• Architectural research
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• v.11 no.1
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• pp.1-6
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• 2009

While the ideal universality of the modern period has achieved outstanding results in terms of establishing sanitary cities in contemporary urban environments, it has caused the decline of the genius loci. This study raises the question of the lost sense of place and proposes a solution, 'The Human-Environmental Ecological City'. The Human-Environmental Ecological City, called 'Ecoumenal City', does not provide a fake idealism with the conclusion of modernity of non-place or sense of place without modernity. It is both cosmological and geogenic, and the technology of the time is projected onto it human-environmentally. It does not pursue any more a urban planning as the overall work of an individual, but it aims at a balance rediscovered through the individual spontaneousness.

• Journal of architectural history
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• v.3 no.1
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• pp.143-159
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• 1994

Ornament in late nineteenth century Art Nouveau movement, especially abstract ornament in Viennese Art Nouveau, has a very complex aesthetical background. Ornament, for them was not just decorations in outer appearance, but a determinant element of formal languages. Abstract ornament in Viennese Art Nouveau has its theoretical and aesthetical bases in the Interpretation of nature, that is, the theory of the abstract ornament was founded on a new interpretation of nature, which, in its turn, was derived from the differentiational selection of the contemporary views of nature. The modernity of abstract ornament consists in the very fact that it was founded on a new interpretation of nature. This study alms at reviewing how the new interpretation of nature by abstract ornament criticized, rejected and accepted the contemporary views of nature. The overall tendency of this study is to synthesize and analyze the historical background of Viennes Art-Nouveau in regard to aesthetic theories of nature. The analysis method of this study is interpretation of written documents which are related to the issue.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.218-227
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• 2011

Korean commercial architecture is based on two distinctive characteristics of western modern architecture: grid frame structure and free facade. However, the original facade of the building disappears as numbers of commercial advertisements and signboards representing inner programs cover up the original facade. This is a unique feature of commercial architecture in Korea which I would call the surface phenomena of Korean commercial architecture. Common criticism on this type of building is that too many and too big signboards infringe upon the original pure facade of the architecture. Underlying assumption here is that signboards and commercial ads are inessential and decorative elements simply attached to the original pure facade of modern architecture. However, in this paper, I argue that commercial decorations is an essential aspect of korean commercial architecture rather than an inessential decorative element attached later to the essential facade of architecture and that it reflects the historical specificity of cultural and architectural modernity of Korea And thus, the surface phenomena of Korean commercial architecture should not be judged based upon the aesthetic paradigms of either western modern or postmodern architecture. Rather, it can be argued that surface phenomena of Korean commercial architecture is a reflection of a modernity beyond the paradigm of western modernism and postmodernism. The agenda of Korean commercial architecture is then not simply to restrict or to control signboards on the building facades with the intention to clean up facade of the building but rather to integrate the signs and commercial ads with the structure of architectural surface.

• Journal of architectural history
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• v.26 no.1
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• pp.45-59
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• 2017

The purpose of the present study is to figure out what the issues faced by architecture were at the time immediately before the transition to modern era centering of the works of Otto Wagner who acted in Vienna, Austria at the Fin de $si{\grave{e}}cle$. Therefore, the following points were examined in the present study; first, how were new spaces necessary to accommodate modern lives organized and how were the plans changed; second, how did the external expressions of architecture pursued by Otto Wagner appeared between arts and technologies, between historicism and modernity, and between decorations and functions. Through the study, it could be seen that Wagner began from historicism and traditionalism and tried to compromise them with modernity. Many modern characteristics appeared a priori in Wagner's works from the construction of 'Linke Wien Zeile housing block' in 1898, his works completely broke from the typical historicism styles to open the period of inventive 'Secession styles.' At that time, Wagner concentrated on so called 'flat decorations.' Thereafter, his residential architecture completed to modern styles with 'Neustiftgasse housing block' as the peak. The characteristics of modern housing as above became a cornerstone of the modern functionalism later.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.6
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• pp.69-80
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• 2019

This research focuses on 10 modern museums built in Europe near important cultural assets of UNESCO World Heritage level. This study aims to reveal the coexistence of European laminated history and contemporary architecture by considering various aspects of respecting the existing and maintaining their identity as modern buildings, using these cultural assets as a basic concept of planning while minimizing conflicts with the past. The four measures of respecting existing cultural heritage are arranged by showing respect by lowering oneself, sympathizing with others, preparing for harmony with modernity, and communicating by looking at. The measures that reveal the identity of modern buildings are confirmed by classifying them as modern and post-modern approaches, each with several options. Through this study, we have been able to extract useful lessons for us, as well, while the past and present coexist successfully, by taking history as a reliable guide to take a fresh leap from it, rather than as a solidified remnant of inertness.

• Journal of Families and Better Life
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• v.21 no.5
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• pp.25-40
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• 2003

Since Korea open her ports to the West, she had undergone a great change under the alien influences both on the macro-social and micro-social aspects. This study aims to review the korean housing, corresponding with the everyday life, during the period of transition between the 1876 - 1910 and to interpret its process of modernization and the meaning of modernity. With regards to understand the holistic human relationship and place pf living through history, this study takes the Nobert Elias' Civilization Theory as a theoretical basis. References were therefore, made to various records of foreign missionary at the time, with respect not only to macro sociological changes but also to changes of everyday life. It is of course to take physical and structural aspects of housing architecture into consideration. These works, thus, led to presuming the housing culture of said period. In order to investigate modern character of korean housing, distinctively represented by spatial structure, considerations were made to various architectural examples according to the social and residential status both in urban and rural area. As a results, this paper came to the remarks as follows; 1. It is understood, that the process of modernization is a part of the process of civilization as synthetic process. It is integrated with the change of socio-cultural aspects and everyday life. 2. Korean housing in the said period shows various different residential status and grade of civilization according to the social status as well as economical status. Modern housing was not in general yet. 3. Housing for high classes and middle classes in Seoul shows a tendency of assimilation and imitation after western model. But some examples within the housing of high classes represent its own modernity, that is based on the rationalism and equalization 4. In the housing of lower classes, it was very far from the benefits of civilization. It could analogize from the immature control of disgrace, from undevelopment of individual territory and from uncultivation of rationality in the housing space.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.126-135
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• 1993

Italian Rationalism held a specific position in the Modern Movements of Architecture, due to the fact that Italian Rationalism could not totally escape from the classical tradition of Italy. Until the seventies, Italian Rationalism had been criticized for having made no contribution to the progressive aspects of the Modern Movements owing to the very keeping of tradition. After the seventies, however, there emerged a movement which tries to reinterprete the Modern Movements of Architecture in relation to tradition and under this new situation, Italian Rationalism is believed to have a historical possibility of unifying tradition with modernity. This study is to show how Italian Rationalism struggled with the issue of tradition, why Italian Rationalism was under-evaluated and which historic lesson we can learn from it in the contemporary days of the revivalistic Post-Modernism.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.85-96
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• 2013

This study relates to meta-phenomena in architectural design. Among others, this study aims to interpret and demonstrate the cognitive thoughts and methodological systems in 'autonomy and instrumentality' presented in works of art by positivist architects focusing on diagrams after the second modernity in addition to earlier formal experiments by John Hejduk, Peter Eisenman, Bernard Tschumi, and Daniel Libeskind. In order to achieve these aims, this study approached the mimetic concepts developed by Walter Benjamin and Theodor Adorno. Especially, meta-phenomena in the methods of architectural design were connected to productivity in Adorno's mimetic concepts. Also, in terms of formation and creation of works of art, the mimetic backgrounds of Adorno's theories on aesthetics were identified from features of concepts on the part of formal experiments. The results were systemized methodologically based on meta-phenomena appearing in pure arts and overall architectural design. These were presented as a framework to interpret 'autonomy and instrumentality' that exist in the working of negativity and mimesis. In this way, logics and intuition in architectural design as well as methodological systemization of convergent creativity were proved valid. In conclusion, Adorno's mimetic concepts systemized based on negativity and critical awareness may lead to new concepts. It has been proved that it is valid for security of meta-phenomena of architectural design as a production of autonomous spaces for differences and creation.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.79-90
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• 2020

This study traces the flow of modern museum architecture from the 18th to 19th century when the rationalist architectural spirit influenced the museum architecture to the 1930s, before the museums of the modern architectural masters appeared. With early modern museums until the 1930s as a target, which had long been enshrined in classicality, finally contributed to narrowing the gap with the times, but did not receive the right evaluation, this study examines their different architectural styles from previous museums and reveals that they have a significance to announce the departure of modern museums beyond classical ones. The three museums, built in the 1930s, will be identified as respectable early modern museums that will fill the remaining blank space of the history of museum architecture. In this study, modern museums are asymmetric, non-centre oriented, and non decorative. They have multi-directional circulation, and a neutral, open and flexible exhibition space. They also try to align themselves with the modern architectural tendency of the day.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.89-106
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• 1998

This essay addresses the role of environmental aesthetics in landscape architecture : how can environmental aesthetics enrich landscape architectural theory and practice\ulcorner It begins by criticizing the predominant notions toward theory : theory as an instrumental design method, theoretical vacuum in modernism of landscape architecture, and the intimate relation of theory and practice in 18th-century England. It suggests that the expulsion of theory in landscape architectural academics and profession is nothing but an inappropriate bias. In the second place, the essay explores a remaining question : why environmental aesthetics is a part of landscape architectural theory\ulcorner I would argue that environmental aesthetics can transcend the man-nature(subject-object) dichotomy, one of heritages of Western modernity project. Here, landscape architecture meets environmental aesthetics, and both can intermediate between theory and practice. For landscape architecture is (and ought to be) a device of embodied communication, creating symbolic settings wherein an interconnection of man and nature can occur. Finally, this essay examines the aesthetics of engagement that Arnold Berleant claimed recently. This theory of aesthetic experience has a possibility of making corrections some improper conventions in landscape architectural creation and appreciation : disinterested contemplation, visual-orientedness, decoration-denteredness, and so forth. I would conclude that environmental aesthetics can be a significant theory which can correct misconceptions in landscape design and appreciation and, further, can lead contemporary practice. As the great mediator between man and nature, between theory and practice, environmental aesthetics has a profound role to play in the realm of landscape architecture, and vice versa.