• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.5
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• pp.3-10
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• 2018

The purpose of this study is to estimate the attractiveness value according to the preference level on architectural aesthetic. This research starts from the concept that aesthetic is phenomenon and from the viewpoint of 'attraction value' which affects goods. Interactive internet surveys were conducted for 500 citizens of Seoul metropolitan city who are potential users of the Nodle Islet Cultural Center. Based on the scenarios and questionnaires with fuzzy models, we have examined the evaluation of architectural aesthetic and monetary willing-to-payment, and estimated the economic value by preference level of architectural aesthetic through linear regression analysis. The main results of the study are as follows: First, the economic value of the Nodle Islet Cultural Center was estimated at ?15,683.43/person. Residents of Seoul metropolitan city were willing to accept the increase in the above-mentioned amount of the facility fares when their preferred works (average 86.81 points) were constructed. (P <0/05) Second, it is confirmed that the economic value increases dramatically as the preference level of architectural aesthetic increases. Third, it is presumed that the infinite valuation of architectural aesthetic and the problem of free riding coexist in the estimation of economic valuation of architectural aesthetic for public buildings. Fourth, by mixing the fuzzy logic with contingent valuation method, starting point bias and no response biases that happened in contingent valuation could be disappeared. bias elimination must be considered seriously because another bias could be happened in full process of the research. The results of this study will serve as a basis for spreading architectural aesthetic value-oriented research from the vague and obscure aesthetic-centered discussion on the existing architectural aesthetic. In addition, it will be an opportunity to draw institutional application and utilization strategy of architectural aesthetic through architectural aesthetic value research.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.13-20
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• 2020

The purpose of this study is to analyze the fuzzy pattern that is reflected on the inside of the value evaluator in measuring the economic value of architectural aesthetic using the fuzzy-contingent valuation method. The main results of analyzing the relationship between architectural aesthetic and fuzzy patterns by typing 307 fuzzy patterns collected from visitors at Dongdaemun Design Plaza are as follows: First, low levels of architectural aesthetic can be a primary cause of extreme refusal of payment. However, it was confirmed that the extreme refusal of payment could partially involve mentality of free-ride on public goods or mentality that would not give value to past events that are not future. Second, if the architectural aesthetic score is 77.5, the most perfect form of fuzzy pattern is formed. It is confirmed that the fuzzy form, which is the standard in the relationship between architectural aesthetic and money value, is made at 77.5 points. This means that it is most efficient to have 77.5 points of architectural aesthetic to secure balanced data by membership in the study of architectural aesthetic value measurement through fuzzy pattern. Third, according to the architectural aesthetic score, respondents can be interpreted as follows: no monetary willingness arises before or after 52.4, starts to respond to the amount before and after 65.6, severe conflict over payments around 70.6~71.7, stronger willingness to pay around 77.6, want to pay for sure around 80.0.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.11-18
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• 2018

The beauty is like the bubble of beer, and behavior scholars have been regarded as worthless to study. As a result, the aesthetic in construction projects has resulted in underestimation or neglect. The fundamental cause of this result is that it is not easy to estimate the value of the aesthetic. The hedonic calculus by Bentham has a possibility to valuating the intangible or invisible goods. In this context, this study proposes a method to valuate architectural aesthetic based on the hedonic calculus by Bentham. As a precondition for suggesting the valuation method, this study defined the architectural aesthetic as the value of attraction that affects the value of the built environment. As the concept of beauty that conforms to the architectural aesthetic, it has established the concept of beauty as 'the phenomenon of combining the foreground and background of Hartmann'. In addition, the scope of the value measurement is defined as 'built environment' so as to include not only the building but also the surrounding environment. We have reinterpreted the seven dimension of the hedonic calculus proposed by Bentham and systematized the method of valuation of the architectural esthetic based on the seven dimension. The result of this study is meaningful in that it presents a new perspective and approach to architectural aesthetic. And it will be used as grounds for valuation and analytical approach to architectural aesthetic and will be used as a basis for expanding the field of study from aesthetic to value.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.2
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• pp.25-32
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• 2020

The purpose of this study is to estimate the economic value of architectural aesthetic using the contingent valuation method and to analyze the value-giving characteristics. The site survey was conducted based on the scenario of Dong-daemun Design Plaza, which is recognized as a work of outstanding architectural aesthetic. Based on 307 opinions collected, the main results are as follows: First, it could be confirmed that the higher the level of architectural aesthetic, the higher the payment amount was. The result of estimating the value of the architectural aesthetic on the basis of the fixed amount levy showed that the average payment amount was 8,859 won per person. The average payment amount was 13,014 won per person when the rejector of payment was excluded. The value of architectural aesthetic was about 13.72% of total construction cost. Second, free riding, which occurs mainly in the measurement of the value of public goods or environmental goods, appeared. This tendency is stronger in the elderly than in the younger, and in the differential amount levy than in the fixed amount levy. Third, the extreme subjectivity of architectural aesthetic value could be confirmed. While there are a lot of extreme denials of payments such as 0 won, the high-income was willing to pay a substantial amount. Fourth, it was confirmed that income factors was partly involved in the measured value.

• Architectural research
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• v.13 no.4
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• pp.19-30
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• 2011

This investigation, based on empirical research, examined the role of complexity and order in the aesthetic experience of architectural forms. The basic assumption of this study was that perception in architectural form is a process of interpreting a pattern in a reductive way. Thus, perceptual arousal is not determined by the absolute complexity of a configuration. Rather, the actual perceived complexity is a function of the organization of the system (order). In addition, complexity and order were defined and categorized into four variables according to their significant characteristics; simple order, complex order, random complexity, and lawful complexity. The series of experiments confirmed that there is a point on the psychological complexity dimension which is optimal. By demonstrating that consensual and individual aesthetic preference can be measured to have a unimodal function of relationship with complexity, the results of the experiments indicated that complexity and orderliness are effective design factors for enhancing aesthetics of a building facade. This investigation offered a conceptual framework that relates the physical (architectural form) and psychological factors (complexity and order) operating in the aesthetic experience of building facades.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.114-120
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• 1999

The study on architecture can be started with the aesthetic attitude which cognizes it as the art of the space. Architectural space as the subject of the aesthetical study, however, has been ignored such a long period though it should be centered of the whole architectural theory. Even it has not been dealt with independently but just only as a part of aesthetic or artistic field. Also it is true that academic approach to the architectural space as per the aesthetic cognition has not been done so satisfactorily. This study, therefore, aims at prescribing compositional scope from aesthetic cognition of architecture understanding the rational function, mechanic structure, and artistic beauty by man's subject standard of judgement as per the space, the special sphere of architecture. For the absolves, the architectural space in this study is not approached as the spatial art with the meaning of being included the arts general, but with the meaning of intrinsic peculiarity of architecture, based both in practicality of scientific concept and arts of the aesthetic notiov. In order words, the essence of architecture can be prescribed as the architectural realities as the functional, formal and symbolical space not simply the spatial art, and its real but aesthetic meaning can be cognized aesthetically.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.22-28
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• 1998

The purpose of this study is to analyze the architectural space of modern and contemporary architecture which has been changed by the aesthetic cognition on space. The intention of considering architectural space aesthetically is to convert the viewpoint of seeing space as simple physical structure into different viewpoint of regarding 'space' as 'cultural place' However this does not means to apply aesthetic theory to architectural space. The aesthetic cognition on space is one of the main subjects of the expression of art from ancient to today however the appearance of space concept as architectural aesthetics accelerated by G. Semper theory after the latter half of 19th century. On the standpoint of perpetuity in architecture the aesthetics of scientific rationalism in modernism based on the reasonable thinking regards the variety of inherent characteristic in architectural space as 'Transferential Space'. On the other hand, in regarding to architectural trend, the nature in architectural space has been considered as 'Existential Space' starting from the conscious construction of environments to help human existence in the existentialism. The Conclusion logic of follows as belows; first, the concept of space structure in architecture has been exchanged from Enclosed Space to Topological Space. Second, the concept of architectural space has been changed and developed to the Deterministic, Profound, Dissipative, and Recognizable Space according to the change of expression in architecture.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.103-142
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• 2005

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.51-58
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• 2012

The purpose of this study is to present the cognition of speculative aesthetics in the architectural space. Architectural space as the subject of the aesthetical study has been ignored such a long period though it should be centered of the whole architectural theory. Even it has not been dealt with independently but just only as a part of aesthetic or artistic field. Also it is also true that academic approach to the architectural space as per the aesthetic recognition has not been done so satisfactorily. The transcendental subjectivity as the aesthetic cognitive viewpoint of the architectural space means speculative aesthetics and the understands the essential meaning of the function and composition The conclusions of this study are as follows : The formalistic cognitive concepts including organic functional space between the whole and the part and anti-cubic synchronous space are included in the architecture of the speculative cognition, and finally the contextual cognitive concepts including the restoring analogical space of the in-depth constituent factors and associated centripetal spaces.

• Journal of architectural history
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• v.17 no.5
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• pp.55-69
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• 2008

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.