• Korean Institute of Interior Design Journal
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• no.12
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.162-172
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• 2004

Architects and designers of the 20th Century made various efforts to establish new design languages reflecting the changes of society, the times, and environment. They used furniture, especially chairs, as controversial items of aesthetic value, society and ideology. Le Corbusier and Alvar Aalto are furniture designers as well as architects, who adopted this ‘spirit of the times’ actively and have greatly contributed to modernism. This study will help us to understand the diversity of design since modernism, by comparing these two designers' furniture design. It also covers the common factors In modern furniture design, and analyses their individuality and likeness In design. The following is a comparison of furniture design by Le Corbusier and Alvar Aalto. Le Courbusier linked International design and Aalto linked Rational design and Organic concept design to their furniture, just as they did in their architecture. They were able to establish the base of modern furniture design by adapting new concepts and pursuing humanism. In structure, Le Corbusier's furniture Is simple and proportional. It demonstrates a sophisticated geometric composition, mechanical beauty. On the other hand, Aalto rationally linked nature with human requirements and his furniture is organic and in harmony with geometric structure. In function, Le Corbusier's furniture is standardized and prefabricated. He designed for the user so they could choose to use the furniture efficiently to suit their needs. In comparison with Le Corbusier, Aalto Invented the ‘Stacking Chair’ which allows a more effective use of space and reflected the structure of the human body to improve the user's comfort. In materials and techniques, Le Corbusier used new materials like metal or leather, and attempted new ways such as welding, prefabrication, and standardization for production. On the contrary, Alto mainly used birch, which is the traditional material in Finland, and tried new bent wood techniques and joining methods.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.12-26
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• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

• Journal of Korean Society of Forest Science
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• v.112 no.1
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• pp.11-22
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• 2023

This study was established to provide basic information necessary for ecological management to restore the naturalness of black locust (Robinia pseudoacacia L.) plantations located in the mountains of Gyeongbuk, Korea. Using vegetation data collected from 200 black locust stands, vegetation types were classified using the TWINSPAN method, the spatial arrangement status according to the environmental gradient was identified through DCA analysis, and a synoptic table of communities was prepared based on the diagnostic species determined by determining community fidelity (Φ) for each vegetation type. The vegetation types were classified into seven types, namely, Quercus mongolica-Polygonatum odoratum var. pluriflorum type, Castanea crenata-Smilax china type, Clematis apiifolia-Lonicera japonica type, Rosa multiflora-Artemisia indica type, Quercus variabilis-Lindera glauca type, Ulmus parvifolia-Celtis sinensis type, and Prunus padus-Celastrus flagellaris type. These types usually reflected differences in complex factors such as altitude, moisture regime, successional stage, and disturbance regime. The mean relative importance value of the constituent species was highest for black locust(39.7), but oaks such as Quercus variabilis, Q. serrata, Q. mongolica, Q. acutissima, and Q. aliena were also identified as important constituent species with high relative importance values, indicating their potential for successional trends. In addition, the total percent cover of constituent species by vegetation type, life form composition, species diversity index, and indicator species were compared.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.113-122
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• 2013

In this study, the traditional structure of the impact on the stability analysis. Korean traditional landscape architecture column space of stonework stable composition as the foundation of the fence for a long time been known to fall down and not maintained. The destination of research Ohgokmun Damyang Soswaewon fence which is in harmony with nature is one of the traditional structures that affect its shape without being kept so far came true. This includes our ancestral wisdom and that wisdom can guess guesswork. But I let the traditional reproduction incidence structures frequently. This deviation from the traditional method of construction application of shorthand stand. Thus, the subject of this study, the factors that do not fall down fences Ohgokmun solution is to indirectly gain the weak. In addition, epidemiological studies and the methods of calculation of the inferred physical examination, the results of the analysis were derived through the following. First, the internal factors of the fence Ohgokmun constituting the structural member and the coupling of the scheme. 1) based on stable ground. Greater role in the country rock The fact that the settlement will have no symptoms. 2) to minimize the friction caused by hydrological water to remove the two-pronged process through stone work building form and menu sustaining power in hydrology and flooding made against the bypass channel. 3) due to the load bearing capacity and durability to withstand the strength of the material and the construction of structures in the form of a dispersion of power between each individual to maximize the process of getting traction was applied. Second, external factors Ohgokmun fence the results obtained through the calculation of the dynamics of repair, is greatly affected by the wind and the water gate of the fence, but the action of the structural stability of the lack of power that hurt enough conclusion. In this study, the results of the structure of internal and external influence as well through the structure can be viewed as composed consisting. However, over the next follow-up in terms of climate and environmental factors due to the fact that the fall might.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• Korean Journal of Environment and Ecology
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• v.26 no.3
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• pp.454-462
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• 2012

This study was to research the effective use of green rooftop space, facilities and gardening, targeting members from community rehabilitation centers with disabilities. The three community rehabilitation centers studied were, Namyangju Center located in a rural area, Seoul Center located in a urban area and Siheung Center located in both a rural and urban area. We analyzed the difference in preference on the basis of each local community area. In fact, it indicated that 50% of each center knew about the green rooftop at their facilities and its use as a place for taking walks and conversation. It also showed that there was the high preference for priority objects such as a bench, pergola and trash can. Also the preference for natural visualizations like herbal or ornamental plants. The study showed a high preference to a small vegetable plot, hands on gardening and ecological wetland. It also indicated that there was a high preference for experience in nature programs on the rooftops (28.9 %) versus the rate of horticultural programs (27%). Therefore, it proves that the composition of a green rooftop at a community rehabilitation center should be differentiated so that the green rooftop can be a place not only for resting, but also great for a natural learning experience and gardening therapy for people with disabilities.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.2
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• pp.109-123
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• 2017

Due to the positive effect of forest space for child development, the creation and operation of forest activity space of various organizations is increasing in quantity; however, the research on practical space design and management program is insufficient. Therefore, the purpose of this study is to evaluate the space and management programs of the forest experience centers through the post-occupancy evaluation of teachers and preschoolers participating in forest activities. To do this, we analyzed the selected twelve sites through field survey, class observation, and interviews with forest education specialists, and then surveyed 115 forest education experts and childcare teachers for importance, performance, overall satisfaction, and space preference. In addition, we accessed overall satisfaction and space preference of twenty-nine preschoolers through interviews, photo-simulation, and questionnaires. As a result, the importance and performance of management program area was rated higher than the spatial characteristics area. In terms of group comparison, the group with active structured program rated two areas higher than the groups with free play. Preschoolers with structured programs preferred facility space, but preschoolers with free play preferred nature. Two preschooler groups rated forest activity as satisfactory. Based on the analysis results: 1) The composition of the forest activity space should ensure accessibility, safety, diversity of diversity, water space, connect to the forest road, and secure various terrains, trees, and natural materials; 2) The management program should ensure that forest activity programs have the proportional balance of structural programs and free play; also. management programs should plan for sufficient free playtime and a high share of play in the forest; and 3) Ensure the role and expertise of forestry specialists and run a program to increase the autonomy of preschoolers.