for a military police, a county office, et cetera, and then an educational place for schools. In conclusion, such urban phenomena shows there would be a dual combination between Korean people(aboriginal landowners and intellectuals) in autonomous efforts and Japanese officials in heteronomous controls. This thesis further contends that Ho-Seo Bank architecture itself reflects their status in the locality, who envisioned a 'cultural equality,' competing with Japanese aggressors, and its firm and massive form shows a new building type of bank architecture, literally representing the safeness and firmness, so differentiated from other buildings with the 'Secession' style in colonial areas under the control of the world powers.