• Architectural research
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• 제18권1호
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• pp.31-38
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• 2016

The surface design in architecture plays a role as an indicator that symbolizes cultures and styles, in accordance with the course of history and the standards of the time. The surface design that determines the facade of an architectural structure allows us to have a more clear understanding about the functions, programs and structures, as well as the periodical concept of the architects than any other components of the architecture. The purpose of this paper was to examine how architectural surface designs were realized, using commonly-used materials. This study provides meaningful implications, in that it suggests common features in terms of design methodologies (between architecture and non-architecture fields), and presented new possibilities for contemporary architectural surface designs through the classification of building system methods depending on fabric properties, and through the case study analysis of architectural surface designs; in addition, the results of this study could be utilized as basic data for future studies on the possibility of the expression of surface designs across a broader domain.

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.173-181
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• 2011

Contemporary architecture has shown interest in surface after breaking off the relation with structure. Also, the development of contemporary media has brought the great change to the surface of architecture. Interaction among the people, architecture, and environment is also the main point of interest in adapting the role of media to the architecture. But contemporary media itself have been applied on surface in architecture lately. So, it is purpose of the study to analyze the contemporary media characteristics application on the surfaces of EXPO pavilions based on the related characteristics of interaction effects. The categories and the contents for the frame of case studies were arranged through document research and field study. Case studies were focused on the pavilions of the World Exposition Shanghai China 2010. Surface can make the interaction between human and architecture more dramatically by the application the role of media. It was analyzed through the study that the interaction level of people is the important issue shared in digital or analog media application on surface of pavilion. The complementary relationship between surface of contemporary architecture and contemporary media can be manipulated and enriched by the application of various style of media on surface.

• 한국실내디자인학회논문집
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• 제20권6호
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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.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.3-11
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• 2012

The first visual contact in architecture happens in surface, and it could be significant object as well as the starting point to recognize the essence and perceive the buildings. Architecture surface could not get out of the restriction of structures and materials that support buildings for a long time in the past. Architecture surface in the past should fulfill the structural role to form are appearance of buildings and support buildings at the same time, so it was difficult to get out of logic for material and thickness of walls, arrangements and sizes of windows. However, since the modern age, architecture surface came to be freer according to the development of building technology, and development of technology changes shows tendencies to express role of new design factor as an architectural element emphasized expression and autonomy,s which was escaped from the subordinate relationship that the surface of building must do the structural function. In this study, it would be examined the expressive characteristics of various epidermis that are expressed in architecture of Herzog & de Meuron since the end of 20thcentury focused on comprehended and analyzed results of changes and characteristics of contemporary society. Through this, it would be comprehended the epidermis of architecture that has particular character expressed in modern buildings of Herzog & de Meuron, and it would be composed a certain linkage between this and characteristics of contemporary society and it would be investigated that the establishing process of inner spaces. Identification through case analysis for this would perform a role of catalyst for the new possibility and development of contemporary architecture's surface expression in the future.

• 한국디지털건축인테리어학회논문집
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• 제8권2호
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• pp.39-46
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• 2008

Current architecture can receive support of and command various ways of expression by more advanced technology of the present time, this means the formation of changeable external design of building, and has the tendency to be interactive non-rheological shape. Accordingly surface of building is decorated not only by the basic function and the expression of information, but also by complex narrative image structure or text, so far as recognizes human as the subject of communication, and is trying the artistic expression interacting with the general public. In various expressive tendency of current architecture surface design, such an approach from a view of an interactive art trying the communication between architecture, art, and human has the meaning of suggesting the direction of directing emotional architecture giving a present to the morderners who are growing more and more an earnest desire for experiencing culture and art in their daily life.

• 한국산학기술학회논문지
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• 제12권5호
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• pp.2416-2424
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• 2011

본 연구는 건축에서 모듈화를 중심으로 한 기계적 생산에서 시리얼화를 중심으로 한 디지털 생산 체계로의 변화가 어떠한 방식으로 현대 건축의 외피 디자인 영향을 미치는지를 통해 디지털 기술의 발달이 건축 외피의 매체적 표현 양상의 구축과 적극적으로 공조하고 있음을 파악하려 한다. 이를 바탕으로 헤르죠그와 디모론의 2개의 전시시설의 분석을 통해 외피의 구현이 코드화와 이를 생산하기 위한 부재의 시리얼화라는 개념으로부터 가능하다는 사실을 밝히며 외피가 이미지의 즉각적인 표상을 통해 인간과의 지각적 소통이 가능한 매체적 방식으로 구현되는 과정에서의 디지털 디자인 기술의 역할과 의의를 파악하려 한다.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.38-45
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• 2010

Surface has been an important issue in contemporary architecture. That originates in structural freedom of surface since the end of modern architecture and the current stream of surface becoming an identity of building. Development of digital-media has brought a great change to our society in general. Digital-media is characterized by use of digital-information and interactive communication. Digital-media has been applied on surface in contemporary architecture lately. It is a purpose of the study to analyze the characteristics of digital-media application on surface based on the related characteristics of installation art. The categories and the contents for the frame of case analysis were arranged through document research. The foreign and domestic cases of digital-media application were analyzed based on the frame of analysis. Digital-media, which is installed on surface, is interacted with human and surroundings. It enhances emotional communication between human and architecture. Surface is not any more a simple fixture but an interactive creature. It makes surface more dynamically and fluidly that the course of light and human movement affect on digital-media. Surface itself is also turned into an object of art. It reflects the interweaving characteristics between contemporary architecture and installation art. It was analyzed through the study that emotional level of people is the important issue shared in digital-media application on surface and installation art. The complementary relationship between surface of contemporary architecture and installation art can be manipulated by the application of digital-media on surface.

• 한국군사과학기술학회지
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• 제21권1호
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• pp.103-114
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• 2018

The operational concept of control systems on surface combatants has been changed from individual control for each system to integrated control for all systems due to computing technology development and crew reduction policy of navy. The purpose of this study is to identify current status of control technology, to analyze user requirement and to develop an architecture to support the conceptual change of ship control. An architecture, which integrates several control and monitoring systems on naval surface combatant, is proposed. The proposed architecture is focused on sharing network and computing resources related to user command, and reducing systems complexity. The architecture can be adopted to next surface combatants in Korean navy.

• 건축역사연구
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• 제15권4호
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 한국실내디자인학회논문집
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• 제17권3호
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• pp.139-147
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• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.