• Journal of the Korean housing association
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• v.25 no.5
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• pp.83-91
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• 2014

The main purpose of this research is to understand how the problems, which existing letter-shape houses have, are solved in Unjoru which is one of the letter-shape houses. Furthermore, there is the secondary purpose which is to realize the architectural characteristics of Unjoru through the process from the composition of rooms and buildings to the method of structure and roof formation. This research was approached in terms of architectural design, and as the result, the problems of the existing letter-shape houses was resolved by literally converting the shape of outdoor space to 品-shape form. Moreover through the result, it was recognized that the 占-Shape plan was flexible in responding to the demand of the times, such as the order of precedency within men and women and each generation. In addition to the previous results, it was confirmed that the location of major rooms was also decided by considering the interrelationship with natural environment of surrounding area. Also, in the whole proportion of building's plan, each building, such as ㄷ-shape Anchae and big-sized and middle-sized Sarangchae having 丁-shape form, and major rooms in the each building have proportion system such as 1:1, 3:4, $1:\sqrt{2}$, and 3:5 as aesthetic numerical value. Finally, it was understood that the architectural intention had double-sided characters, one side was authority and dignity in the aspect of shape and another side was practicality in aspect of inner housing life.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.158-167
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• 2012

This research began by considering that, although architecture and architectural culture of the last two decades seem to have rediscovered ornament and some recent studies have reconsidered the ornamental issues of contemporary buildings, there is currently some difficulty in providing a synthetic investigation of this topic, because of the complex nature of the contemporary architectural situation. Following this premise, this research provides some reference points for further studies that will aim to expand the understanding, and attempt to classify and hypothesize the future of contemporary ornamental phenomena. Based on the assumption of the historical continuity of ornamental problems, and adopting the relation - both technical and aesthetic - between ornament and structure as one of the crucial issues to link past and present problems, the study firstly defines two categories and two sub-categories concerning the relation between ornament and structure, namely: a) ornament integral with the structure and b) ornament applied to the structure; a1) ornament visually expressing the structure and a2) ornament not visually expressing the structure. The study then reviews the historical development of ornament from ancient times to the present in the light of the above mentioned categories, and finally discusses the principles of traditional and modern ornament thus analyzed in relation to contemporary ornamental trends, as identified in selected case studies. Some common points between past and contemporary experiences are revealed in order to facilitate further investigations. In particular, the analysis shows a certain trend in contemporary architecture for a strong link between ornamental treatment and the structure of the building and a current tendency among contemporary designers to keep the exterior appearance of the building project separate from the design of the rest of the construction.

• Journal of architectural history
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• v.32 no.6
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• pp.77-88
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• 2023

This research focused on the regional and temporal attributes of tuff architecture in Mokpo, spanning the Japanese colonial period and the post-liberation era. It aimed to uncover the distinct regional and temporal features of tuff architecture by integrating concepts from vernacular architecture and regionalism, framed through a lens of critical regionalism. The study traced the historical progression of tuff architecture in Mokpo within this context. A significant part of the research was an in-depth analysis of four constructions by Son Yang-dong, a renowned technician in post-liberation Mokpo, to closely examine the contemporary relevance and regional significance of his work. Tuff, as an indigenous material, distinctly articulates the local architectural character. In line with regional properties of tuff, the material has adeptly responded to contemporary construction needs. This has laid a foundation for the development of innovative building designs and techniques. Tuff architecture is particularly noted for its exhibition of raw material textures, offering a unique aesthetic that diverges from classical Western architectural styles. Importantly, through the examination of Son Yang-dong's contributions, the study highlights the role of Korean builders in an industry dominated by Japanese influences during the colonial period, underscoring a strong regional identity. As a representation of Mokpo, tuff architecture not only upholds and protects regional identity within the broader scope of Western modernization and Japanese impacts but also plays a role in its progressive enhancement.

• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.294-309
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• 2015

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.85-102
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• 2002

The research has the aim of defining the special characteristics of the functionalist fashion design in the 20th century by understanding the essence of functionalism in the sociocultural contexts and studying functionalism in fashion design and architectural and product design by the comparative. Giving careful consideration to functionalist fashion design in the 20th century makes it possible to foresee the way of fashion design to meet the needs of the moderns and men of the future world. To obtain the purposes, documentary study and comparative study have been executed. Main results are as follows. Functionalism stressed in the beginning of the 20th century can be defined and categorized using three analogies, mechanical analogy of futuristic quality based on mechanical aesthetics and standardization by mass production, organic analogy in which the perfect beauty of nature is stressed on, moral analogy of fitness for purpose and absence of ornament based on integrity and sincerity. In while, functionalism in 1990s has been developed in different ways from those analogies. In comparative studies, functionalist fashion design and architectural and product design have the dissimilarity as well as the similarity of formative features. Since fashion design has much closer relation to human body and movements. it has been expressed considering a division of men and women and the places and times for the designs more than other designs.

• Korean Institute of Interior Design Journal
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• no.10
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• pp.34-49
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• 1997

Architectual environment in this study means a language and meaning complex which makes communication between human beings and environment possible. The purpose of this study is to propose a semiotic approach to analyze and examine meaning, as a semiotic system, and its effects, focusing on the generative meaning in the relationship between human beings and environment. For this purpose, it examines the academic status of modern semiotics in postmodernism and the possibility of its being metalanguatge for a study of a variety of cultural phenomena and desigv. It also provides two viewpoints as propositions for its analysis: it explains the necessity of environmental-discoursive attitude and social-semiotic viewpoint which understands environment as social-cultural reflectors. Finally, it provides framework and all the interpretative procedures for analysis of environmental meanings on the basis of the approach of semiotics of space. By applying the methods proposed this study to the case studies, it also proves validity of this approach and the potentialities of the application of semiotics. This study emphasizes not only denotative configuration of the architectural environment but also its connotative meanings. It maintains that designers, architects, and theorists should realize correctly today's changed value system and social and aesthetic paradigms. It also stresses the necessity of development of the new architectural language and meaning system.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.157-166
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• 2016

This study is intended to examine the various kinds of emptiness that are shown in the empty spaces created by Hyo-Sang Seung and Louis I. Kahn. Architecture creates the usefulness of a certain space thanks to its emptiness. The word, 'Emptiness' has the following meanings, 'non-fulfillment', 'non-existence', 'emptiness', 'blankness', 'non-visibility' and 'non-limitation', etc. Such concepts of emptiness can be broadly divided into 'ideological emptiness', 'aesthetic' and 'architectural spatial'. Comparisons regarding such concepts of emptiness as they are expressed in the architectural spaces created by Hyo-sang Seung and Louis I. Kahn shall be identified in this study. Hyo-sang Seung tried to leave numerous open possibilities which can contain everything into a certain space since 'emptiness' is not being used at this moment. Louis I. Kahn tried to contain into a space the essence and silence of that space before something that exists is created. The 'emptiness' created by Hyo-sang Seung and Louis I. Kahn is a specific space which can contain more kinds of non-visible spaces than some visible ones. Thus, such spaces may contain various potentials which are possible because they are empty, because of changes in nature and time, and because of silence and intentions going beyond an artist's original intent.

• Journal of architectural history
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• v.17 no.4
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• pp.83-95
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• 2008

This study was firstly to reflect upon the background of the generation and the urban spatial value and significance of the medieval plaza. The main aim of this study was to extract the spatial determinants which give the great influence on the formation of the medieval plaza and in addition the endogenous rules and aesthetical grounds regarding the respective elements. Especially they could be applied to the design guideline. They are dimension(volume and scale), shape, elevation as the morphological elements and enclosure, proportion, grade difference, spatial sequence and plaza group as the spatial determinants and visual sequence, visual or spatial boundary, approaching axis and perspective effect as the aesthetic and visual elements and function(use), human behaviour as the social-behavioral elements and otherwise, for instance, plaza furniture, ground decoration and vegetation. This study was intended to analyze each elements based on the classical historical literatures and to suggest the planning conditions for composing the ideal plaza referring to the cases and literature review on the medieval plaza and finally is expected to contribute to the plaza design methodology.

• Journal of Korean Association for Spatial Structures
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• v.17 no.4
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• pp.133-140
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• 2017

Recently, the interest in the smart buildings is increasing in the architecture field. Among them, a research of facade design using a transformable system that can adjust the effect of the external environment is in progress. One of a typical example of the deployable system is a Scissors system that can change shape by using the geometric conditions of a unit member. Scissors system is a high-tech structural system which can construct the deployable plan and curved space by using the SLE (Scissors-Like Element) consisted of two Bar and Pivot. If the facade is designed by applying Scissors system, it is possible to maximize the performance and aesthetic effect of the structure by using a shape change of the line member. This paper presents a study of deployable facade design applying hybrid-typed Scissors system. A new deployable pattern of facade design is developed by combining Angulated Scissors system and tessellation pattern. Applying the deployable pattern a double skin construction method which is to add an outer wall for design, it raises three dimensional effects and can maximize the artistic essence of the change in shape upon deployment.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1064-1075
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• 2008

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.