• Architectural research
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• v.13 no.4
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• pp.3-10
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• 2011

This research focuses on how the 'Koreanity' inherent in many traditional Korean houses of the upper class is expressed in contemporary 'Korean-style' houses, and how aspects regarded as configurational characteristics of traditional houses are expressed in them. Three types of Korean house (traditional upper class, contemporary Korean-style and contemporary architect) are quantitatively analysed using the space syntax method to investigate of the spatial configuration and their syntactic properties. The research results show that the spatial configuration of traditional houses is more integrated than that of contemporary houses. Furthermore, contemporary Korean-style houses are similar to architect's houses in terms of their spatial configurations. The configurational analyses reveal that the way in which spatial configuration is expressed in contemporary Korean-style houses is significantly different from traditional Korean houses. This result is in direct contrast to the architects' claim that their houses maintain the configurational chracteristics of traditional Korean houses.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.1
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• pp.41-48
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• 2010

A house is basic unit of human being living space and it reflects an occupation, family relation, a life style and sense of value of resident. The purpose of this study was to research the continuity of traditional elements and contemporary change of Japanese houses by field study and literature research. The subject of this study was sixteen houses of Miyashiro, Saitama pref. in Japan. The results of this study are as follow as. First, the traditional elements of contemporary Japanese houses are tatami floor room, tsuzukima, zashiki, dokonoma, butsudan, amado. Second, the tatami is symbol of Japanese living space. Wasizus maintains a traditional characteristic, but it is developed and fixed properly change in contemporary life. Third, the traditional elements of Japanese houses are continuing in the modern houses, and they are continuously changed the feature from recreate. It can be a connection of a hereditary factor of residential culture. Four, the continuity of modern change and traditional element of the Japanese houses can be understood the change of the structural and spatial responding method to accommodates a life.

• Journal of the Korean housing association
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• v.5 no.2
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• pp.77-86
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• 1994

The attempts in pursuit of humanity in contemporary architecture brought about meaning to the 'Locality as a main conception which opens new potentiality at this confused period. Contemporary housing design should meet the indigenous ‘Locality’ of the building sites environment. An adequate adaptation to the ‘Locality’ will bring more efficient use, lower running-costs, and longer durability of original beauty of the houses. Our contemporary houses should admit general requirements at this time and they should be expressed through not only space but also form and design. Finally, we must find the direction of elevation planning of Korean contemporary houses, inquiring into design elements of ‘Locality’ in the view point of transformation and analyzing how the elements are represented in contemporary houses. This research was aimed to find how to optimize an elevation design of houses in adapting to the Korean indigenous ‘Locality’ in order to create a domestic housing design suitable for Korean life style, however, one cannot ignored elements of the Korean traditional mode of living.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2002.04a
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• pp.159-162
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• 2002

In the middle of 1940s, Hassan Fathy, a great Islamic contemporary architect, built cheap multifamily houses, schools, mosques and public market in the village of Gourna, near Luxor, Egypt for the poor Egyptian. At that time the western style houses made of concrete materials were so expensive for the Egyptian people in the rural area, that Hassan Fathy, a young architect, challenged to build the houses for them. He considered seriously the expenses that the lower-class Egyptians in the rural area could pay for building houses. He built up gorges arch-style building and done-style building by using traditional materials, which consisted of reeds, roues and mud brick for adobe. He made the design of houses cool in summer and warm in winter. The houses in the Gourna village were, afterwards, highly evaluated, in the sense that they represented the Islamic uniqueness of architecture and its beauty. As a result, the Gourna village made him receive many of awards including the Aga Khan Award. This study tries to focus on the reviewing of modern Islamic architecture by analyzing Hassan Fathy's architectural art, on the investigation of traditional materials used for building the Gourna village, and finally on the contribution for the research of Islamic architecture

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.130-140
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• 2006

The purpose of this study was to compare the houses of Richard Meier and those of Mario Botta to identify the features of their houses. To identify the features of their houses through comparison, it was most important to understand the influences of their masters on them. Based on the lessons they learned from their masters, their houses were compared and analyzed. The findings were as follows. First, both their houses illustrated the principle and language of Le Corbuiser. They extended the principle and language of Le Corbuiser with their own thoughts and ideas and applied those to their houses. Second, the difference between their houses arose from the influence of Louis Kahn and Carlo Scarpa on Botta and the influence of Mies van der Roeh on Meier. Botta who was taught by Kahn and Scarpa was able to develop his expressive and heavy style of brick house, while Meier who was influenced from Mies was distinguished for his cold, transparent, sleek and contemporary style of house. Third, they both showed outstanding abilities to integrate the principles and languages of their masters in their own creative ways, when developing their own styles of houses. While Volume of Corbuiser, skills and languages of Kahn and Scarpa were put together in Botta's house, the Corbuiser's feature of sectional variety and the Mies' feature of sleek and transparency were overlapped in Meier's house. Fourth, while new expression shown in Botta's house was achieved in the process of integrating the languages of Kahn and Scarpa, new expression shown in Meier's house was created mostly in the process of taking and applying materials and languages from contemporary times.

• Journal of Families and Better Life
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• v.24 no.2 s.80
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• pp.137-148
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• 2006

The current study proposesto examine the external appearance types of urban-style hanok in the Bukchon Hanok Preservation District according to their use. For this purpose, we conducted a field survey from the 12th of September to 10th of October 2005, which investigated the location, condition md use of urban-style hanok that were being used for non-residential purposes. The external elevation of the houses were observed and photographed. The results are as follows. First, there were 158 urban-style hanok used for non-residential purposes and200 cases of non-residential use. There were 69 cases of food and beverage spaces, 58 cases of small retail businesses, 38 cases of cultural facilities and 7 cases of convenience facilities. Second, among residential urban-style hanok used for non-residential purposes, 131 cases changed the external appearance of existing urban-style hanok and only 69 cases maintained the original appearance of urban-style hanok or renovated the appearance fittingly to non-residential use. Among the renovated cases, 59 involved the construction of a firewall and 10 cases involved remodeling in a contemporary style. Among the transformed cases, 40 cases exhibited a full opening to the roadside, n involved the change of external appearance components, 14 involved the extension of the courtyard and 12 involved overall improvements to a contemporary style. Third, in the case of cultural facilities and offices, many instances reproduced an urban-style hanok in the traditional style, but small retail shops and food/beverage spaces showed serious deformation. Particularly small retail shops opened the side to the road or extended the courtyard regardless of the location of the houses in order to increase the store space and, as a result, severely damaged the urban-style hanok. In addition, many food/beverage spaces remodeled their external components using tiles, bricks or metals, which were easy to maintain.

• Architectural research
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• v.16 no.1
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• pp.1-8
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• 2014

Although Feng-Shui has been widely used in architecture and urban design and planning for thousands of years, it has not been properly studied as a scientific and thus rational approach. Feng-Shui has been recognized as an environment-friendly design and planning method in recent years due to its thoughtful consideration on the harmonious relationship between architecture and the natural environment. This study investigates its major principles and techniques that have been widely used in the design of houses through previous relevant researches. Then, the principles and techniques that are relevant to the residential uses are indexed for the quantification of Feng-Shui. Ten Feng-Shui indices are formulated and each index is quantified to make five points for a perfect match. These indices are then tested on three different types of house in Korea, namely traditional Korean houses, contemporary Korean style houses and contemporary architects' houses. The result shows that the first type of house records the highest Feng-Shui points and then the second and third types in that order. This result convinces us that the Feng-Shui indices can very effectively represent the degree of environmentally friendly design.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.150-169
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• 2012

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of 'architecture for fashion' in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, 'Armani Group', 'PRADA' and 'Comme des Garςcons.'

• Journal of the Korean housing association
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• v.6 no.2
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• pp.191-204
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• 1995

On this research. The method of space analysis(Space syntax) is used to investigate the relation between composition and configuration in the houses of four modern architects. Space analysis represent that the houses permutate the morphological properties of depth and rings to embed domestic fuctions within the hoe and to interface household memgers. Two of the house are judged to be well composite but banal: The other appear more inventive in relation compositinal principles to space configuration, to create a measure of subtlety and richness in life style which is lacking in the examples where form is manipulated in the abstract. On this research. It is discoverd that Knowledge of both the internal laws of form and the social logic of space is required to generate the practical conjunction of formal rigour with fuctional ease which we recognise in the houses of architects.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.32-38
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• 2004

The value of the Tosi-Hanok have recently been appreciated and accordingly the resultant studies have actively been conducted. This is an attempt to probe our architectural type haying identity through our traditional architecture in Korean society that pursues only something new. But owing to the infusion of foreign cultures and modernization, the archetype of Korean-style house has either been damaged or indiscriminately transformed without the establishment of its proper norms. The understanding of the value of traditional cultures has gradually increased, and accordingly effort to preserve Korean-style houses through legal regulations or systems have continually been made in terms of appearance or cityscape. For this reason, it is thought that it Is insufficient to present the direction or alternative to preservation in relation to the change or use of the interior space with the pattern of requirement for other programs other than dwelling. Therefore, this study attempted to find out the original meaning of Korean-style house by highlighting the advantages of Tosi-Hanok and supplementing its disadvantage while accommodating the diverse requirement for programs as contemporary residential space. And it was intended to propose the model for Tosi-Hanok that accommodates social changes in content while maintaining its meaning by analyzing the Tosi-Hanok with a focus on interior space and preserving historical continuity on its basis.