• 한국실내디자인학회논문집
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• 제7호
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• pp.21-30
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• 1996

When one speaks of space in architecture, one immediately thinks of an entity that is an enclosed space. For most people , space is therefore equated with interior space. And in most discussions of architectural space the character of the outside and that of the inside have been strictly differentiated. But architectural space must be construed as a total , integral space. In this way , architectural space can articulate naturality. For example, by reasserting the eloquence of architecture and by graphically characterizing the different parts of the building. Ungers has moved far away from the traditional ideas of a modern movement that preached the homogeneity of all parts. so promoting uniformity and an expressionless monotony. From this perspective comes the purpose of this study which is to present :1. the character and meaning of the boundary that differentiates the outside from the inside of the architecture. 2. the types of the organization of the interior-space and the differences between those types. 3. the new concept of the interior -space through the analysis of the concept "Haus im Haus" that over-comes the polarity of the outside and the inside of ar-chitecture. This result comes from the idea that harmony is a-chieved not by resolving this polarity into one or the other extreme, but by allowing coexistence of both as-pects.

• 한국실내디자인학회논문집
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• 제34호
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• pp.114-123
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• 2002

Koreans have regarded the red as a major color from old times. The red is a traditional color to have symbols of high position, national foundation and especially royalty. So, we can see the reds in the palace for kings very much.The purpose of this study is to draw out the features of color red in the Kyungbok palace. The color was analyzed by two categories-architectural buildings${\cdot}$structures and ornamental painted patterns. The major findings from this research are summarized as follows:1. Seokganju(similar to terra rossa) and toyugsaek(light seokganju) are found main colors in architectural space, while seokganju has a linear effect and toyuk has a facial effect. 2. Yugsaek(similar to light vermillion) and Jangdan(similar to orange) are found main colors in ornamental painted patterns. These colors are more vivid and brighter than those for architectural space.3. As for two-color combination, reds and blues(including greens) are found major combination both of architectural space and ornamental patterns. And reds and white are the following combination, which gives an bright image by white. 4. As for three-color combination, red-white-black combination of pediment and red-blue-white combination of openings are found very popular in architectural space, while red-blue-yellow combination is most popular in ornamental patterns.The reds are found dominant color of both architectural space and ornamental patterns in the Kyungbok palace. The color design as shown in the Kyungbok palace can be considered as the feature of traditional color design.

• 한국실내디자인학회논문집
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• 제14호
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• pp.10-18
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• 1998

This study aims to make clear visual quality of organic form and structural order that is immanent in nature about a form as formative principles of architectural space design the significanced of this study is to prove the application possibility in to functional form architectural space design. All organic forms in nature has a unique shape and pattern in structure to be self-controled and good in order. Such an order in nature comes from regular construction and ratio principles which has aesthetical order by mathmetics. The specialty of beauty in nature can be revealed not only visual form but also the ratio balance and rhythm of structural principles. As we examine the aesthetic source embodied some object can be developed in to basic principles. Furthermore through this study we can find out that the form construction theory in nature forms share the quality attribute with geometrical form to be shown in architectural space design. Natural forms are ultimate visual expression of power that effects on the architectural space design. The rule of power in nature as nature formal characteristics have a direct influence and can be also applied to architectural construction. Therefore I expect that this study will be linked and continued to another structural view.

• 대한건축학회연합논문집
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• 제20권6호
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• pp.9-16
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• 2018

The purpose of this research was influenced by the historical background of Japanese modern architecture by the circulation of Kuma Kengo's architectural works and he wanted to look at the values and directions he was pursuing and how they were expressed in his works. The results of the review are summarized as follows. First, metabolism was developed as a reaction of modernism in modern architecture, focusing on growth through infinite reproduction by looking at architecture and cities as organisms and by using unit space as cells. Kuma Kengo, on the other hand, argues that focusing on the possibility of decimation of unit members by sequencing the elements that make up the space smaller than the unit space is closer to an ecological architecture. Second, what Kuma Kengo says is "erase the architecture" that is naturally related to the environment and disappears when its use is exhausted. His argument is expressed in individual architectural works through 'visual erase', 'particle painting of materials' and 'independence through dependency.' Through this, Kuma Kengo's ecological architectural languages were influenced by the ecological causes of metabolism, but they differed from the perspective of seeing architectural circulation as an organism. If metabolism was intended to realize circulation with growth potential based on the module of unit space, Kuma Kengo sought to implement circulation with the extinction of the unit members of space.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.60-67
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• 2006

In modem days when architectural materials have grave impacts on overall design expression, materials for architecture, especially finishing materials have become the most essential elements for the design expression, as architectural space and form have been. When it comes to the architectural materials, they can be conceived by visual and tactile sensory system and perceptional system which based on memory and experience. This study confirms how materials bring into effect on architecture in the sense of its design. The main subject of this analysis is expression method of architectural finishing materials. Also, this study finds out the relationship between finishing materials and the images of materials by analyzing the effect factor of architectural material expression with the perspectives of materials, formal and environments and by examining roles of the architectural materials in design. The material factor, in the expression of materiality, is how to make tectonic space and to vary the surface of building as finishing material design. The formal factor is related to set up the new direction in the architectural form and to create the dynamic and informal space. And the social and cultural environment as the effect factor gives new situation and context to architectural material expression. This principle enables us to use architectural materials as one of the important elements which express the whole characteristics of the area.

• 대한건축학회논문집:계획계
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• 제35권8호
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• pp.89-100
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• 2019

The purpose of this study is to critically review the repair works of Seokguram architecture and to search for its original form and space. Seokguram's architectural form has been transformed throughout three repair works. The first transformation occurred during the repair work of the Colonial Government in 1913-1915, and the second occurred during the repair work of the Colonial Government in 1920-1923. The repair work done by the Korean Government in 1961-1964 also caused a severe change in the architectural form and space of Seokguram architecture. The more the repair work was added to Seokguram, the more its original form flew away like a mirage. Through the three repair works, the spatial composition of Seokguram changed in the following directions: from ((front chamber + passageway) + main chamber) to (front chamber + (passageway + main chamber)) through the second repair work, from (front chamber + (passageway + main chamber)) to (front chamber + passageway + main chamber) through the last repair work. Although the compositional space hierarchy of Seokguram was maintained during the first repair work, the architectural form based on the dry method was changed to the form based on the wet method. The Korean government's repair work was a tragedy for the 'Seokguram conservation project' that the people who led the conservation process misunderstood the architectural nature of Seokguram.

• 한국실내디자인학회논문집
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• 제23권5호
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• pp.51-57
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• 2014

In the early 20st century, created distrust on the mechanistic and dualistic view based on the world of Descartes and Newton. As the features of this new science cannot be explained by the existing Western philosophy but can be explained by the thinking system immanent in the Oriental traditional thought, many scientists and philosophers are concentrating their interests on the Oriental philosophy. In addition, some have been making efforts to find solutions needed for a new paradigm from the thinking system of the Orient. A variety of discussions have also been raised in connection with architecture due to this philosophical change. It has now become possible to conduct free creative acts, staying away from physical limitations, including gravity by diversified simulations through a computer. This physical liberation in turn has caused new changes to the spatial concept of architecture, thereby granting the freedom of the expression that could not be even imagined before and opening a possibility of new architecture and space. At the same time, the digital space architecture actively accommodating this technology is generating a phenomenon that the existing physical and realistic things are rapidly being changed gradually to immaterial and unrealistic ones. This study has analyzed the properties of digital architectural space as the immateriality of our traditional architectural space. The results are as follows: It can be seen that the immaterial features exhibited in the digital architectural space and the traditional architectural one are not just interconnected with specific features, but they are correlated to all immaterial features. Thus, immateriality that are common in the traditional and digital architectural spaces is complementary organic, which is contained in the ambiguity of boundary between other spaces. It is regarded to the architecture as a living things in space diversity based on ideological similarities.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.30-37
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• 2010

The purpose of this study is to analyze the architectural publicness of Hague city hall by Richard Meier. The Hague city hall shows the systematic and comprehensive configuration of architectural publicness. Meier applied publicness to the city hall from concept and the configuration of space to object design. Architectural publicness of Hague city hall can be realized by providing large public space including atrium, programs about public events, linear space for street activities and the lower location of public facilities in the city hall without the limitation of weather, lime and size of space. Architectural publicness can obtain its real meaning when physical conditions meet the standard of public activities. Besides this, the Hague city hall case shows the desirable role model of city administrator and NGOs in that public events are organized by the independent body. The publicness of architecture is influenced by various factors including physical and political systems. The case study of the architectural publicness is very important in that it is very hard to generalize. In these basis, the study for architectural publicness can be complemented by concrete and positive case studies as well as existing humane and general studies.

• 한국콘텐츠학회논문지
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• 제13권7호
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• pp.91-101
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• 2013

불확실성의 시대에 현대건축은 다양한 미디어의 발전으로 인해 표현 양상과 전개 및 방법론에 있어 과거에 비해 훨씬 자유로워지면서 건축의 표현 양상에도 많은 변화가 시도되고 있다. 특히 현상학이 대두되면서 건축공간에 현상학적 표현의 방법이 다각도로 진행되고 있으며 건축의 형태에서 벗어나 본질적이며 인간과 상호 소통하고 체험할 수 있는 공간에 대한 탐색이 활발히 진행되고 있다. 본 연구는 건축적 형태(Figure)와 공간(Space)을 지각하고 인식하게 되는 방법으로써의 현상학적 이해를 통해 기존의 물적 구조체로서의 건축에 대한 이해를 현상을 품은 콘텐츠의 주체로써 이해하여 다각적인 공간 디자인의 방법을 모색하고 적용하는데 있다. 건축의 표현양식에 있어서 현상적적 접근은 빛을 건축공간에 접목하여 발표한 건축들을 중심으로 살펴보았다.

• 복식
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• 제59권9호
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• pp.163-179
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• 2009

The superimposition of the Russian constructivist architectural design is one of the notable transforming techniques of conventional design principles. The main objective of this paper is to analyse the superimposed space in the modern fashion design based on the techniques and characteristics of superimposition appeared in Russian constructivism architectural space. The artistic characteristics of the superimposed design in the modern fashion design can be determined by codes of dynamics, sense of space, rhythmical sense, communications and tension of the dress. Through this study, it was found that superimposition of the Russian constructivist architectural design in the modern fashion design has influenced the modern fashion design space in the forms of dynamics with directive sense, vitality through transparency, uniformity with geometric interpenetrates, intensive visual attraction created by duplicity, communication between human body and clothes, creation of transformative beauty and enhancement of structural volume on clothes.