• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.30-38
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• 2008

Borrowed landscape is an Oriental gardening method to draw inside external natural landscape, and borrowed landscape of Japan has a different characteristic from that of Korea or China nature is manipulated and re-interpreted by human will in the course of applying it to architectural space. In other words, not the original scenery, but manipulated one appears which is cut, reduced, or deleted by architectural elements such as wall, window, or fence. Therefore, this study examined how architectural structure of Ando Tadao symbolizing modernist architecture understood and adopted Japanese traditional views on nature, that is, borrowed landscape. To this end, on the basis of the understanding on 'polymerization of abstraction and form' he mentioned, his geometric architectural principles are discussed, since this serves to be an important beginning of architectural concretization by the concept of 'form' experienced and perceived by human being through geometric means called architecture 'abstraction.' The findings of this study are as follows: first, it was found that Ando Tadao generates borrowed landscape effects by polymerizing and manipulating his simple and geometric structures with each other and thereby editing natural scenery, while Japanese traditional borrowed landscape introduces source scenery inside, through condensation and symbolization. Second, the results of this study revealed that his architecture functions to transcend external and internal realm of a space, which is also observed in Japanese traditional architectural borrowed landscape. Therefore, this study is considered significant in the sense that it proved that Ando Tadao's architectural language is based on borrowed landscape as a specific Japanese traditional element, going beyond the scope of previous studies focusing simply on the introduction of natural elements.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.29-34
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• 2007

Purpose of this paper is find the similarity and dissimilarity of Korean, Chinese and Japanese traditional furnitures for storage. Also this paper tries to have a comparative analysis on life style, characteristics of housing space and furniture's form of three countries. The study can be summarized as follows. First, space scale and seat levels of three countries are related to furniture's height and form, so that Chinese furniture have over scale than human, and Japanese furniture have the type of box for stacking. Second, the way of heating and materials of floors are concerned with the type of furniture's legs. Third, even if these dissimilarities, the aesthetic characteristics of three countries furniture would be a data base for making design identity of East Asian modern housing furniture.

• Proceedings of the KSR Conference
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• 2002.10a
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• pp.143-149
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• 2002

There are a lot of differences in the Eastern and Western space culture. Especially, Comparing to Japanese, Koreans are not good at utilizing the small space and react effectively. Therefore, the interior space of public transportation needs to be relatively developed to highly reasonable level in Korea. The purpose of this paper is to propose the concept of Korean tradition in urban transit interior layout, which means vernacular design. The interior layout should be made in terms of the emotional aspect not functional one. In order to study the notion of national character, this study refers the concept of interior layout of the public transportation to the layout of traditional architecture and modern office. The research of vernacular design can provide national character and traditional design and can make a success in a practical use and a visual effect. This study based on the national differences of space will be proposed the outline of interior layout and the shape of interior trims in the public transportation in Korea.

• Korean Institute of Interior Design Journal
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• no.15
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• pp.79-85
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• 1998

Woods have been the familiar constructional materials because they were well suited to natural environments of Korea in terms of history regionalism and nationality. Since the modernization of Korea the wooden structure have mostly disappeared because of constructional costs regulations and convenience. But wooden constructions will reappear because of a prediction of wood demand and supply various choices for life circumstances and various investigations. There are many such cases. Among them Japan became an interesting object of investigation. New wooden constructional structures with new materials and modern skills may be observed in Japan. The purpose of this study is to trace architects' consciousness and to analyze constructions with the combination of wooden and other materials in Japan. Thus we explore a possibility to construct a new wooden structure which is suitable in modern Korea. The results were as follows: First the consciousness of Japanese architects' mixed wooden construction corresponds to the close relations between society and environment. Second the space of a structure with mixed wooden constructions in present Japan is chosen as the best way to consider functions and environments according to the form of need space scale and quality. Third the structure wooden constructional structure is a part of roof open space. in this case woods are represented and composed of japanese traditional wooden structure with new technique. Forth a mixed wooden construction has been used through a merit of each material by mixed of different materials as well as beauty of form.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.84-94
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• 2005

The purpose of this study is to establish the identity of the traditional residential space in Korea and Japan as analyzing the spatial characteristics and sociocultural roles of the 'in-between space' shown in their traditional dwelling space. Although they share culture area, it is meaningful to clarify the identity of both countries with many differences as the point of localization In globalization and the point of presenting the current and future directions of residential culture in both countries. Records and field studies have been carried out for the spatial characteristics and the sociocultural role focused on Ma-dang and Dae-chung in case of the 'in-between space' in Korean traditional dwellings and Inner housing, Doma, and Engawa in Japan. According to these findings, the spatial characteristics in common between Korea and Japan are open, half-open, separation, mitigation, integration, variation, continuation, hierarchy, mediation, and expansion. The 'in-between space', built by the separate Chae and Kan, of Korean traditional dwellings shows the separation by closed walls and the exclusive use by the fixed walls. In case of Japan, the integrated in-between space built by the separation of Kan shows open and connective tendencies and the variableness of walls has the tendency making ambiguous space with spatial softness. The sociocultural role of the 'in-between space' in Korean traditional dwelling space functions as the mitigation between the interior and exterior of the house as well as the male and female. Because the conception for protecting the private life is too weak, the sociocultural role of the 'in-between space' in Japanese traditional dwelling space seldom forms the space for an individual or the specific person among family. The space to welcome a guest functions as the mitigation between residents and outsiders as it is located in the inside of the private dwelling space.

• Journal of the Korean housing association
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• v.23 no.6
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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.

• Journal of Families and Better Life
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• v.23 no.3 s.75
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• pp.169-183
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• 2005

The present study purposed to identify differences and similarities in traditional residential space among Korea. China and Japan, which share similar social structure, and to make a comparative analysis on differences in traditional residential space according to family relation in the three countries. For these Purpose, this study selected residences, which are similar to one another in terns of time, class and economy and analyzed them using their floor plans and photographs. The results of this research are as follows. Knrea, China and Japan, all of which have family-centered social structure, separate their residential space from the external society and particularly women's space is placed inside men's space or in a secluded area. The most remarkable characteristic of residential space in Korea is the division of living spare between men and women. Space is allocated according to the hierarchical order of families. In this way, the position or order of family members is reflected in the use of space. Characteristically in China based on the large-family system each family is given a space for independent life. Particularly as the relation among brothers is emphasized, space is allocated equally to all brothers but the status of a space is determined by the order of the residents. Residential space in Japan is organized to emphasize the absolute authority and status of the head of the family. As the space is planned focused on the family head's daily life and guest reception, the relation among other family members is ignored. That is, Japanese residence is a social space for the family head's guest reception, Chinese residence is a family-centered space rather than a social space, and Korean residence accommodates both space for family life and social space.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.173-180
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• 2004

The cultural identity of each nation has appeared as a major issue in this multi-cultural era, and needs to define It clearly through comparisons with other cultures have been raised. The purpose of this study is to figure out ‘similarity’ and ‘dissimilarity’ on design characteristics of traditional storage furniture in interior context of Korea, China and Japan. Comparative analysis of traditional furniture was conducted in two terms, in terms of inner space, first, spatial elevation and front patterns, second, flooring materials of the interior space and types of furniture legs. Result of first comparative analysis showed that composition of windows, one of the major decorative elements of interior space, positively influenced on furniture, and reflected unique patterns of each country. Second comparative analysis showed that structures and shapes of traditional furniture vary depending on flooring materials. As a result of it, Korean furniture has the structure of ‘punghyeol’ and Chinese furniture has the structure of ‘aja’ with ‘takni’ , a combination of legs. In contrast to the two countries, Japanese furniture has rarely legs. The result of analysis is expected to act a role of establishing the cultural identity of our own country.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.72-79
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• 2008

Nagaya is one of the traditional Japanese housing types in which multiple houses are attached together. In Nagaya, walls are shared by several houses but entrances are privately owned by houses. Nagaya consists of many wooden houses for common people located in parallel with narrow alleys between them. Nagaya was one of the representative housing types in Japanese architectural history. This research is to study the background of the origination of Nagaya in Japan, the characteristics of space and land planning, the features and causes of the changes in the space and land planning. In this research, we observed and analyzed unit plans of a block of gate-type Nagayas in Hanan, Osaka. The results are as follows. First, as the inner alleys(Roji) are closed, the number of entrances to each housing lot decreased from two to one since one entrance that used to be open to inner alleys(Roji) are permanently closed. Second, walls between streets and housing lots which used to be one of the outstanding characteristics of gate-type Nagayas are disappearing. Third, as the bathrooms are added to houses, the front gardens are being degraded to empty spaces or sometimes totally removed. Fourth, the space in the first floor of houses become family spaces, and that in the second floor is divided into private rooms for individuals.

• Journal of the Korea Convergence Society
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• v.8 no.6
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• pp.153-162
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• 2017

Comparison and Convergence of the Blank Space in Chinese and Japanese Graphic Design This study discusses the philosophical foundation in Chinese and Japanese aesthetics. Most of the contemporary graphic designs in China lack influence or individual philosophy on aesthetics. In analyzing and comparing the use of blank-leaving in graphic design works showed that the traditional artistic sense of the blanks can enrich the cultural connotations of design and raise the artistic creation of the works. This paper used "convergence" to create a new approach on Chinese contemporary graphic design, especially on poster design. The application of blank-leaving in the graphic design has positive impact in the creation of excellent graphic design works that provide references and inspiration to develop a new blank on my own design.