• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.10-20
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• 2007

The materials on the development of modern architecture in Korea are being collected and organized in a systemic fashion. However, this is not the case with the materials relative to interior design. They are gradually disappearing or being lost. In particular, no serious attempt has yet been made to determine the characteristics and historic value of the interior design of the modern bank buildings. The purpose of this study is to trace the disappearing legacy of the interior design of modern bank buildings by learning the inner space arrangements of these buildings and the characteristics of modern interior design in order to determine the historic significance of modern commercial interior design. Banks of relatively large scale were selected for the purpose of this study. They consisted of: Chosun Bank(1911) and its Andong, Wonsan and Cheongjin branches; Chosun Shiksan Banks and its Busan, Daegu and Pyongyang branches; the Busan branch of the 18 Bank; Dongil Bank, Chosun Savings Bank(1935) and their branches. The study focused on the space arrangements and design characteristics of these banks. Although they aimed at modernization in designingtheir interior spaces, the modern bank buildings were not representative of any particular style of interior design. While western style designs were prevalent, eclectic designs incorporating many different styles existed. The characteristics of the interior design of banks of the time included installation of such decorations and use of high quality construction materials for interior and exterior expressing the wealth as to create an aura of credibility for the banks, while the floor arrangements were relatively stereotyped and simplified.

• Journal of the Korean Home Economics Association
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• v.47 no.6
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• pp.79-90
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• 2009

The purpose of this study was to improve the understanding of housing experiences of the married women in Korean sociocultural context and to explore their housing mobility. The grounded theory was adopted in this qualitative study. Data were collected through in-depth interviews with the seventeen married women. The major categories found in the data are 1) the inducement of housing mobility, 2) social constraint and opportunity, 3) the strategy and resource of housing mobility, 4) the intervening conditions, and 5) self-evaluation of their own housing life history. People construct their housing life history toward home ownership. There are a few factors to induce housing mobility, and social constraints and opportunity have an effect on obtaining home ownership. They utilize the diverse strategy and resource to solve their housing matter. Through interview, it is founded that they evaluate their housing career in the light of their life through interview.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.137-149
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• 1998

Human history show the whole society changed rapidly and found that the momentum and foundation of such change is " the advanced technology ",which is, the advanced knowledge. The world is newly established based upon openess, spaclalization and globalization, and the each nation and company should have to adopt all the existing frames to follow the new world reality. Today is the changing period from industrial society to information society, and information technology plays a great role. As the information society moves ahead, world economy and social infrastructure will be based upon network society and various information systems will make an integrated information system. This paper presents that to establish interior design related information in the age of information with radical change of previous way of thinking, cooperative information exchange system. Also substantial and effective communication systems should be made and continuing cooperation system of interior design information area should be formulated.d be formulated.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.90-95
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• 2005

Tradition is defined as cultural qualities of a regional social group a race, which is transmitted from generation to generation through history. The purpose of this study is grasp of the tendencies of expressional methods of korean traditionality in contemporary korean interior design. Therefore, this study analyzed expressional methods of korean traditionality according to observing the cognitive activities in design process of korean primary designer's works. As a result, it seem that expressional methods of korean traditionality using a traditional space construct and properties of materials.

• Korean Institute of Interior Design Journal
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• no.4
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• pp.22-26
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• 1995

The objects of this thesis are to examine the ways of applying the postmodern theory into the contemporary de-signing based on the korean culture and history. As the results of this study Ⅰfound the expressions of the postmodern design has much value to communicate because of the importance of the aesthetics. One of the most important postmodern design concepts, the historical allusion is also accepted as an aspects of new "ism" after modernism. In applying the historical motives the problem is that we must understand the meaning of ways of life and culture included the external ornaments. Finally if we consider not only the hardware aspacts but also the software aspects - society, history, region and culture - we can make our postmodern design lan-guages.

• Journal of the Korea Furniture Society
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• v.13 no.1
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• pp.61-69
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• 2002

Compared to the fields of Interior Design and Architecture, there have been very few research studies peformed to analyze the history of furniture design in Korea. If our Country wishes to become a participant in the world of global furniture design, it will be necessary to perform more offensive research in both the design of furniture, as well as a complete documentation of our Country's history of furniture design. This study aims to detail the method of chair design by analyzing two examples of chair design. The study, once complete, will be a reference for furniture designers as a practical method, and will become basic material for ongoing studies of the Programming for chair design.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.81-89
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• 2010

The problem of defining the relationship between interior space and exterior envelope of a building has long been a challenging task in the field of architecture throughout its history. This research chronologically reviews some of the important turning points in various schools of thoughts concerning construction of exterior envelope, with focus on how they influenced and altered the formation of our interior environment. This research also stipulates on how technological advance in the late 20th century laid grounds for a new type of interior-exterior relations in architecture through creation of flexible and ambiguous boundary conditions. The focus of this qualitative research will be on contemporary works of Japanese architects Toyo Ito, SANAA, and related group of architects who address the issues of transparency, flexible interior layout, buffer zones, structural facade, and neutralized (homogeneous) space that produces spatial quality of non-linear, non-hierarchical, and de-materialized space as a direct alternative to modern principles of space making.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.20-28
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• 2005

This paper investigates that the ambiguity of the boundary between interior space and exterior space in architecture appears universally in history and reveals the various aspects of ambiguous boundary in architecture. The space is formed by the relationship with the surroundings and the boundary of two opposite spaces is apt to be ambiguous according to lots of complex factors. Before Modern Architecture the boundary of interior and exterior space had a tendency to be ambiguous by modifying compositional method of material boundary, that is semi interior-exterior space, the reversion of interior and exterior space and space in space. After Modern Architecture the meaning of physical boundary in space is lost along with dissolution of boundary over the society and the boundary of space comes to be dematerialized by the technology and the change of space perception. The phenomenon of deconstruction in spacial boundary accelerate increasingly according to fluid space, mutually interpenetrated space, visual transparency and adjustment of layers. And contemporary technology is collapsing the meaning itself of space division fundamentally.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.46-55
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• 2012

This study aims to analyze the design concepts of Libeskind's Jewish museums through their comparisons for figuring out his design intentions and characteristics in the realization process. Libeskind's realized four Jewish museums are chosen for this study. For more concrete study, their extracting and application process are also reviewed. The comparison of his museum designs can be good examples in that they show different design approaches on the same architectural type, Jewish museum, to tell their something in common from differences. He could realize his architectural thoughts and configuration methods made by experimental drawings for the first time as real buildings through a series of Jewish museum projects. The commonness of Libeskind's Jewish museums lie on their sharing design concept of Jewish 'history and memory', especially Holocaust, and realized as in contrast to surroundings and 'labyrinth' of spatial configuration to maximize spectator's experiences. As Libeskind regards museum architecture as a carrier of 'time and place', he tried to reflect surrounding context including places, cities, persons and events about museum programs. As a result, unprecedented museums which are not related to traditional museum systems about circulation and spatial configuration are suggested for users to experience Jewish life and history through architecture.

• 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."