• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.5
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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.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.3-10
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• 2005

German architect Hans Scharoun (1893-1972) has long been known as an Expressionist Architect, but recent scholarships reveal that his architectural pieces represent a profound idea of modern functional building. In this context, his architectural tendency can be constructed as an advanced functionalism. In the early twentieth century Germany, many young architects were not given chances to build due to economic hardship after World War I, and they were naturally led to imagery sketch designs for future architecture. Scharoun began with utopian fantasies as one might easily notice through his watercolor paintings in the Glass Chain period, but further developed his vision into a more concrete idea on organic building which he believed to be a modem functionalism. This paper intends to exemplify Scharoun's modern functionalism through a detailed analysis of his design of Weissenhofhaus presented at Stuttgart Deutscher Werkbund Exhibition in 1927. Weissenhofhaus is often rebuked for its expressionist qualifies by famous critics such as Sigfried Giedion and Nikolaus Pevsner, but the house also suggests other possibilities within the Modern Movement in Architecture. In particular, Weissenhofhaus is chosen for its historical importance linking two world war eras in German modern architecture.