• Journal of architectural history
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• v.18 no.4
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• pp.81-99
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• 2009

The study is on the analysis of Adalberto Libera's works, which are those of the competition works for international congress hall in 'E42'. I exerted a conclusion from analysis and studies of congress palace as well as informed data about architect Libera and uninformed original sketch of it. 1. Through analysis of original sketch data in possession of archives of paris Centre Pompidue and relevant sketch from the works, Libera adopts the modern architecture of Italy to the formalization process of concept as one of architectural methods. 2.In contrast to the way of elucidation of historicity of classicism architect, Libera's initial sketch is one of the traits from modernist's architectural concept process. Libera completes his architectural style to have developed new architecture vocabulary from 'Floating transparent box' which was result from intuition and imagination. 3 By comparing all the first plan, the second plan and constructed project, we can infer that Libera's plan was influenced by E42's classicism urban environment and masterplanner Piacentini. In addition, through historicity explanation method of modernist, it is adjudicated that the front side of facade with classism and the back side of facade with modern are partially accepted. 4. By analysing architectural concept's formalization process from original sketch of Congress palace, outstanding architect of Italian Fascism architecture, it provided new methods of architectural programming with the concrete examples.

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

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

• Journal of The Korean Digital Architecture Interior Association
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• v.3 no.2
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• pp.14-19
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• 2003

In this paper, I tried to apply the viewpoint and the method of "Cultural Study" to the analysis of a Architecture. "SE HAN DO(歲寒圖/ Jeonghee Kim 金正喜/ 1844)", the masterpiece of the "literary artist's paintings"(文人畵) is used as a 'TEXT‘(: parole) and analysed to show how artist's value and social-cultural ideology (as a 'CONTEXT':langue) are projected to the space and architectural vocabulary.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.137-148
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• 1992

I have focused my study on the comparative analysis between 'Sacrestia Vecchia (Old sacresty)' and 'Sacrestia Nouva (New sacresty)' of San Lorenzo in Firenze. One is designed by F. Brunelleschi and the other is designed by B. Michelangello on the base of similar program and context. The analytic study has led me to the following conclusions: First. two saresties take concrete shapes by organizing the classcal vocabularies on the elementary forms. Second, though Michelangelo has started Bruneleschi's sacresty, he gives a more concrete form by the heightening the section. Third, the transformation of entrance and aediclues show that Michelangelo designed the new sacresty on the creative interpretation of the classical vocabulary and the context.

• Journal of architectural history
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• v.13 no.1 s.37
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• pp.71-81
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• 2004

The $18^{th}$ century's Industrial Revolution brought about influx of commerce, industry, and agricultural population into the urban areas, entering the $19^{th}$ century. Quality of rural communities declined, and the exploding population in the cities gave rise to various problems. 'Mietskaserne' Blockhousing was constructed by the 'Hobrechtplan', but led to social problems such as poor living conditions, insufficient sunshine due to overcrowding, slums due to incomplete urban infrastructure, epidemics, and so on. Starting in the early $20^{th}$ century, Berlin has driven forward a remodeling plan under the motto of 'critical reconstruction (kritische Rekonstruktion)'. It is performed in the place, which represents the vicissitudinous history of Berlin with site plans coexisting past with presence, using modern vocabulary of architectural forms. Reconstructing a city is a process which not only raises the economic value of each building consisting a city, but also a redevelopment process that brings out cultural value of an era. When a new era emerges buildings get reconstructed or rebuilt, and thereby form the identity of a city by reflecting its society, culture, politics, economy, and history. Old German architecture were not destroyed or rebuilt recklessly just by the fact that they are functionally or aesthetically outdated. Each building is treated as precious cultural heritage reflecting the history. This is how Berlin is being transformed today.

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

• Journal of the Korea Society of Computer and Information
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• v.22 no.2
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• pp.65-73
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• 2017

The objective of this study is to suggest the templates for the terminology standardization cases of safety standard on integrated management system, so that integrated management of safety standards is introduced to replace redundant, or conflicting functions and performance of these standards. And to carry out the terminology standardization enables management efficiently. Therefore this study suggests and analyzes cases of terminology standardization of domestic and international research trends. In addition to proposes a architectural schema for disaster safety standard and writing disaster safety standardizations of the International Organization for Standardization. For the objectives, the guidelines on standard terminology policy, terminology publication and guide development proposed by the International Organization for Standardization. Disaster safety standards were applied in order to build and utilize integrated management system of disaster safety standards through domestic and foreign cases. Throughout the result of this study, this study will contribute to the analysis and application of semantic knowledge based analysis throughout the ontology information linked the vocabulary to vocabulary by making the template of the disaster safety standards for easy to use and simple etc. This study is to expect traceability for the principle national disaster safety standards resource elements.

• Journal of the Society of Disaster Information
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• v.15 no.1
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• pp.121-132
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• 2019

Purpose: This study aims to analyze the meaning of architectural space of Alvar Aalto, which is based on architectural theories of periodic flows and the form of the space with the various elements applied to the works. Method: It analyzes the interrelationships of light, form and material in triangular composition by synthesizing the architectural vocabulary of Alvar Aalto from the viewpoint of modernism. Results: The architectural works of Alvar Aalto are centered on the combination of light, form, material, and space diversity, emphasizing social awareness and linking the human scale with the building environment. Conclusion: The structure of the Alvar Aalto is a synonym of nature and culture, society and individuals, standardization and diversity, universality and locality, intellectual and emotional, scientific and human psychological. It is possible to apply reciprocity elements to architectural spaces in a comprehensive manner while being different from each other in terms of rationality and immediacy.

• Journal of architectural history
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• v.19 no.5
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• pp.65-80
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• 2010

The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history.