• Architectural research
• /
• v.15 no.3
• /
• pp.133-141
• /
• 2013

The purpose of this paper is to highlight the main policies of the last half century that have shaped the urban architectural fabric of Seoul today, and explore whether a modified approach might better address the current socioeconomic conditions in Korea. The paper defines and examines urban planning in Korea through an overview of the four main urban project policies implemented in Seoul from the 1960s to the present: Land Readjustment (LR), Housing Site Development (HSD), Urban Redevelopment (UR), and Housing Reconstruction (HR). While the fundamental ideology behind these policies served well during a prolonged period of high economic growth, evidence is growing that these policies are losing steam under today's conditions. A growing legacy of stalled and incomplete urban projects from the mid-2000s-the New Town Project is an example-begs the fundamental question as to whether an alternative urban planning paradigm is needed for Korea in an age of low economic growth, low birth rates and a fossil fuel energy crisis. Through the urban morphologies of the three residential areas in Seoul developed by LR projects, this paper looks at the possibility of urban regeneration through the sustainment of urban architecture in those residential areas that have not been affected by HSD, UR, and HR.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.42 no.6
• /
• pp.60-71
• /
• 2014

In this study, on the assumption that the urban park originally is imbued with a public welfare ideology, said public welfare ideology and its characteristics were attended to among the various social roles that the urban park currently fulfills. Aspects of welfare meaning in urban parks were attempted to be identified with the former history of urban parks and the movements of the connections between modern parks and welfare territories. The ideologies, benefits and practices regarding the welfare role that the urban park has played from the past to the present were examined and the backgrounds and contexts within which the welfare ideologies have been expressed in the urban park were examined. In order to examine the implicated public welfare ideologies of the urban park, case studies were conducted to identify how they are expressed and practiced in the present times and the facilitation of these parks and public welfare both in the U.S. and the South Korea. The study results of the cases show that expressions of public welfare in urban parks are composed of more specific and visible programs and strategies in the present times, which are different from the simple proclamatory ways in the past. Particularly, in order to visibly practice a public welfare ideology, many-sided integrated designs are conducted along with various public welfare institutions and programs inside and outside of the urban park. The conclusions from this study are as follows. First, the urban park plays a role as a space to realize public welfare ideology, to create welfare benefits and to realize social welfare. Modern urban parks are used as an indicator to measure the actual conditions of social welfare and are a social environmental commodity that can offer universal benefits to urban residents. Second, many-sided integrated designs are tried along with various public welfare institutions at urban parks, which visibly practice public welfare ideologies in the present. In addition, public welfare institutions greatly influence the consistent development of the resources in the urban park. Third, if the detailed utilization of the regional facilities infrastructure could be brought along with multidimensional approaches about the resources in the urban park, it could be much closer to the lives of residents and could secure a space for increasing resident quality of life.

• Journal of architectural history
• /
• v.21 no.1
• /
• pp.135-154
• /
• 2012

The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.36 no.3
• /
• pp.31-38
• /
• 2020

The purpose of this study is to compare between professionalism in medical field(doctor) and architectural design field(architect) in Korea through synchronic and diachronic analysis, with basic requirement of expertise and systemicity, attitude requirement of the publicness, and structural requirement of exclusiveness and autonomy. The medical professionalism adapted by Korean government in the early period of modernization evolved from Western's professional expertise is highly divided as economy grew and society changed. In comparison, architecture was divided into architecture, urbanism, landscape, and interior architecture. Additionally, architectural field was subdivided with architectural design, engineering, construction, structure, and facilities, but architectural design focused on generalized education and practice system. From the systematical point of view, architectural design field has changed profoundly from architectural engineering as 5 year undergraduate educational system was introduced with Korean architectural accreditation. The publicness is approved through health service in medical field and safety and the public domain in architectural design field, but in reality the professionals are viewed as economic interest groups. Hence, the professionalism in both fields is required to reinforce ideology and ethics, and to practice concrete measures for publicness. Compared with the unified organization of medical field, architectural design professionalism faces various difficulties in unifying the organization, such as internal competition caused by tightened architect's requirements, along with external problems from architectural design permission demands of construction companies. In medical and architectural design professionalism, with the appearance of consumerism and stricter governmental regulations, the autonomy is weakened. From the result of comparative analysis, Korean medical field became extremely subdivided and specialized in each department, therefore integration of each disease and establishment of centers are proposed as solutions. By contrast, the reinforcement of expertise in architectural design professionalism might be necessary to strengthen autonomy caused by governmental restriction, and to form architectural culture and secure public architecture.

• Journal of architectural history
• /
• v.15 no.4
• /
• pp.37-56
• /
• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.4
• /
• pp.93-102
• /
• 2019

In 1960s Russian avant-garde architects such as Moisei Ginzburg, Konstantin Melnikov and Ivan Leonidov were rediscovered in the western architectural society. In this period Rem Koolhaas investigated the projects of Ivan Leonidov with great enthusiasm. In late 1920s and early 1930s when the hope and fantasy to the social revolution and technology reached the climax, The third generation of Russian avant-garde intended to find the new synthesis of the technology, the form and the social ideology. In this context, Leonidov proposed audacious projects from the small scale to the urban scale in the influence of Malevich's suprematism, Vesnin's technological fantasy and Ginzburg's concept of "social condenser". These projects seriously affected Koolhaas. This relationship of Leonidov and Koolhaas was indicated but not investigated in concrete manner. This study intends to analyze the projects of Leonidov and to investigate the relationship of Leonidov and Koolhaas in Delirious NewYork and in the projects of Koolhaas. We will analyse this relationship in three categories : hedonistic technology, social collectivity and pure geometry.

• Acta Via Serica
• /
• v.9 no.1
• /
• pp.139-160
• /
• 2024

This study delves into the concept of cultural hybridity, using the Great Mosque-Cathedral in Córdoba, Spain as a unique case study. This monumental site stands as a testament to the convergence of Islamic and Christian architecture and ideology, a phenomenon that is often discussed in modern contexts. However, this study takes a step further, examining cultural hybridity across historical epochs to reveal its persistent relevance in shaping social and cultural landscapes. Originally a mosque transformed into a Christian cathedral, the Great Mosque-Cathedral is a prime example of this phenomenon, reflecting continuous cultural, architectural, and ideological exchanges between the two religions. This paper meticulously analyzes how the structure's architectural elements embody these exchanges, such as its ornate mihrab and unique double-arched columns. By integrating theories of hybridity with a detailed architectural and historical analysis, the study argues that the mosque-cathedral is not merely a physical space but a dynamic medium through which cultural negotiations and adaptations are articulated. The findings underscore the complexity of cultural hybridity, challenging simplistic interpretations of cultural exchange and dominance, and highlighting the mosque-cathedral's role in ongoing debates about identity and heritage in contemporary society. This comprehensive examination contributes to academic discussions on hybridity and enhances our understanding of cultural resilience and transformation through architectural spaces.

• Korean Institute of Interior Design Journal
• /
• v.15 no.1 s.54
• /
• pp.3-11
• /
• 2006

After the 60's, The discourse of the Art of Reception, semiotics, and epistemology have been made steady progress. Especially, the Art of Reception which emphasizes the role of reader in the process of understanding the text, had made the significant role of the Border Dismantling in the Architecture. Its concept can be difined as the free interpretation of each individuals on the art works, that abhors the one-directional systems between reader and writer. This study analyzes the meaning of 'Borderness dismantling' as a molting the center of the world of God, center of Ideology, center of ration in the pluralized and center-cracked world. and also means vague border, no limitation, and overcoming, which make people participate together to overcome the estrangement. The process of study inquire into the phenomenon of fragmentization, indeterminacy, continuitiness, hybridization, mutual penetration, Rhizome and complex allegorization(the process of humanization) Looking back of architectural history, in the origin of those phenomenon, there is the etching works of Piranesi. Many contemporary architects had been affected by his works, and re-interpret and make come true of his visions. This study analyze the meanings of his working process and consequences on contemporary architecture.

• Journal of the Korean Institute of Rural Architecture
• /
• v.13 no.4
• /
• pp.125-132
• /
• 2011

End of all living subjects which are a dead the low of meaning is word. Also is a funeral and in compliance with from the customary family formality of the Chu Hsi generally at in the ceremonial occasions and alias that calls says. The human being went without question a all ages and countries and many and in order to extend the time endeavored came. Received with the fact which is not the possibility the dead avoiding finally came to admit, that was afraid and comfort the methods for appeared. This annular lifestyle rises prays the peace of future life with the method for the shop custom in even modern age to make the funeral culture be located which is general, becomes and there is a possibility of seeing with the cause which is biggest. Our country ceremonial occasions from past undergoes the influence of China on a large scale in here and comes but there is a possibility seeing with the one kind cause that to Korea time the Confucianism ideology overflows specially in the national whole.

• Journal of the Korean Institute of Rural Architecture
• /
• v.10 no.3
• /
• pp.59-66
• /
• 2008

This study was performed to ascertain how HyangGyos based on national ideology were built in Jeju Island and what their detailed styles are. In Jeju-HyangGyo, unique architectural characteristics are shown as they have been built in an island independent from the mainland. Also up-down system was well reflected in detailed architectural styles. The main temple of Jeju-HyangGyo was built in the type of one-Chulmok(a subsidiary material of Gongpo and a piece of wood to support the eaves) of which ancon supports a purline from the center of a pillar and two-Ikgong(a piece of wood engraved to put on an ancon), but in the case of the lecture hall, its Gongpo(a piece of wood to support the eaves) was inferior in quality. In the case of Jeju abutments were used in main temples and fire walls were mostly used. In particular, their abutments are difficult to be observed in HyangGyo in the mainland. It is presumed that the abutment and the fire wall used in Jeju Island might be the best solution to protect structures from rain and moisture. To sum up, local characteristics and traditional rules were thoroughly reflected in Jeju-HyangGyos built in Jeju Island from the aspect of arrangement and detailed style. In conclusion, it is significant that architectural styles, not to mention the other aspects of Jeju culture, were suitably adapted to Jeju Island.