• Journal of The Korean Digital Architecture Interior Association
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• v.5 no.1
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• pp.32-39
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• 2005

Even though geographical drawbacks of Netherlands, the De Stiji Movement has been acting extensively as a composite arts movement. Furthermore, because this movement has influenced on even field of architecture, Walter Gropius, who had led to establish the modern architecture at that time, was not also able to be excluded from the influence of De Stiji movement. As a result, his works after 1922 when De Stijl movement had been acting vividly, shows a part of De Stijl style and definitely has a difference via-a-via early of his works. Therefore, this study in this point of view is on the purpose of how De Stijl Movement influenced on Gropius' works as the ideology of place and concepts in the period of both De Stijl Movement and Modern architecture style were being formed together. Especially, this study will analyze Dessau Bauhaus Building, which is the most influenced by De Stijl Style in Gropius' works, into the way of how De Stijl. was embodied to this building.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.29-35
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• 2003

The purpose of this study is to analyze the architectural manifesto and design works characteristics of Walter Gropius. He was the director of Weimar Bauhaus that one of the advanced artificial movements in the early modern period. The almost of the early modern movements was related to the radical ideology and the manifesto. Especially Bauhaus originated from manifesto of artists teaching group with architect Walter Gropius. Therefore, the category of the study pitch upon Bauhaus architectural manifesto - Bauhaus Manifesto and Programme(1919) - and the representative works of Walter Gropius - Fagus Factory(1911-14), Dessau Bauhaus Building(1925-26), Siedlung Berlin-Siemensstadt(1929-30) and Harvard Graduate Center(1949). The conclusions of the study as per the above mentioned pill pose are the dynamic integration by non-symmetry in cubic form (formal characteristics) and organic continuity by reciprocality in transparent space (spatial characteristics).

• Journal of the Korean housing association
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• v.27 no.3
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• pp.11-22
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• 2016

In Germany, during the modern architectural movements diverse experiments for the propagation of modern housing solutions were conducted that succeeded to the spirit of Bauhaus. Therefore, the study traced how Walter Gropius adopted the trends of architectural style and aesthetic, the concept of production, the concept for new typology of housing, and issues in urban architecture. According to the results, processes to the 'sachlich' style could be seen in the cases of early and latter works of detached houses and further aesthetic changes of later works. Second, Gropius expanded his design field from detached houses to multiple dwelling and it was accompanied by typological transformation of buildings considering the industrialization and production of housing. Third, in the cases of multiple dwelling, it could be identified that site planning of housing complexes and building arrangement reflected a shift from traditional urban pattern to new alternatives suitable for mass housing supply. Thus, changes in the genealogy and propensity of German residential designs were partly summed up and their implications on modern housing architecture were discussed.

• Journal of architectural history
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• v.13 no.4 s.40
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• pp.75-88
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• 2004

The German Werkbund, which was founded in 1907, played an important role in the history of modern architecture. Its exhibition 1914 in Cologne is estimated as a meaningful event in the development of modern architecture. Especially two examples, among which were built at that time, are worthy of notice. The one is the 'Modelfactory' by Walter Gropius and the other 'Glashaus' by Bruno Taut. Generally in the Textbook on the history of modern architecture, the Taut's Glashaus is rarely mentioned or described as a early example of some expressionistic architecture, while the Modelfactory by Gropius is regarded as an essential workpiece in the early stage of modern movement. the time of searching alternative not only from rationalistic modernism but also postmodernism and today in the time of plurality, Taut's Glashaus could bring us more interesting and meaningful aspects in architectural design. Through investigating the background in the planning stage and analysing the composition of space, construction, circulation etc. it is to try to understand the building as really as what it was. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; what should be reflected in architecture and how could 'Zeitgeist' be architecturally adopted?

• Journal of architectural history
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• v.16 no.5
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• pp.41-54
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• 2007

The Fagus Factory at Alfeld on the Leine in Germany, which was built in 1911 and 1914, is a well-known and very important object in the history of modern architecture. Alan Colquhoun mentioned that it is "prophetic of the 'objective' (sachlich) Modern Movement of the 1920s". Vittrio M. Lampugnani evaluated it as "a Pioneer building of the architectural Realism". Most of historian of architecture explain that these achievements were accomplished mainly by the master architect Walter Gropius and sometimes by his co-worker Adolf Meyer. Through investigating the background in the planning stage and the process of design it is to try to find out what is truly happened during the project time. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; who or which elements have influence on the Fagus Factory? and what kind of problems can be caused by the digested architectural history?

• Korean Architects
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• no.9 s.47
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• pp.20-25
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• 1972

-편집주- ㆍ이사진들(ARCHITECTURE WITHOUT ARCHITECTS)은 1964년 11월 9일부터 1965년 2월 7일까지 약 4개월간에 걸쳐서 미국의 현대미술관에서 전시된 작품들로서 이 전시회는 현대미술관의 국제부의 협찬하에서 건축가 B. Rudofsky가 연구, 제작, 편집, 전시 및 디자인까지 도맡아 완성한 것이며, ㆍ이 비형식적이라 할 수 있는 건축물의 전시를 함에 있어서는 죤ㆍ시몬ㆍ구겐하임재단과 포드재단의 재정적인 지원을 받아서 이 계획의 연구를 이룰 수 있었으며 또한 건축가 Walter Gropius, Pietro Belluschi, Jose' Luis Sert, Richard Neutra, Gio Ponti, Kenzo Tange 등의 열광적인 협조와 추천으로서 이들 작품의 전시가 가능했다고 한다. ㆍ본 자료를 제공해주신 조창한 선생님에게 감사를 드립니다.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.16-22
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• 1996

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

• Korean Institute of Interior Design Journal
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• no.30
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• pp.59-67
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• 2002

Marcel Breuer is considered one of the most important furniture designers of the 20th century. He studied at the Bauhaus in Weimar from 1920 to 1924 and in 1925 became master of the furniture studio at the Bauhaus in Dessau. Virtually from the outset, he was one of the most prolific and inventive designers at the bauhaus and fulfilled its claim to create designs for serial production. Gropius, the Bauhaus founder, had a profound influence on his furniture designs. In 1925, Breuer created the tubular-steel armchair, which revolutionized design and technique in the field, marking the advent of a new era. The furniture that was developed, by him and by others, from this design - technically cool, but light, elegant and clear - became the very symbol of modernism. Despite the success of his tubular-steel furniture, Breuer went on to explore the use of other new materials, such as aluminium and plywood. He made use of these new materials, which were associated with new technologies, to create new forms, as it were, some which proved to be foreunners of later developments in furniture design. Breuer had a profound influence on the evolution of modern design through his furniture designs, which received worldwide recognition and acclaim. His work unified functionality and beauty in a way that was to become a valid expression of its time and simultaneously far ahead of it.

• Archives of design research
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• v.12 no.3
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• pp.29-40
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• 1999

Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

• Journal of architectural history
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• v.12 no.2 s.34
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• pp.41-59
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• 2003

Hugo $H\"{a}ring$(1882-1952) belonged to that special generation of architects born in the 1880s which became responsible for the establishment of Modern Movement in the 1920s as W. Gropius, Mies van der Rohe and Le Corbusier, etc. Although he have been overlooked by many historian, He was a key figure of the Modern architecture and as the main theorist for Organic stream in German architecture. He is well-known for his theory of 'Neues Bauen(New Building)', the organic functionalism that is epitomized as the design process from the inside outwards, starting with the life-processes of dwelling. So he argued that the builder must become aware of the life process his building is to serve, and he should not impose a form but try to find the form. These concepts are expressed well in his key-words, the 'Organwerk(organ-work)' and 'Leistungsform(form as achievement)'s. $H\"{a}ring's$ theory can be found in the short early essay, 'Wege zur Form(approaches to form)' of 1925. But His concept of 'function' is based on the speciality and individual identity that concerned him from the start, not purely pragmatic aspects. After 1940s his theory moved increasingly in this direction. He defined this as the transition from 'Organwerk' to 'Gesetaltwerk', from mere anatomy to essence, being, personality, life. It suggest that Hugo Haring's idea of Gestalt is a dimension of mystical or symbolic meaning. This paper Is about the way in which this theoretical transition can be parallel with contemporary philosophers as E. Cassirer's philosophy of symbolic forms and M. Heldegger's phenomenology. And the key example of this viewpoint is (1921-1926) near Lubuk in Germany, with its 'cowshed' of pear shaped plan devised around the requirements and rituals of farm. This study presents the symbolic conception of Hugo $H\"{a}ring's$ theory can propose the ability of a symbolic intuition as a view that re-integrate technical thinking with knowledge of other kinds beyond the immediate material.