• Architectural research
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• v.2 no.1
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• pp.7-15
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• 2000

A bubble diagram is understood as a graphic medium which bridges program and plan in architectural design process. The role of a bubble diagram is either to generate or to explain a plan in relation to its program. Despite the explicit role of a bubble diagram in architectural design process, what a bubble diagram indicates exactly is very ambiguous. Here I attempt to reveal the nature of the bubble diagram more sharply. My main argument is that the ambiguity of a bubble diagram results from the fact that it is used to range two different types of representational formats. Reviewing the theories of shape recognition and shape representations in vision science, I will also argue that the procedural description of architectural design process should be criticized and that the focus of design method research has to be shifted into the representational format of form description in architectural design process.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.77-83
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• 2008

MVRDV is most important architect as created interesting architectural space in contemporary architecture, and so they applies to the unique theory in their architecture. They used to architectural diagram, program, datascape, density as a design tool. Especially, they have create new architectural space and form in using architectural diagram, program, datascape, density, and void. So, this study is purposed to explain how they use as architectural tool to make composition of it's architectural space and is purpose to explain what is their main concept in architectural space. MVRDV's architectural space has fundamental methodology. That is Datascape on uncertainty and continuity between urban space and architectural space. The former consist in using diagram and architectural program and the latter consist in operating architectural void and inner continuity surface. The conclusion is follows 1. The mode of spacial composition by architectural void is correspond density of city as MVRDV's architectural thinking. 2. The mode of spacial composition by architectural program is ambiguous to the boundary between inner and exterior space by transparency. 3. The mode of spacial composition by architectural diagram make to generate the architectural form and space, through the reinterpretation and relocation of architectural program. 4. The mode of spacial composition inner continuity plane is make relative between site and inner space.

• Korean Journal of Computational Design and Engineering
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• v.14 no.5
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• pp.306-313
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• 2009

This paper presents the unique formation process of a volumetric space with the digital algorithm developed for Voronoi diagram in order to generate an effective parametric architectural form. By applying systematic parameters of architectural conditions within digital parametric tools, the interactions among sub-spaces developed by Voronoi diagram are enhanced by manipulating the spatial structures. In this paper, we discuss how the parametric distributing and zoning geometrical system can support designers in developing a free-formed space, and research on how this system creates a 3D volumetric space. With the in-depth research on the system and structure of Voronoi diagram, the approaches to the application of Voronoi diagram into architectural form generation are clarified to be an effective, creative and successful digital tool. The result of the application of the Voronoi diagram improves the design quality with systematic language in the sense that the sub-regions are created and controlled under the systematic and balanced hierarchy having dynamic relationships among each others with the restoration of the equilibrium of forces and tensions. This 3-dimensional Voronoi diagram provides another means for designers to solve architectural issues and to reinforce their design concepts.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.157-175
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• 2005

Guarino Guarini(1624-1683) is one of great Baroque architects who developed new spatial concept in architecture. He refused to static space typically appeared in Renaissance architecture. Instead, to make it possible to generate complicate form and moving space, he made use of generative diagram. It provide him with an abstract machine to generate automatically architectural inferiority. His generative diagram consists of three types: single circle diagram, matrix diagram and longitudinal diagram. The first diagram uses single circle as primary generator and develop this by means of overlap and equiangular division. La Cappella della Santissima Sindone, Sanctuary of Chiesa di Oropa, Chiesa dei Padri Somaschi, San Gaetano are designed according to this diagram. The generator of the second diagram is nine circles in $3{\times}3$ matrix, which provide the base for the interpenetration of space in Guarini's architecture. He inspired this diagram from Kepler's $\ulcorner$Harmonices mundi$\lrcorner$. The Churches of San Lorenzo, Ste-Anne-la-Royale, San Filippo Neri, San Gaetano are generated by this diagram. The third diagram has several circles in Lantin-cross plan. Guarini adopted this diagram because he had chances to design several churches in Northern Europe. The churches of Santa Maria di Ettinga, Immacolata Concezione, San Maria della Divina Providenza, Church without Name, San Filippo Neri are representative examples for this diagram.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.147-155
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• 2006

Recently, because of the rapid remarkable development of the digital media, contemporary society is continuously extending and changing over the limitation of the human recognition. But in the field of architectural form creation, a diagram used in the design process of the past is not enough to reflect a complication, contingent and multiple quality of these contemporary society. So, to reveal the rhizomorphous and non-hierarchial qualify of the contemporary digital network society, architecture became necessary to use the diagram with digital media which have various possibilities to present architect's abstract images that the diagram of the past couldn't do. Therefore, this study proposes that the process for creating architectural form with the digital diagram be a alternative to conquest the limits of contemporary architecture, so it present the complicate and contingent quality of contemporary society. Furthermore, it examines the quality and possibility of the diagram by understanding the creation and transformation of the digital diagram, and how to apply to the actual architecture process of the creating form.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.99-112
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• 2006

In contemporary design conditions, the focus of landscape architecture has shifted from 'form' to 'process.' Various experimental diagrams have been proposed to overcome the limitations of conventional form-oriented landscape design. This study aims to reconsider theoretically and critically the modes and mechanism of diagrams in recent landscape architectural design. It also explores the operational capabilities of diagram in design process. Although the traditional diagram has served as explanatory and representational graphics in design, contemporary designers emphasize the generative function of diagram on the basis of Gilles Deleuze's theory of 'diagram as abstract machine.' They manifest and practise that diagrams call generate forms and proliferate spaces in their design development. This paper examines current examples of generative and constructive diagrams produced by leading designers. However, the author illuminates another significance of diagram: the diagram as strategic media of design. Contemporary environments and conditions of design, such as the complexity of city and the interactivity of new economy, call for new design intelligence and strategic design. These situations require alternative media in design process. In this context, the diagram can function as strategic media of dynamic and flexible design. This is why contemporary landscape theory and practice have to give attention to diagrams.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.35 no.4
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• pp.235-243
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• 2012

The Voronoi diagram of spheres and power diagram have been known as powerful tools to analyze spatial characteristics of weighted points, and these structures have variety range of applications including molecular spatial structure analysis, location based optimization, architectural design, etc. Due to the fact that both diagrams are based on different distance metrics, one has better usability than another depending on application problems. In this paper, we compare these diagrams in various situations from the user's viewpoint, and show the Voronoi diagram of spheres is more effective in the problems based on the Euclidean distance metric such as nearest neighbor search, path bottleneck locating, and internal void finding.

• 기호학연구
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• no.54
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• pp.205-224
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• 2018

This research is to investigate the way to combine Peirce's typology of signs with architectural design. A new diagram is suggested to ensure the continuity of Peirce's typology, by rearranging and reconstructing the well known inverted triangle diagram showing the structure of the typology. The new diagram is easier to understand the organization of the typology, by showing the linkages between sign types and their relationships with other types. A way to adapt the new diagram to architectural design for the purpose of representing typology as well as ensuring model growth as semiotic model for architectural design model. The new model is organized of three sign clusters, sinsign cluster, legisign cluster, and symbolic cluster. They are interrelated through successive inclusion and case inclustion. The new model is organized of threefold layers. The first layer is internal structure of each cluster. The second is interrelation between cluster. The third is mediation of symbolic cluster between sinsign cluster and legisign cluster. This paper investigate and demonstrate the possibility of adaptation of the new model in architectural design. It has been argued that the theoretical basis of sign typology is adaptable to architectural design by principle. More future research issues are discussed.

• KIEAE Journal
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• v.12 no.2
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• pp.39-44
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• 2012

The children's playgrounds have been installed almost from the beginning when the first apartment complex was built. The brightness of a playground has not been considered in the architectural plan. The site of the playground has been chosen based on availability without making a detailed review on its daylight environment. The purpose of this study is to provide the Sky Ratio Diagram for the evaluation of daylight environment at the children's playground in apartment complexes. the Sky Ratio Diagram has 100 points, each point has a value of equal to the sky ratio 1%. Through case studies, the Sky Ratio Diagram was verified whether it could be practically applied to the actual playgrounds. This research is meaningful in that it suggests a way to quantitatively evaluate the brightness of a playground. The Sky Ratio Diagram suggested in this study can be practically used when choosing a site for a playground within an apartment complex.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.71-81
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• 2008

The purposes of this research are to correctly understand the relationship between a visual communication structure and a semantic communication structure when integrating and changing various architectural visual information. This study will classify various diagrams, which have been actively applied to the works of Rem Koolhaas and MVRDV when designing architecture, and based on the classification, it will analyze how the expression viewpoints inherent in the diagrams are changed and applied to processing and changing architectural visual information. The transformal usage of the visual information of architectural diagrams is classified into an analysis-centered processing method and a concept-centered processing method, and the characteristics of their usage are analyzed. The former shows an observer-centered expression viewpoint which effectively delivers an architect's analyzed architectural information or intent to a customer or an observer. It also allows an easy perception of the analyzed data, and uses qualitative expression viewpoints. The method combines systematic expression viewpoints, which value a relationship with visual information, and various architectural visual information; uses the combined expression viewpoints as one diagram for delivering various information simultaneously and for changing visual information. The latter shows author-centered subjective expression viewpoints, which are different from reproduction-centered fixed expression viewpoints. This method uses arbitrary expression viewpoints that overly extort, change or manipulate visual information. It shows simultaneous expression viewpoints that integrate various architectural visual information via omniscient expression viewpoints, such as reversing or projecting the points of viewing subjects, which human beings cannot perceive.