• Journal of the Korean housing association
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• v.12 no.4
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• pp.195-203
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• 2001

The purpose of this study is to analyze the characteristics of Mario Botta's residential design. The characteristics of Mario Botta's residential design are following as : 1. The residential design of Mario Botta planed from 1960' to 1970's is based on the style composition method of modern design, specially by the influence of Le Corbusier and Louis I. Kahn. Botta's residential design of the 1980's is generally affected by A. Palladio, and is characterized as the representation of classic standard. The residential design of the 1980's shows the establishment level of Mario Botta's residential design, and produces particular Botta's facade. 2. The characteristics of Mario Botta's spatial composition on residential design could be implicated by the spatial distribution of each floor which is divided by three floors, simple and primitive volume which has a symmetry, opening through the massive elimination n the center of front, double skin, the contrast between void and solid, and the inflow of light through the top-light. 3. Most Botta's residential designs have Loggia in the center of facade working as a buffer space which joins outside and inside space together. They also lead the spatial continuous flow. The inside space is combined by the light coming through top-light and vertical opening. 4. They have high accomplishment in complicating details. They show the outside design of a horizontal belt according to the module of concrete block and the decorated design using compositional materials such as an unevenness piled up askew concrete block .

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.16-24
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• 2017

This study examines Safdie's design philosophy: place, purpose, and process and design strategies found in museum buildings. Safdie, influenced by personal background as immigrant, education of McGil University in Canada, apprenticeship from Louis Kahn, is one of the most recognized architects who designed renowned public and cultural buildings after Habitat 67 in Montreal, Canada. In order to reveal design strategies his eight museum buildings has been selected and analyzed in terms of interpretation of context, program presented in floor plan and section design, and the process of integrity found in structure and material. The results of this paper can be summarized as follows: 1) Reflection of existing context and regeneration of the locality has been in a creative way to reinforce the sense of place. 2) The layout of major and gallery space is determined according to the Safdie's interpretation of the site context and this can be categorized into three types. 3) Integration of the innovative structural frame and material has been experimented by using tartan grid and toroid form in the major and gallery spaces. This study is intended to reevaluate the significance of Safdie's design approach to building uniqueness of the site, program and tectonic.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.67-76
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• 2001

This Study is about the tradition of Organic Medievalism expressed in Modern Architecture. The concept of Medievalism is an attitude to revive the social and physical settings on the Middle Ages. The Organic Medievalism in Modern Architecture was to be explained as the two tendencies; one was toward the rational structural logic of the medieval architecture being re-interpreted into the Modern Architecture and the other was toward the organic and fantastic shape of the Modern Architecture, closely connected with nature-friendly and organic shape of medieval city and buildings. The structural logic of the medieval architecture became systematized by the French architects, Viollet-le-Duc and Auguste Choisy. The principle has been applied to the design of the Art Nouveau, Louis Kahn and so-called the High-Tech Architecture creating the aesthetics of its own by exposing the building structure. The other was used as the elements to represent the characteristics of the Art Nouveau architects, and then served as the background of the creation of the avant-garde architecture of Germany. The ideal has been serving as the great idealistic fundamentals by the so-called Archigram and Deconstruction at the late half of the 20th century.