• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.52-61
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• 2005

Ecological traces appearing in contemporary architecture are based on modern architecture and most aspects on the contemporary architecture are related with the successive trend or break of the modern architecture. The concept of environment in the modern age has established clear destination, as it has been considered as nature. The architecture under a mechanical world view in the modem age has sustained the opposing connection with nature as environment. However, there have been architects maintaining the sympathy with nature in that vortex. This trend has been regarded as same context as ecological architecture and estimated to the outpost of ecological characteristics appearing in the contemporary architecture. This study is to make it clear that the ecological manifestation in the contemporary architecture is based on the ecology in the modem architecture through considering ecological ideals of architects in the modern architecture and considering space composition and structural properties in the modern architecture of ecological paradigm. The scope of this study contains spacial analysis, design strategy, and design types of organic architecture in nature, which has appeared from the modern age. First, the division into period is carried out according to the organic tendency of non-mainstream in the modern architecture: Arts and Crafts Movement, Art Nouveau, Sezession, Expressionism, Organic Architecture, Regionalism, Internationalism. Therefore, this study is significant to be on the search for a start to suggest ecological point of view to architectural space in modern architecture and is search organic characteristics for ecological characteristics in modern architecture; organic relation, thermal buffer space, regionalism, multi-layer, energy efficiency.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.65-74
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• 2006

This study is intended to analyze the way of incorporating the effect of natural light into the architectural space design by Le Cobusier. The composition of modem architectural space is significantly different from that of classical architecture. Such transition is attributable to the change of tectonic method which was supported by the development of new materials and structural systems. In addition, the effect of natural light systems which is one of the main elements in architectural space has undergone significant changes in modern ages. Moreover, Le Corbusier introduces the new concept of natural light in his works. By bringing the above two trends together, this study analyzed the way how Le Cobusier applied light effect in his works. Specifically, findings regarding the 'traffic flow in the space' with the light, 'elevation effect' with the 'Brise soleil' in Le Cobusier's works were presented. And also the way of lighting the object in the space was presented.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.88-95
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• 2003

The paradigm of contemporary times became different from paradigm of modem times. The change of paradigm is caused by the side effect of paradigm of pre-times. It could be said that contemporary paradigm is pluralism. In the forms of contemporary building and interior design, the informal form is the result of pluralism. This study is researching and analyzing the informal design tendency in the interior space composition of contemporary architecture. the 1950's free form movement, 1960's Informal movement and pluralism after 1970's affected the latest informal forms. The tendencies of contemporary informal design are organic-degital tendency and deconstructive tendency. Along this two kinds of tendencies, I studied the specific characters in expression and analyzed some natural-degital, deconstructive building.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.105-113
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• 2011

Brand is a useful tool for modem people living under the age of the brand, to explain the information of their products by differentiating themselves from others. It also represents the value of company and plays a major role convincing customers. Even living space brands are no exception. According to the development of marketing management ability, living space brands require the new sales strategy to dominate the market over the business competition, and plan differently for a changing market environment. On such account, companies are commercializing the living space via establishing its brands. Thus the study will cover the living space differentiation strategies for promoting the brand images of respective construction companies and will strive to compare and analyze the differentiation strategy factors that construction firms are pursuing through case analysis framework. Moreover, it's objective focuses on materializing the strategies of living space in accordance to the brand application elements.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.63-73
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• 2011

In the middle of that a information form is being formlessly changed to diverse deirections, a design and a space as physical consequence show not only a allegory but mutually relational charicteristic meaning a nonboundary and nonlinear form by development of modem digital culture. Following development of the modern digital culture, a design and space which are physical results, show a point of correlative specificity, allegory, nonlinear and nonboundary, Not only a design and culture but also various circles handle a hypertext as a representative pivot in this change. this has same contexts as rhizome possessing a asignifiante and nomadic characteristic said by Felix Guattari and Gilles Deleuze. An ideal of rhizome space shows historical decisions, unexpected accidents, a concepts, an individual. a group, social compositions above an contrifugal exterior force, This study examines into surroundings designed by a hypertext and rhizome through a case accordingly and infers an ultramodern characteristic in conventional precognition with synthesizing a peculiarity of the digital generation space.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.120-130
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• 2006

This study is about objectified spatial composition. The Interior Design field has grown and established its major trends dependent upon other related field of study. With this perspective in mind, esthetics on Interior Design has to be treated in similar manner. In modem architects or fine artists have defined the terminology 'objectification' theoretical principle where by unable to distinguish between 'object's type' and 'objects', Presently, the term 'objectified' became a trend word. In order to confront misconception of the idea of 'objectification', some people define as reflection of this complex society. There are five types in expression of objectified spatial composition in Interior Design. Which are free form spatial composition through artistry of artists, fantastic spatial composition by polysemous collision, symbolic spatial composition from the metaphorical of form, aggregate spatial composition by geometric collision and geometric superimposition, and cultural spatial composition. Therefore, this study aims to help understanding of tendency in various space expressions in Interior Design through searching how to express type of objectified spatial composition in Interior Design from 2000 through 2005.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.156-164
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• 2010

This study examines for the making a deduction of architectural characteristics of high-rise business hotel's lower public space through analyzing the lobby space composition through Beijjng's 21 cases constructed from 1978 until 2008 in China. In the methods of analyzing process, We study the literatures, research reports and architectural drawings including the site survey. We hope to establish the principle in public space composition of Beijing's business hotels through analyzing the plan of these hotels. Finally, We find out the principles after researching as follows. Firstly, duration of business hotel construction was concentrated with the center of Beijing City especially central 5 Gu which will roll. To 1990's after that the high-rise hotel construction increased in order for the demand of the resort and the convention hotel to come to be many. The modem style was increased in hotel design of building's style. Secondly, the result which analyzes an 21 case study shows concourse style of public space composition is representative in lobby space of general 5 star business hotel in Beijing. And there are many upper composition style in sectional plan, modern style in lobby interior design. The third, the medium and small sized hotel have the plane which apply the public space efficiently.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.42-51
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• 2003

This study aimed at understanding the spatial characteristics in the Tugendhat house. For this study, it is need to analyze the early plans of the Tugendhat house design process. To analyze this, the study leads to how to effect on the real practice with the process. Therefore, this research investigates the conceptional design process of the house. There are 2 main characteristics of the interior space alternation. One is the closed spatial character on the 2nd floor, the other is the open spatial character on the 1st floor. It clearly shows the severance between interior and exterior on the 2nd floor. Each 2nd floor's space volume uses different materials so that each the space can show the individuality. On the 1st floor, however, it seems the interior is not as much open to the exterior, because the materiality and reflection of the glass, the objet of furniture and wall. In case of 1st floor, it has a complex concept as open and close character, because it is using the proper gardening elements and the relationship between the house and site. The exterior characteristic is separated the house from the ground with the podium and the slope, and this leads to have the discontinuity. The house clearly shows the spatial characteristics of the continuity and discontinuity, it proves that Mies tried to move onto modem architecture as a turning point.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.68-77
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• 2012

Appreciating the aspect of modem architecture requires not only the comprehension of the nature of design and architects' ways of thinking and expression but also observers' views on buildings and their perceptive/cognitive stages. This calls for an in-depth study on the "system of phenomenological perceptions" that works as a new architectural experience system. The system of phenomenological perceptions makes it possible to specify the individual process of understanding architecture, that is, hands-on experiences, participations, feelings, perceptions, and cognition. The value of user experience and cognition has been emphasized by philosophical and aesthetical concepts as well. Therefore, in order to better appreciate the modern architecture, this study suggests theoretical consideration to "orientation and event" that are crucial elements in understanding a phenomenological view and materializing actual space formation. This offers the cognitive system with which we analyze modem architecture and comprehensive expressional methods. In other words, this study contemplates the system of phenomenological perceptions from an existential spatial perspective by structurizing the system of the orientation and the event in order to segmentalize users' current locations, potential directions, the relations with spaces, continual vie'wpoints as well as buildings' functions and interior and exterior division. The system of phenomenological perceptions helps understand and systemize modern architecture through a system based on relations between sensation, perception, cognition, sensitivity, and rationality. This creates a new cognitive system employing the concept of the orientation and the event, which is different from a normal cognitive system basing on the sense of vision. When observers appreciate space, they tend to relate the space to a certain event and to remember their experiences in it. During the process, they draw borders of the space in which the event takes place and give shape to their experiences including actions, movements, cognition and sensation. The process leads to the formation of "placeness," and here, the concept of the orientation comes in as the location and the center of the placeness. This study proves that a determined orientation coupled with individual experience and events settles the place ness; detailed elements in the cognitive system have close relations with one another; the orientation, actions, events, and places are the factors that materialize observers' architectural experience.

• 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.