• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.11
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• pp.79-88
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• 2019

The goal of this paper is to explore the relationship between modern architecture and interior decoration through the study of decoration and ornament. It is noteworthy that modern architecture and interior decoration occurred at about the same time. Our analysis shows that the two are closely related to each other. That is to say, modern architecture tried to eliminate ornaments (and decorations), symbols and meanings from the built environments and to embody efficiency and rationality instead. However, in the interior of the building designed and completed by the architect, the user began to decorate his world through decoration or to refer such work to the new expert 'interior decorator'. In a word, the latter took charge of the role deserted by modern architecture.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.2
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• pp.63-70
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• 2020

In the ancient Buddhist temple area, various metal artifacts are still excavated. Therefore, the aim of this study is to approach the characteristics of ancient architecture through ancient metal artifacts. First, metal decoration of ancient architecture appears for the purpose of structure, decoration, arson. Then, as the method of wood structure is developed, the application is separated into structural, functional and decorative purposes. In ancient times, metal decoration has reduced the role of structure, but its decorative role has expanded. Second, various metallic ornaments were used on the roof of ancient architecture. As the wooden technology developed, the metal decoration was gradually omitted while applying the curve to the roof. Third, the metal ornaments used on the roof of ancient architectures include the ridge central decoration, roof top decoration, a nine-ring decoration, gable board Ornamental Metal, corner flower decoration, eaves nail, wind bell. And subsequent research requires a terminology that can link the results of archeology and Buddhist art through excavation as a result of architecture.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.140-148
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• 2002

This Study is concerned with the present condition and prospect of architectural stained glass in Korea. 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. The stained glass inflowed with church architecture occasionally by the western missionaries. And it has been developed actively since 1980' with the boom in church building. There are about 30 studios which are making stained glass in Korea, but very few studio work true architectural stained glass. Stained glass is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass.I have considered the problems and prospected architectural stained glass which inspire modern architecture with human sensitivity in Korea.

• Journal of the Architectural Institute of Korea Structure & Construction
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• v.34 no.1
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• pp.53-60
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• 2018

For test on flooring board laminated with PVC decoration materials in order to replace the current surface materials such as HPL in decoration wood-based flooring board. the Results of comparison and analysis are as follows: For thermal conductivity, flooring board decorated with PVC did not show huge differences when temperature was rising and lowering compared to the flooring materials laminated with the existing HPL surface materials. It seems the most meaningful results for using it as indoor flooring materials. That is, in Korea where there is the culture focusing on ondol heating, use amount of heat energy and efficiency of flooring materials are very important and sensitive issues, involving immediately with household economy of final consumers, and it might be a criteria to judge basic performances required as flooring materials. As a result of the analysis on mandatory durability test items such as abrasion resistance, absorption width expansion rate, impact resistance, surface hardness, and impact absorption for flooring materials, compared to flooring board laminated with general HPL surface decoration materials, decoration wood-based flooring board laminated with PVC surface decoration materials which is higher abrasion resistance with smaller transformation and has better durability and impact absorption of the surface, is available for actual application as indoor flooring board, and for replacing surface decoration materials impregnated with heat-hardened resion such as HPL.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.151-163
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• 1998

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.19-26
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• 2006

This subject is about the research of Shanghai Art Deco in the aspect of architectural decoration and seek to offers an examination and analysis of the characteristics related to the Art Deco design, which appeared and dominated the field of design from 1910s to 1904s in Shanghai. Study method is a theoretical consideration of reference and gathering data through field trip. In order to carry out this subject, this study will research following factors. First, factors related to Art Deco such as the period of origin, background, spirit, aesthetics, design characteristics. This is followed by the influence of Art Deco movement begun in 1925. Second, the background of Shanghai Art Deco architecture style was studied. Third, the case studies of Shanghai Art Deco Architecture and interior decoration were researched by the expressive factors which were divided by style, form, material and color. As a result early style had compradore style about 1900, later reactionism prevailed of 1920 affected by European Art Deco. Skyscraper style was built and architecture developed with racial characteristics. It has vertical and streamline form of typical Art Deco and strengthen geometrical motive in architectural expression. It appeared naturally and has the contrast of different material in material expression. It has effect on strong color as using highborn and brilliant color in color expression. They appeared chinese national spirit by using 'ot painting' in western oriented furniture. The purpose of such an examination is to classify, understand and validate Shanghai artistic and socio-cultural heritage in order to better appreciate the life philosophy of Shanghai and re-discover their basic roots. Though it began as a Western cultural movement, it is the purpose of this study to discover the inherent orientalism in its basic formative spirit.

• Journal of the Regional Association of Architectural Institute of Korea
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• v.21 no.6
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• pp.119-128
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• 2019

The aim of this study is to examine the characteristics of facade expression designed by Kim. Han-sup, a key architect in the regional modern architecture movement in Gwang-ju and Jeonnam from the 1950's to 1960's. The study begins with the architectural background and thoughts of Kim. Han-sup through literature reviews and introduces an interview with Han. chong-un, a former college student and employee of Kim, which explains the aesthetic architecture that appeared in his design of facades that was reasonably applied to materials, technology, structure and function in line with the economically tough period in Korea. Furthermore, in order to investigate the characteristics of his facade expression, detailed analysis items will be derived from precedent studies. This study will attempt to conclude with statements that his aesthetic architecture can be defined as an emphasis on formative mass by contrasting between basic rectangular forms, implementation with detailed three-dimensional facade by extruding differently vertical and horizontal structural lines and with the pursuit of decoration through compartmental faces on his 12 representative architectural works.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.107-116
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• 2012

This study aims to investigate what degree do the hospital buildings carry out their role in regional scenery. To carry out this study the existing theoretical and field survey was conducted to the 44 private hospitals in small and medium-sized cities - Jeonju city, Kunsan city and Iksan city in Jeonlabukdo district. The contents of the survey are the general aspect of the polled, the image of the buildings, that of medical treatment parts, the relations to the regional scenery. And they are questionnaire surveyed to the 44 private hospital buildings. In questionnaire survey, the 35 professional architects who major architecture and related design and 118 citizens who doesn't major architecture are participated. The results of this study are as follows: 1. Those surveyed who answered those private hospital buildings which have their functional images are barely 20%. Some of 27% answered they have images of the commercial building. Especially in professional architects, 5% of them answered thet have their hospital images. It showed that they don't have their identity in the architectural expression in the processof architectural design. 2. The architectural facade elements that express their images in surveyed buildings are answered that architectural building form is 62%, architectural color is 27% and architectural material is 10% in turn. And the architectural elements that express their images in surveyed buildings are answered that building wall is 56%, architectural decoration is 32%. In this article, the reason why the ratio of the architectural decoration is high is that they don' have their identity in building itself. And they expressed their identity by their decoration, sign system not their buildings. 3. As the preference level for their images, some of the 49% of the total surveyed answered common. The general surveyed answered a little preference. But the architect professional group answered preference is 14%, not preference is 29%. The reason of this article is that the general surveyed are familiar with their buildings. So the questionnaire of the harmony with the surrounding scenery, 25% of the general surveyed answered that they are in harmony with surrounding but 22% of them answered that they are not in them. But In professional group, they answered 6% oh them are positive 37% of them are negative. This results suggests that the identity of the private hospital buildings are established in the process of archiectural design.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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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.

• Korean Institute of Interior Design Journal
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• no.28
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• pp.25-32
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• 2001

The purpose of this study is to investigate the types and meanings of the motives shown in the traditional houses. Research methods to achieve this purpose are review of literature, field survey, and contents analysis. Traditional houses were divided into 3 parts such as architectural elements, interior elements and decoration elements, and total of 163 motives were collected out of it. As a result, it was founded that roof of the architectural element, and doors and windows of the interior elements are shown the most of the motives. Motives were divided into two types, realistic motives and imaginative motives, and both types are shown evenly. Meanings of the motives are classified into 'protection', 'good-luck', 'long-life', 'ideology', and 'decoration', and the motives of meaning of good-luck showed the most variety.