• 한국주거학회:학술대회논문집
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• 한국주거학회 2002년도 추계학술발표대회
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• pp.85-88
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• 2002

Architectural space consists of the interior and the exterior. The layout and form of architectural space has a great variety of characters by region and culture. In other words, it can be understood which has a priority between the interior and the exterior in developing the layout and the form of architectural space. Belonging to the culture area of Chinese characters with Korea, Japan has maintained its own identity. It has an identity in the layout and form of architectural space as well. Therefore, the architecture and architectural theories of the two countries were compared and analyzed with priority given to the traditional architecture extending to the contemporary architecture, also the backgrounds of architecture and architectural theories of two countries were examined in this study. This study shows that each country has different characters in how to introduce nature, how to expand space and how to compose windows, including the view of nature and the cult of space. As a result, the space in Korean architecture has relatively the exterior-oriented character but in Japan architecture spatial character is interior-oriented. The interior-oriented character can be relevant to the word ‘reduction’ and the exterior-oriented character to ‘extension’ after all. Also it can be thought that each character has a great relation with climate and idea of people in power

• 건축역사연구
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• 제7권2호
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• pp.9-27
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• 1998

It could be said that the Kyongbok Palace, the main palace of the Chosun Dynasty which built in the early years of the Dynasty, had two main architectural characters. One ; the entire building complex was arranged under the influence of ancient Chinese building principle based on the Confucian ideas. Two ; building compositions and shape of each buildings were succeeded from the palace of the former Koryo Dynasty, especially on the latter periods of it. The architecture of the Kyongbok Palace had formed its own uniqueness by developing these two characters.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.3-10
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• 2008

This study is concerned with the process of development and architectural characteristics of secular stained glass in the 20th century. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. Stained glass work is very flourish in Korea today, but it is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass. In order to recover the architectural nature of stained glass, I have considered the process of development of secular stained glass in the 20th century, and analysed the works of Frank Lloyd Wright, the postwar German artists, Georg Meistermann, Ludwig Schaffrath, Johannes Schreiter, and English artist, Brian Clarke. Major findings of the study are as followings : First, stained glass has come to life again from the secular glass painting decoration in the end of the 19th century, through Art-Nouveau, De Stil, Bauhaus in the beginning of the 20th century, and L'Art $Sacr\acute{e}$. Second, Frank Lloyd Wright, the postwar German artists and Brian Clarke have established the architectural concept and potentiality of the modem stained glass in the secular field. Third, They have done by coming back to the basic creative method by traditional lead-came technique in spite of the development of various materials and techniques. Forth, stained glass fundamentally has architectural characteristics as the characters of Space, Time, Place, Context, and they have showed the new possibility of stained glass by recovery of these characters.

• 교육시설 논문지
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• 제19권1호
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• pp.25-35
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• 2012

The function and the role of school are changing according to various future-oriented education models such as open-ended learning cycle, community learning center, re-schooling, network system and de-schooling, which reflect recent social demands related to discussions on sustainability, low birth rate and ageing. what changes to our school buildings have been there? This study is aimed that shows the architectural change of school buildings and environments in 2000's. It reveals the architectural tendancy through some school buildings, 'the excellent facility school award' winner which Ministry of Education, Science and Technology have chosen annually since 1998. In the past decade, it is outstanding change that mass composition, window patterns and exterior wall materials are diversified greatly. The most of them have a opened main hall and multi-purpose spaces which give effective educational environment to students. Although visual changes are outstanding, we still need qualitative educational space program and improved school building design according to future-educational demands.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.209-216
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• 2010

The purpose of this study is to know the important design element for a public library, after analyzing design concept and organization of space of the prize winner at the architectural competition. To carry out the research, the best 31 works between the year of 2005 and 2010 were collected by the architectural magazine A&C published in every other month. During the research, special characters of each prize winner have been analyzed in the aspect of the design concept and the organization of space. While working on the design concept, a factor that created such concept was successfully figured out, and studying on the organization of space enabled us to know the special characters of the interior space. According to the result of the analysis in this study, the design elements which are selected highly frequent are ordered as follows; (1)organization of space, (2)function & shape, (3)circulation, (4)landscape, (5)symbolic aspect. Through the analysis for the organization of space, I reach a conclusion, the frequent type is a "PM-ES-CJ". The study is anticipated to be helpful in understanding the trends in the field of designing a public library, and it is also likely for an architect to use it as a reference.

• 한국실내디자인학회논문집
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• 제25권4호
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• 한국주거학회논문집
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• 제16권6호
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• pp.101-109
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• 2005

As a circumstantial-existance character (the human character who takes action after grasping circumstances and fears things with reason) the Japanese were more interested in the active doctrines of Wang Yang-ming than other speculative studies. All of people were inhumanely incorporated into the rigorous class system under pressure in the samurai society. In the atmosphere of the society a natural phenomenon was understood as the ksana of change, and instead of the whole, the part was mainly described with emphasis on the reality. Therefore nature came near to the man after being reduced and then was symbolized in the Interior space. Also the classification of spaces, that is to say, the settlement of borders by the social position was shown in the great interior space like a labyrinth. As a self-existance character(the human style who carves out for and does not have a regard other's feeling), however, the Korean were much influenced by the Taoist Idea as they tried to be similar to nature in nature itself. Therefore the idea of Asaniskrota was in their origin. There was a tendency for space to be extended toward the outdoor in Korea, since the Korean people who are speculative and like to be natural tried to be close to nature. Therefore the division of spaces according to class and sexuality and the settlement of borders were already shown in outside by Che-Na-Num(Divided-Mass:Koren's own style). These are closely related with that houses were built after a village settle down in Korea while built before a village settle down in Japan. Architectural space consists of the interior and the exterior. The layout and (on of architectural space has a great variety of characters by region and culture. In other words, it can be understood which has a priority between the interior and the exterior in developing the layout and the form of architectural space. Belonging to the culture area of Chinese characters with Korea, Japan has maintained its own Identity. It has an identity in the layout and form of architectural space as well. Therefore, the architecture and architectural theories of the two countries were compared and analyzed with priority given to the traditional architecture, also the backgrounds of architecture and architectural theories of two countries were examined in this study. This study shows that each country has different characters in how to introduce nature, how to expand space and how to compose windows, including the view of nature and the cult of space. As a result, the space in Korean architecture has relatively the exterior-oriented character but in Japan architecture spatial character is interior-oriented. The interior-oriented character can be relevant to the word 'reduction' and the exterior-oriented character to 'extension' after all. Also it can be thought that each character has a great relation with climate and idea of people in power.

• 건축역사연구
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• 제25권5호
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• pp.15-25
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• 2016

The color that painted on the ground of Dancheong becomes Gachil(basecoat)-Dancheong and underpainting of Moro-Dancheong or Geum-Dancheong. So, the color of underpainting is the most important element that determines impression of the building. Thus, the architecture after using "Sangrokhadan" has different characters from what it had been. In the existing perception toward the background color of Dancheong, it was considered the characters of Korean Dancheong so-called "Sangrokhadan" that paint vertical elements like columns red and upper part of the columns green. But this study examined the color of Dancheong according to the era and region before and after Goryeo Dynasty era, then it reveals that Sangrokhadan technique was applied from the 14th century in the late Goryeo Dynasty. One of the Goryeo architecture, Geungnakjeon Hall of Bongjeongsa Temple is thought to be a previous style that is not applied "Sangrokhadan" technique because old elements are painted red pigment.

• 복식
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• 제25권
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• pp.215-231
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• 1995

Semiotics is an external expression for show-ing internal meaning, and the signs express the internal meaning. The architects and the designers are very similar each other in using semiotics for expressing their desires. Histori-cally, the design similarity exists between the architecture and the fashion. In this study, the fashion designs are interpreted by using semiotics of architectural design, especially emphasizing external expression methods for representing internal desires. To express the human body's character-istics, the volume, weight support, structural simplicity, controllability and beauty of fashion were used for the fashion designs, and those characters could be found at the architec-tural patterns. Balenciaga's fashion emphasized the volume, the weigh support, the structural simplicity and the controllability, while Roberto Capucci rejected the approach of using women's body curves, but used the volume and simplicity of natures in addition to Balenciaga's heavy weight design patterns. The control and the modern dedication were used to make the simple patterns by Courreges, and then brought the Modernism to the fashion. Courreges used the cutting characters to func-tional design for expressing the structural sim-plicity.