• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.10
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• pp.41-52
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• 2019

The purpose of this study was to analyze the historical development of high-rise buildings-promoting policies in Seoul in terms of modern urban redevelopment. The results of this study were as follows; The maximum height of the buildings has been limited by National codes since 1934. But at the same time, Seoul Metropolitan government had limited the minimum building floors of roadside buildings through local regulations after the Korean War. The high-rise city had been regarded as a means of beautifying Seoul for a long time. However since the 2000s, the minimum height limit for buildings was removed from local regulations and the concept of high-rise restrictions was no longer significant as before.

• Journal of architectural history
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• v.29 no.6
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• pp.7-18
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• 2020

The domestic of modern architectural remodeling method emphasizes simple aesthetic elements, and the correct design and construction methods are not established based on quantitative grounds, thus damaging the value of cultural properties. This study attempts to re-examine the value of modern buildings recognized as old buildings. It is a basic step to present the correct remodeling of the building. The design criteria for exterior wall remodeling of modern buildings were presented. These research results are suitable for energy conservation design standards and can prevent defects in buildings. In the future, more accurate analysis will be required by securing physical property values for various domestic materials through subsequent research.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.29-39
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• 2013

Architecture has been expressed a complexity of their civilization with evolving into a living spaces and a crystalloid of culture in the times. So, architecture is always a dramatic phenomenon related to architectural aesthetic and technical expression in harmony with social and cultural issues by the times. From this point of view, we can describe that architecture is one of an important mediators to analyze the integrated trend of time. Specially an expressed building envelop which is a matter of consequence in the architectural component is first visual factor including architectural meaning and historical back ground. Therefore, this study firstly starts an investment for discriminative characteristics of building envelop design in the times, then will take the comparative analysis related with modern age and contemporary age based on phases of the times. This research will give the chance to prepare of the pillar of future envelop design in the practical affairs and has simultaneously the chance to understand of inclusive envelop design methodology by the changes of the times.

• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.3-9
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• 2011

In this study, the change of critical elements of the design evaluation was investigated during two decades at the architectural competition which was held nationwide in Germany. Specifically, the periods of investigation span both from July 1989 to June 1990 and from July 2009 to June 2010. The results of the analysis show that the cost of construction, the maintenance cost, the design of facade and the energy conservation are being magnified for the new important elements. The images of buildings and the economic aspects are meant to be high. The frequency of the critical elements for interior spaces is approximately two times more important than those for the forms and outdoor spaces. Overall, many juries of the architectural competition in Germany were interested in the elements for interior spaces. The field of function accounts for roughly the half of four basic architectural fields such as function, others, aesthetic and construction fields. The critical elements are required persistently such as context, Circulation, organization of space, form, landscape and outdoor space design, arrangement of building, cost of construction, function, design of facade, location of main entrance. These items are regarded as the most important elements of the design evaluation at the competition. Knowing the change of critical elements of the design evaluation, we can understand the trend of architecture in Germany. The results of this study can be applied in Korea to develop the critical elements of design.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.89-106
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• 1998

This essay addresses the role of environmental aesthetics in landscape architecture : how can environmental aesthetics enrich landscape architectural theory and practice\ulcorner It begins by criticizing the predominant notions toward theory : theory as an instrumental design method, theoretical vacuum in modernism of landscape architecture, and the intimate relation of theory and practice in 18th-century England. It suggests that the expulsion of theory in landscape architectural academics and profession is nothing but an inappropriate bias. In the second place, the essay explores a remaining question : why environmental aesthetics is a part of landscape architectural theory\ulcorner I would argue that environmental aesthetics can transcend the man-nature(subject-object) dichotomy, one of heritages of Western modernity project. Here, landscape architecture meets environmental aesthetics, and both can intermediate between theory and practice. For landscape architecture is (and ought to be) a device of embodied communication, creating symbolic settings wherein an interconnection of man and nature can occur. Finally, this essay examines the aesthetics of engagement that Arnold Berleant claimed recently. This theory of aesthetic experience has a possibility of making corrections some improper conventions in landscape architectural creation and appreciation : disinterested contemplation, visual-orientedness, decoration-denteredness, and so forth. I would conclude that environmental aesthetics can be a significant theory which can correct misconceptions in landscape design and appreciation and, further, can lead contemporary practice. As the great mediator between man and nature, between theory and practice, environmental aesthetics has a profound role to play in the realm of landscape architecture, and vice versa.

• International conference on construction engineering and project management
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• 2015.10a
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• pp.602-603
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• 2015

Despite all efforts to reduce construction disaster, construction site accident rate has steadily increased in Korea since 2008. As a different approach from traditional research, there is a growing issue about design for safety concept to prevent construction disaster. The notion is that construction worker's safety need to be considered at design phase, not only at construction phase. Globally, the notion has been noted that to improve the safety of the worker and used in practice. However, in Korea, most of safety management guidelines are limited to construction phase. From recent statistics, only 1.4 percent of designer feel responsible for safety accident at construction site. In this circumstance, this research find out safety guidelines through literatures reviews and practical experience of safety management in other country which apply design for safety concept. Selected guidelines are verified by survey which is evaluated with risk, function, cost, time and aesthetic view categories. Through the survey, define guidelines which could be effectively applied in Korea. By using proposed safety guidelines for design phase, preventing construction accident and improving designer's recognition of safety issue at design phase are expected.

• Journal of architectural history
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• v.19 no.2
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• pp.67-83
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• 2010

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is "Man the Player" as well as "Man the Thinker", of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjo Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.13-23
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• 2004

To date, Italian fashion rans the top even its rise is far behind Paris and New York. The purpose of this study is to analyze and compare the aesthetic characteristics of the italian fashion through two representative designers who contributed to italian fashion. Italy had unique industrial system and craftsmanship from the history and sense of the beauty and the uniqueness from the culture. After the World War II, Italy started to produce elegant sportswears influenced by the progressive manufacturing techniques and practical culture of America. Italian fashion of 'easy elegance' is spearheaded by Vesace and Armani. The aesthetic characteristics of Italian fashion which are shown in the artworks of them are as follows. First, the characteristics of Versace dated from southern sensibility are sensualism, expressionism, historicism. 1) Sensualism: tight silhouette, overexposure, glamorous form, brilliant color, fabric showing femininity, gaudy accessaries 2) Expressionism: brilliant print and color, trimmings and accessaries 3) Historicism: form and motifs that are shown in the historical costume Second, the characteristics of Armani succeeded from northern tailoring are purism, functionalism, and multi-culturism. 1) Purism: clean lines, architectural and geometric forms, natural body line, neutral tones, luxurious fabric 2) Functionalism: functional form, neutral tone, natural fabrics 3) Multi-culturism: design and motif inferred from ethnic costume As such. competition between two different groups made it possible that Italian fashion occupies a special place in the international fashion system.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.