• Korean Institute of Interior Design Journal
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• no.41
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• pp.236-245
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• 2003

Environment friendly architecture, which will reduce shortcomings of current architectural culture, can be achieved by using natural energy and environment friendly building materials together with their environmental architecture techniques. Particularly, even though the overall building system is perfect, it cannot be considered as comfortable architectural space if the materials are polluted, harmful to human bodies and producing wastes. Therefore, in order to build environment friendly architecture, the selection of the materials is very important and necessary from the planning stage with careful reviews and concern. This study tries to define what the environment friendly materials we, to investigate and to classify them, in order to provide some guidelines for selecting them at plans to build. For examples, the materials can be classified into natural materials, continuously usable materials, recycled materials from wastes, and less polluting materials mixed with natural materials. Finally, this study reviews the existing products in the market and proposes to develop new ones in the future. It will present the circulation of resources in the 21century through recycled and reused materials.

• Journal of architectural history
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• v.10 no.1 s.25
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• pp.9-23
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• 2001

This study is for the Kyungduk-Dan(as a altar of Milsung-Daegun) and The Manun-Jae the characteristics(lay out and planning, window patterns, structure, materials) of the the Korean traditional house during the modern era. Before Manun-Jae was used for the house. The Kyungduck-Dan was constructed in August according to the Lunar Calender in 1927. The Manun-Jae(house for Ki-hun Kang, millionaire ) was completed in 1924. Modern Architectures brought to Korea with the bricks, the tiles, the flash doors, the plate grasses, the brass hardwares. These architectural material was used in positive. During the construction of Manun-Jae in 1924, it happened the architectural exchage among a korean, a chinese and a japanese constructor. Though using the air exhaust valve at the kitchen of Ukyung-Kak( old Anchae), it could be assume that the modern convenience and the improvement of residential environments was considered at that period during the construction of Manun-Jae. That construction was elected with the brick($222mm{\times}106mm{\times}50mm$), the chinese colored tile and plate glass such a modem materials. The new shape of the korean lattice window and the wooden flash-door with glass was used. In Ukyung-Kak, the Chan-Maru(service space) and the kitchen such as a service space or concise utility zone was organically connected. Especially, considered the domesitic activity and circulation, the western kitchen sink and the Chan-Maru(service space) was rationally placed. At the Manun-Jae and the Kyungduck-Dan, the architectural characteristic is that the new shape of windows was used. The lattice window at the Ondol room of Ukyung-Kak, was rgadually added the plate glass and the wood plate. The lattice window with the grid shape at kitchen of that building was adapted japanese grid lattice window in korea at that period. It is the sample that korean traditional house was typically influenced from the japanese resident culture. The Manun-Jae and the Kyungduck-Dan as the modern house kept the form of korean traditional architecture, and was partially adapted a modern characteristic space and modern architectural materials. During the japanese occupancy, these residence can be showed the transition in formally.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.77-91
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• 1998

The theory of tectonic appeared in the midst of 19th century as German architects adopted new materials and structural technology, invented by creative engineers, into architectural design. This does not merely mean a technical problem but concern the redefinition of architecture in term of an aesthetic, cultural, and ontological identity. Furthermore it alluded to a desire on the part of architectural theorists to actualize artistic and spiritual goals out of new constructional necessities. Because of their complex discourse that assumed the possibility of communication between philosophical and technical aspects, between ideal and real concerns, tectonics becomes until now the most important issue in architecture. The concept of tectonic was intensively investigated by Gottfried Semper's and Karl B$\ddot{o}$tticher architectural writings. They contributed to clarify the principle aspects of tectonic within architectural, philosophical, and anthropological discourses of 19th century. Gottfried Semper stressed an understanding of how architecture took on physical form in earliest human culture. He placed great importance on the artistic expression of materials. But unlike Semper who argued the cladding of the structural frame by decorative wall system, Karl Botticher required maximum visibility of structural frame. This represents the different positions between Gottfried Semper and Karl Botticher

• Journal of architectural history
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• v.14 no.1 s.41
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• pp.107-122
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• 2005

The purpose of this study is to analyse Herzog & de Meuron's surface, which represents contemporary architectural trends toward surface. Semper's Bekleidung theory and the important architectural theories about surface were compared according to the conceptual opposition between representation and re-presentation, which is borrowed from Kastern Harris, and again Martin Heidegger. Representation means a sort of translation into a different medium. It doesn't preserve the material identity of what it represent. Re-presentation, however, celebrates the material employed. The tension between representation and re-presentation have activated the architectural history Contemporary architects have emphasized re-presentation at the expense of representation. This trends relate with digital technology, which demands surface or skin independent from depth or interior. Buildings that deserve to be called works of architecture invite us to attend to material in a different way Re-presenting its materials, the work of architecture reveals its being. Such revelation requires that materials work in a way that invites us to step back from our usual involvement with things. It's the poetics of re-presentation, which is emboded in the Herzog & de Meuron's architectural works.

• International Journal of High-Rise Buildings
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• v.4 no.3
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• pp.219-226
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• 2015

By the end of 2014, the number of completed and under-construction supertall buildings above 250 meters in China reached 90 and 129, respectively. China has become one of the centers of supertall buildings in the world. Supertall buildings in China are getting taller, more slender, and more complex. The structural design of these buildings focuses on the efficiency of lateral resisting systems and the application of energy dissipation. Furthermore, the research, design, and construction of high-performance materials, pile foundations, and mega-members have made a lot of progress. Meanwhile, more and more challenges are presented, such as the improvement of structural system efficiency, the further understanding of failure models, the definition of design criteria, the application of high-performance materials, and construction monitoring. Thus, local structural engineers are playing a more important role in the design of supertall buildings.

• Journal of architectural history
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• v.27 no.6
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• pp.31-40
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• 2018

This paper is to clarify on the characteristics of the Haeeumwonji and the Main Palace of the Goryo Dynasty. The architectural techniques and construction methods such as embankment, stylobate, stairway, foundation stone, and pave are similar to those of the Haeeumwonji and the Main Palace of the Goryo Dynasty. In order to express the hierarchy of the area and building, the materials, techniques, and forms of the embankment, stylobate, stairway, foundation stone and pave were used differently. The paving of the floor of the main building and area is also an active expression of the hierarchy and status of the building area and the building through the use of building materials, techniques and forms. This result confirms the support of Goryeo royal family and the upper class for the construction of Haeeumwonji, which is recorded in the historical documents. And it also shows that the architectural techniques and processing method of the same period were shared in the capital and provinces, which is an important clue that proves that the capital-centered architectural technology has spread to the provinces. It is expected that additional research will be needed on the characteristics of the period of 12th century architecture technique in which Haeeumwonji was built.

• KCI Concrete Journal
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• v.13 no.2
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• pp.58-66
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• 2001

Recently, polymer-modified mortar has been studied for proposed use on industrial floors as top coat with thin thickness, typically 5~15mm. The purpose of this study is to evaluate basic properties of self-leveling materials using polymer dispersions as kinds of SBR, PAE, St/BA with thin coat (under 3mm). Superplasticizer and thickener have been included in the mixes to reduce bleeding and drying shrinkage as well as to facilitate the workability required. The self-leveling materials using four types of polymer dispersion are prepared with polymer-cement ratio which respectively range from 50% and 75%, and tested for basic characteristics such as unit weight, air content, flow, consistency change and adhesion in tension. From the test results, the self-leveling materials using PAE emulsion at curing age of 28days are almost equal to those of conventional floor using urethane and epoxy resin. The adhesion in tension of self-leveling mortars using SBR latex and PAE emulsion at curing age of 3days is over 17 kgf/cm$^2$(1.67MPa). Consistency change is strongly dependent on the type of polymer dispersion. It is concluded that the self-leveling materials using polymer dispersions can be used in the same manner as conventional floor using thermosetting resin in practical applications, in the selection of polymer dispersions.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.152-160
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• 2011

Contemporary architecture pursues new method of Interpretation of Non-linear space as digital media appears. As various materials and new methods can be used due to developments in science and expansion of thinking, contemporary architectural color developed extensive possibilities. It means not only the change of drawings, method of architectural product and materials but also the change of value system for architectural space. Thus the purpose of this paper is to suggest interpretation of space applied by color structure, and this point of view was based on the three elements of color perception which are light source, reflector, and observer. According to this categorization, architectural color of exterior color, layer color and interaction color are explained via examples of colors recently used on the contemporary architectures. In summary, contemporary architecture can be explained by Non-construction space interpretation for intrinsic complex meanings. Therefore, it can be explained as moving space, collage, by picturesque space, moving blur color and emptiness of color. This pursues various point of views for space interpretation, therefore it can be developed to the identity of strengthening architectures' design concept.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2018.05a
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• pp.193-194
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• 2018

Tn this present study, the superhydrophobic surface was developed on the cement mortar surface by using water repellent materials. For better superhydropohicity, it was developed by using silane as binder and which was enriched with filler materials of SiO₂ and TiO₂ nanomaterials. Those nanomaterials enriched with silanes were admixed in cement mortar during casting time and another was coated on the cement mortar surface. The water repellent properties of spray coated and admixed cement mortars were evaluated by measuring the contact angle which was compared with normal cement mortar.

• Korean Institute of Interior Design Journal
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• no.39
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• pp.20-27
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• 2003

The purpose of this study is to provide a practical guide for selecting architectural artwork and analyze relationship between artwork and interior space & facade. The problems with many outdoor artwork did not make the characteristics of the specific environment and did not form a big flow in the urban contextualism. Choosing the artwork, architectural environment for artwork is very much part of the designers' task. When artwork is to be specifically acquired for a particular projects, designer and client must work together to make choices and plan placement. The data are collected through evaluation surveys of college students and graduate students majoring in interior architecture & design, and analyzed by using SPSS-WIN program to find the major characterized factors. It is concluded that architectural artwork should be constituted with nine major factors of interior space - theme/scale, situation/contemporay accord, finished materials harmony, line/two-three dimensional form, proportion/rhythm, sequence, natural/artificial form, abstract/reality expression, originality - and eight major factors of facade - situation, abstract/reality expression, finished materials harmony, theme/sequence, natural/artificial form, proportion/rhythm, static/dynamic expression, originality/. contemporay accord.