• Korean Institute of Interior Design Journal
• /
• v.22 no.2
• /
• pp.58-67
• /
• 2013

The methods used in this study included investigation of media facades used for landmarks in downtown areas in previous studies, visits to these areas, and recording of media facades. The changes in the colors or the size of buildings were analyzed among the recorded cases and 12 of these cases were selected for further study. The sensibility preference of the media facades was evaluated by sorting the 12 kinds of media facades, and providing them as materials to a group of 60 participants (40 undergraduate and 20 graduate students majoring in architecture and design) consisting of an equal proportion of males and females. This study addressed the following four_stage questions: 1) Five questions of recognition evaluation about media facades and the cognitive evaluation items of emotional vocabulary and color preference in each research case; 2) sensibility preference items regarding the media facade color design; and 3) design evaluation items of the media facades; 4) Video clips and still images were recorded from a middle distance at 7p.m to 11p.m. in central New York, Singapore, Seoul, and Beijing. The participants looked at the changes in colors through the video clips in each case and evaluated their preferences through 23 pairs of emotional vocabulary items using system dynamics. Construction of an emotional vocabulary followed, based on previous studies about media facades and color design. To evaluate the sensibility preference and the perceived representative colors of the media facade, this study suggests new emotional responses that depended on the color emotional vocabulary of light in the LED lighting technical evaluation methodology. A media facade with a moving change of colors, unlike a fixed landscape color design, suggests a new communication method based on architectural factors. New architectural color coordination can be presented for urban landscapes at night. Designs that factor in the pedestrians' emotional vocabulary or preference should take precedence over the use of high luminance and various colors.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2003.05a
• /
• pp.112-116
• /
• 2003

The aim of this study is to extract the design vocabulary of flexibility from analyzing Steven Holl' architectural works. For this purpose, the four works were selected and the design elements like their concepts, elevations, plans, furnitures, lights, materials, and colors were analyzed. The results of this study are as follows ; First, flexible design method is shown in adaptable space planning by using system of hinged panel and multi-functional furniture of various form. Second, Windows were made a plan of the geometric partition of surface and with clear materials for expanding space to outside. Third, the changing of level and the using of the phenomenological elements like a light color, water, and materials were applied for enhancing the image of the flexible space.

• Korean Institute of Interior Design Journal
• /
• v.14 no.3 s.50
• /
• pp.139-146
• /
• 2005

This paper focuses on the response of architectural form to the technological characteristics in the institute facilities. For this, we study the meaning of technology in the aspect of physical, formal and social concepts and their architectural expression and sort by grouping through analyzing 27 cases of foreign current Institute facilities. Conclusions can be summarized as followings: 1) Vocabulary of technology in physical concept is presented by the environmental control through the experimental surface such as louver and glazing and the independent exposed equipment. 2) Vocabulary of technology in physical concept is presented using the machine like aesthetics by exposing the structural members and designing the exterior form using dynamical images. 3) The expression of social meaning in technology is presented by standardization, parts assembling through mass production system, the unit material for expression of today's industrial society. The expressions of technological language in the institute facilities are used not only one vocabulary but comprehensive ones.

• Korean Institute of Interior Design Journal
• /
• no.10
• /
• pp.11-20
• /
• 1997

This paper, based on the surveys on 43 cases in whole Korea, aims to analyze the architectural principles extracted from the religious dogmas and to propose the direction of the expression of tradition in Korean religious architecture. Buddhist temples in the modern cities. Catholic churches, Anglican churches, Protestant churches have similar problems and attitudes on the expression of traditiov. They have not yet various subjects on the expression of tradition as 'tradition' is not distinguished from 'transmission'. It is not caused only by the general phase of Korean modern architecture, but also by the lack of the practical theology which extract architectural principles from religious dogma and history. I proposed 'Architectural vocabulary', 'Architectural syntax', 'Architectural idea', and 'Symbolization of interior space' , 'Architectural zeitgeist' as the ideal approach.

• Korean Journal of Computational Design and Engineering
• /
• v.10 no.4
• /
• pp.293-302
• /
• 2005

The research focused quantitative comparisons of protocols occurring in the architectural massing process using two different tools, three-dimensional(3D) modeler and traditional design tools, to aid architectural massing education. Through the protocol analysis from some experiments, the research identified the following conclusions: 1) Usage of traditional tools produced much higher protocol rate in proposing solution, evaluating proposed solution, explicitness of strategies. This result seemed to be from convenience of traditional tools causing faster visual cognitive cycle. 2) Usage of 3D modeler produced much higher protocol rate concerning attempts of making design vocabulary. The result indicated 3D modeler has relatively effective functions for mass generation and orientation, however it still has some weaknesses on display interface which cause designer's lower idea generations compared to traditional design tools.

• Korean Institute of Interior Design Journal
• /
• v.16 no.4
• /
• pp.99-109
• /
• 2007

In the 19th century, a series of study by Hittorff, Semper, Ruskin, and others on architectural polychromy in various perspectives appeared. This presumed that the architectural polychromy could become an essential part of architectural composition and contribute to create new architectural style, if not, at least new architectural and cultural context of the 19th century, the period when it is considered that the stylistic evolution in architecture is absent. In the course of the stylistic development of church architecture of the 19th century in France, the architectural polychromy, grounded in a theory of representation, played a critical role as one of the main sources to create new architectural vision. The church architecture during the Second Empire in France was particularly susceptible to be influenced by this inevitable phenomenon, which signified an epistemological mutation in architectural perception beyond optical and perspective effect in the history of architecture. Here the study attempts to recognize the aesthetic value of the architectural polychromy in the 19th century, and investigate its application, as not just an aspect of architectural embellishment but an indispensable portion of architectural vocabulary, on the church architecture in France throughout the 19th century, then to define its role in creating new architectural environment.

• Korean Institute of Interior Design Journal
• /
• no.41
• /
• pp.80-87
• /
• 2003

This paper attempts to examine the historical changes, the characteristics and the role of free-standing wall from the viewpoint of architectural composition. After modern times the wall gets free of structure and the view of formative art changes, which become a basis of the conscious use of free-standing wall. It plays a role of getting territoriality and placeness, by defining the space at the external territory and it is used as apparatus which controls circulation and orientation externally At the same time it is used as an instrument to blur the border to make mutual intersection and plays a role of introducing and controling the environment. The free-standing wall controls the architectural form to emphasize plasticity and is used to define a geometrical frame and maintain the urban context. In view of the results so far achieved, the free-standing wall is used as general vocabulary of modulating the border of space and the architectural form since modern architecture.

• Korean Institute of Interior Design Journal
• /
• v.21 no.6
• /
• pp.100-108
• /
• 2012

Modern architecture tends to split the everyday life and the space of human. Position of architecture should be on the relationship between nature and human need. It will be study on the everyday life of architecture from architecture and everyday life of human relationships. Based on this study, it makes clear the visual aspects of architectural experience to acquire spatial tones for analyzing architectural Everyday-ness. In this case, Portugal's modern architectural space was impressing, because of the construction of local color and architectural vocabulary of the Everyday-ness. Therefore, the Everyday-ness of Architecture by relationship analysis reveals the space of these spatial tones. Spatial characteristics of the Everyday-ness of architecture be analyzed of simplicity, purity, locality, reminiscent, continuity, and transition, etc. Expression elements of spatial tones can be derived into five classes such as light, color, material, pattern (texture), and depth. In conclusion, spatial characteristics of the Everyday-ness and expression elements of spatial tones consist of configuration matrixes to analyze the spatial tones of the contemporary architecture in Portugal. As a result of this study, the expression characteristics of spatial tones of contemporary architecture in Portugal are background-ness, one-ness, and inherence. I hope this study will be applied to the basic data of the architectural Everyday-ness.

• Journal of the Korea Furniture Society
• /
• v.21 no.2
• /
• pp.144-156
• /
• 2010

Since late 1960s, we have had the discourse about the way of succession of korean traditional architectural heritage. Through 60s and 70s, the formal mimesis and transformation was pretty much dominated in domestic design currents. After 80s, we could see a kind of different ways of design to deal with traditions in architectural practices. These methodology can be summarized as spatiality, abstraction and diversity. These discourses acted as bases for aesthetic and formal stream which might be needed to present the formal possibilities for various commercial needs. Especially, the interior design field utilized those ideas in order to show korean identity for the commercial needs such as korean restaurant, korean bar, or korean costume shop. Interior designers positively adapted the ideas from architectural discourse and created their own vocabulary after 90s. Before 90s, interior designers did very representational mimesis to express korean identity designing commercial facilities. However from mid 90s they could establish new tendencies in expressing korean traditional moods. These tendencies are a focus on spatial relationship, abstraction and materiality, utilization of traditional objects and lighting method.

• Korean Institute of Interior Design Journal
• /
• v.16 no.6
• /
• pp.65-76
• /
• 2007

This research is progressed on the premise that there is a basic rule to organize a space in form generation process. In this study first, antecedent researches are inquired, and formal vocabularies related with form generation in space design are founded. Generally in the organizing process of spatial form designer could have selectively combined formal vocabularies consciously or unconsciously, and these formal vocabularies related with form generation are classified with 'formal elements' and 'spatial relationships'. First, as formal elements '2-dimensional line elements(rectilinear, oblique-linear, curvilinear)' are chosen. Second, formal vocabularies of 'spatial relationships' are 37 extracted from literatures related with architectural language or spatial language. Among them there are several vocabularies with similar or same meaning, they are unitized to representative one. Thereupon 20 vocabularies are finally selected as the formal vocabularies of 'spatial relationships', they are addition, subtraction, intersection, superimposition, juxtaposition, shifting, rotation, reflection, scaling, stretching, shear, bending, folding, distortion, articulation, deconstruction, symmetry, repetition, proportion, and asymmetry.