• 한국주거학회논문집
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• 제5권2호
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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.

• 한국주거학회논문집
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• 제26권2호
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• pp.81-88
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• 2015

The purpose of this study was to investigate the possibility of applying the planning characteristics of Neowa houses to contemporary residential structures. Contrary to the popular assumption that traditional Korean houses have decentralized plans, local building traditions observed in Neowa houses show that the diversity among hanoks allows the incorporation of traditional spatial organization into the contemporary residences. By analyzing the spatial organization of Neowa houses, three advantageous planning characteristics were found. First, the presence of indoor wooden floors (maru or daechung) as well as outdoor wooden floors in Neowa houses is practical for Korea's weather marked by humid summers and icy winters. Secondly, the internal orientation of space in Neowa houses is more appropriate in the contemporary context of a highly urbanized society emphasizing family privacy. Thirdly, the flexibility and interchangeability of interior elements can be applied to improve efficiency. By applying the aforementioned characteristics, this study suggests ways to adopt traditional features to improve contemporary residences.

• 한국주거학회논문집
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• 제23권6호
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• pp.39-47
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• 2012

In this study, it was analyzed that, the way of securing publicity and privacy in family and type of public space of the Japanese contemporary detached house, by the composition type of family from one person home to four generation family home. Mostly the living room is made as open plan of LDK type. Mostly, the entrance hall is separate with living room. Even if the case of the entrance hall is connected with living room, it is planned to be recognized as entrance hall, by making entrance poach or connecting it with stair hall. In many case, the public space is designed as traditional Japanese style, such as wellhole style space (吹拔け), courtyard, and Japanese style room (和室). The Japanese style room is adjacent to living room, and used as the space of receiving guests. The wellhole style space and courtyard are recognized as the center of the house, and used as buffer space for ensuring privacy of each generation. The most different point between bachelor house and multi generation family house is another LDK space, living room or kitchen for parents' generation is made separately. Particularly there are many case of making separate small kitchen space, therefore it can be known that, the separation of kitchen space is recognized more importantly than that of living room. And there are many case of making separate entrance hall, two houses under one roof. The spatial composition like this can said as rational method of ensuring the privacy of each generation, and using the public space together as necessary.

• 한국실내디자인학회논문집
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• 제15권5호
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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.

• 한국주거학회논문집
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• 제24권6호
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• pp.33-40
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• 2013

Hiroshi Hara is one of the most famous architect in the history of contemporary Japanese architecture. During the 1970's beginning with the Awazu Residence (1972), he designed a series of symmetrical houses, the so called 'Reflection House'. All the houses in this period were based on the method of 'reflection' and 'inversion', which means a radical reversal of the accepted notion that houses are parts of cities. A concept of "A house within a house" is expanded to "A city within a house". The important spatial characteristics of 'Reflection House' are main internal core and valley-like spaces forming internal urban streets by bringing natural elements and the components of streetscape such as plaza, open space, context of street facades and so on. This procedure is called as embedding 'city' into 'house', Hara mentioned. This paper investigates the outline of the 'Reflection House' and analyses the completed works of housing that were based on the theory. Then in the final part of the paper, the implications of 'Reflection House' and its influence on his later works of following period will be discussed.

• 한국의류산업학회지
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• 제20권2호
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• 한국주거학회논문집
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• 제13권4호
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• pp.19-26
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• 2002

Despite its relatively small size, at least compared to other architectural programs, the house figures large in the cultural imagination. Closely identified with the individual and nuclear family, it has been frequently considered as an expression of widely held, even universal, values. Conversely, the private house has also been emblematic of more subjective desires, that change not only from person to person but from generation to generation. Certain conclusions can be drawn about the status of the private house at the end of the century, both as cultural invention and as a product of the autonomous discipline of architecture. The contemporary loftlike living space is similarly associated with work, given its emergence as an alternative home for individuals wanting space in which to live and work. In the case of what might be called the "un-private house", it is ofen a digital presence and the change of family system. This study was conducted to define the un-private house through public/private. The architectural characteristics of un-private house are as follows; 1) Alternatives- large open space with multiple function and collective free plan 2) Dematerialization- steel and glass with visual openness and ambiguity 3) Digital & Interfaces- fold and screen using technology and program. Especially, the un-private house is designed to provide individuals with emotional, superficial, and synergistic space, focusing on the personal life-style.

• 대한건축학회논문집:계획계
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• 제35권5호
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• pp.3-10
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• 2019

This study is purposed to analyze of House Vision exhibition and projects in Japan. The contemporary residence has been planned and designed with fixed territory and boundary of rooms. According to the symposium of House Vision, the spatial boundary can be studied in the aspect of territory that molds the experience of residents. So, this study reviews Aldo van Eyck's concept of 'in-between'. Through the analysis, House Vision exhibition is revealed that the housing models present architectural characteristics of middleware and third place. The cognition of internal and external boundary stems from movements and activities of residents. That is the dwelling and residential space determined by users and residents. In this regard, 'in-between' of House Vision has structures(multilayer) causing various relationships to be perceived, so as to connect with the dwelling and activities of residents. As a result, it has relational meanings of sharing, as well as makes possible other community life to be done. According to the projects of House Vision, the units and cores have created the new connections and relationships between privacy and publicity. In conclusion, this research shows a new direction of the spatial strategies on House Vision exhibition in Japan.

• 디자인학연구
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• 제20권2호
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• pp.17-28
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• 2007

Despite a current fascination with East Asian iconography such as Zen Style among contemporary designers, there is a lack of genuine cross-cultural discourse that could enable us to share essential design experiences. To bring the discussion a deeper level, traditional Japanese tea-house in its design philosophy of body-mind interplay is explored. Tea-house is a superb manifestation to reveal a holistic understanding of the world. Nondualistic realization is generally associated with the dominant tendency of traditional East Asian philosophy, namely the view that the self and environment, and that the mind and the body exist in unity. The essence of tea-house is not in its poetic style or meticulous details, but in its unmistakably monistic approach of creating inseparable form, function and meaning. Tea-house bestows dignity upon restraint, imperfection, discomfort, poverty, and even humility. This concept offers a tremendous insight since it implies that the rational and effective design solution to the greatest degree is not sufficient. Perhaps the most challenging question about tea-house is: How does our experience with human-made 'design' in the broadest sense help both our body and mind attain a full harmony of being? It is the heading which this research inquires.

• 대한건축학회논문집:계획계
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• 제36권4호
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• pp.3-11
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• 2020

The fireplace has been inseparable from the wall. Therefore, the fireplace, which is independently revealed in the living room, is unusual and exceptional. According to the concept of "Served-Servant space" by Louis Kahn, "Servant space" is conceived as an inhabited thick wall and completely separated from "Served space." The fireplace is an apparent servant element, but in Fisher house, it is considered as the single, remarkable and major element composing the house. Paradoxically, this scene of the living room is in conflict with Kahn's ideas on "Servant space." This study sheds new light on the independent fireplace in the conflicting relationship and suggests the similarities with the contemporary cases-Le Corbusier & Philip Johnson-in terms of the stand-alone "Servant element." In the end, the independent fireplace of the Fisher house has transformed into an essential element of the house, as Kahn said that "I feel it[fireplace] represents the presence of a man and therefore is of home."