• 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.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.44-51
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• 2006

Careful attentions should be paid on the renovation of historical building, not only because it conservations architectural heritages by affording new roles of the present days, but also determine their successive value in the stream of the preservation of cultural properties. Among drastically-increasing interest in the remodeling of the modem architecture in Korea, it is meaningful to research the cases in Japan since there are precedent, accumulative, and ample example of lengthened time. In this paper, two examples with different renovation concept, 'harmony' and 'confrontation' are compared. 'Minami-za' is the typical example to harmonize the present requirement with the original purpose and the memories of the buildings, where the use and the design are preserved. On the contrary, 'Shinpu-kan' is exemplified as confrontation where everything except the facade and the structure was remodeled. It is suggested to understand 'harmony' and 'confrontation' as a way to the coexistence of 'new' and 'old' on the basic of the historical meaning of architectures, not only as a design trend.

• Korean Institute of Interior Design Journal
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• no.15
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• pp.3-16
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• 1998

Fashion specialty store is based on one theme called "Fashion", to pursue originality of facilities in one concept from merchandising, environmental planning and facilities management and satisfy consumer's urge quantitatively as well as qualitative]y also congreqation of characteristic space, distingtion from commor store, not only selling goods but also jointly owned funtiona] space such as information and culture. So this research. with the importance of image. to present the basic information of interior design, study on the analyzing the type of image and the factor of composition focused on the complex fashion specialty store in own brand. Ana]yzing thr type of image with preliminary research and the first and second questionnair, with this make a comparision between the factor of composition and image. The conclusion was summertized as follows : '||'&'||'#8226; Firstly, the interior image of complex fashion specialty store in own brand divided into ;) different images, Such as :VIodern, Semi Classic. Hi-Tech Ylodern, Natural. and casual image '||'&'||'#8226; Secondly, according to the factor of composition is as follows, Such as Architecture, Surface. Furniture, Lighting and Display, the factor of composition is as follows : Architectura] factor divided into vertical. horizental. flexibility and exterior, Surface : material. and main color, Furniture : form and material. Lighting : lighting fixture and genera] lighting system, and Display: window and interior display . '||'&'||'#8226; Third]y, make a comparision of image. simple and feminine with Hi-Tech, Semi-Classic toward natural. complicated, feminine. and Low-Tech, Hi Tech ~.Iodern image, toward modem. natural. simple feel and somehow feminine. Natrual image, toward modem. natura], simple, and Hi Tech, Casual image toward modm, simple, and Hi Tech. '||'&'||'#8226; Fourthly, with builaing up new space, alteration infashion specialty store focused on the customers seiling space with rest and resources, also huge character is found in fashion specialty store

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.123-130
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• 2007

This paper Is to reconsider his architectural significance by understanding the role and moaning of the columns shown in the works of Mies. The reason of such an approach is to reflect the tendency to overlook the various significances of Mies's works as we interpret his architecture simply as a simplified work by abstraction. The process of simplification often neglects open interpretation so that it offers partial and unified cognition frame and causes remaking of closed meanings. It removes some possibilities of new interpretation for Mies's works. The study suggests that his columns are a medium to show the solid body transferring architectural significance in contrast to the immaterialization of body as transparency of modem architecture. It can be said that all the human cognition is usually made within the material limit of visibility and tangibility.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.48-56
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• 2003

This study is purposed to find the transition of the perspective connected with visual modality. The perspective based on Greek optics and euclidean geometry and rediscovered in Renaissance represents the object according to the particular moment and the point of view, is a principal fact which affect architecture, the form of a city and the spatial organization and symbolizes an ideal of the times. It embodied perception which treats the space rationally on the basis of realism and became visual modality based on the separation of the seeing subject and the world of the object. The point of view became one with the vanishing point which made up the shape and after Renaissance for four hundred years a straight line, a right angle and a circle got to be favorite geometrical choices in architecture. A fixed point of view of the subject is getting to change and break up fundamentally by the new visual technologies of the modem times.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.21-28
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• 2007

Incheon City move onward re-modeling about Jayu Park(public park) in Incheon city. The building restoration must equip all data which are necessary to a restoration and it must be advanced and, currently the project which is advanced is not like that. The place objective which evaluates the restoration possibility of the modern time building where this dissertation is included consequently in project contents it is letting. The evaluation result data is not secured not to be, the restoration is impossible. Also simplicity reappearance of the building where the function disappears without being true feelings characteristic is there is not a possibility of having a construction value. The modern time building restoration which Incheon City it propels consequently it is right to be discontinued.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.32-39
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• 2007

The Program from modern architecture is an indispensable condition which must put in all buildings today and it is a relationship setting of a various functions. According to changing society consequently, a complicated form and program in modem appear again. Through this background from, we intend to observe the meaning which the program is having in the construction in this manuscript. Sejima is the architecture who try to use variously special formation of the program. Specially, we are planning to research the quality which his program is haying form Sejima's architecture and how it is reflected ill this construction. Resultantly, each program which appears from Sejima's architecture makes a gap space and irregular arrangement. The characters of the space which is put each through the gap don't have a deceptive plan each other and they are compounded. Also, each character to have their territories is intersected and putting out of the various features in the program coat. First, form of the maze plane, Intersecting each territory. Second, forming the territory as fitting their act oneself in the space where can be existing. Third, having more interest in the event that happens inside than existence problem of thing.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.30-40
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• 2008

Adolf Loos showed important directionality in the thought of modem culture and architecture. The thought about the architecture of Adolf Loos was gathered by "Raumplan". It is the solution of the plan in space. But the concept and method of the "Raumplan" had not been synthesized until near the end of Loos's life. Loos's first reference to the "Raumplan" appears in 1929. I think that "Raumplan" became the solution of the plan in space with a formation process of the thought about the architecture and culture of Adolf Loos. Therefore, the purpose of this paper derived a characteristic of "Raumplan" from the relations between the architectural thought of Adolf Loos and "Raumplan". The processes of the study are as follows. (1)Consideration about the growth background of Adolf Loos and the social situation of Vienna. (2)Analysis about architecture and the cultural critic of Adolf Loos. (3)Analysis of "Raumplan" based on architectural thought of Adolf Loos. As a result, I got the four characteristics of "Raumplan" as follows. (1) Separation and continuation of "Raum". (2) Fragment of "Raum". (3) Overlay and transmission by the axis of multiplex eyes. (4) Structural adjustment of the "Raum" by Hierarchy. Finally, I understood the architecture which Adolf Loos pursued in "Raumplan" had a high function and contained the clear meaning and contents which had practical use and economic value, and it were not a results of the simple logic.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.38-45
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• 2007

In the architectural space of modem age, expanding to the vertical and horizontal direction for the interaction between space and space is becoming an indispensable factor, and in this expansion, ramps are being positioned as one of the important factors. With an increased use of ramps, they show a variety of changes in types, functions and even concepts. The space where modem ramps are used exhibits a phenomenon that accommodates and expands many functions as well as the confined function of moving people, and is widening the scope of recognition on the functions of ramp. In addition, this phenomenon can be seen as an architectural reflection on the complexation trend of the modem society, the components comprising a ramp contact the body of experiencers closely and thus have a direct effect on their behavior or feeling, and owing to this, it is a space where new functions and meaning are highly likely to be derived. In this study, spaces where ramps are used stay away from an element of uniform vertical movement but have an independent environment within the entire space, thereby being used as a space dominating the nature of the building, not a subsidiary element of it. In this study, therefore, it could be known that spaces in which ramps are used are different in their meaning according to the patterns, not as an element of uniform vertical movement. In addition, these conclusions are the results by analyzing the patterns of ramps taking place in modem spaces and are thought to be helpful in understanding spaces where ramps are used.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.12-19
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• 2006

The artistic features of German Expressionism in the early twentieth century are often recognized for its abstract and emotional representation in art and architecture. Expressionism departed from the paintings, notably the works of Der Blaue Reiter and the Bruck, but the architectural works with curve and organic features were also taken as expressive. German architects Hans Scharoun (1893-1972) and Hugo Haring (1882-1958), in this regard, have long been regarded as Expressionist architects, but recent studies suggest that their architectural designs include a profound idea of modem functional building. Scharoun and Haring held a socialist utopian vision as other modernists have also had, but their inherent view upon modern architecture was function which was mistakenly viewed as Expressionism in earlier documents. This paper intends to exemplify how Expressionism is inappropriate to represent the expressive presentations of Scharoun and Haring. Despite the fact that their designs possess certain expressionist elements, their works can also be constructed as an advanced functionalism. Many young architects in Germany were not given chances to build due to economic hardship after the First World War, and they were naturally led to imagery sketch designs for future architecture. Abstract Idea was freely exposed in its preliminary visual form, and it is also uneasy to draw a borderline between expressive presentation and the Expressionism itself.