• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.11-21
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• 2013

The development of modern industry and the production of new materials of architecture have recognized as an important aspect. This study intended to discuss about the meaning of main elements of the architecture materials, its implications for properties, and, highlighted meaning of the properties of modern interior design. The purpose of this study is to analyze the case studies of Place and Physical materials of synaesthesia of modern architecture as well as modern architecture is not only concentrated in the visual aspect but also the larger ramifications of sensory. Synesthesia in architectural space can be called experiential existence that built in the space of human perception and based on the human emotion that targeted by physical architectural space. Accordingly, these case studies are to consider about how the materials being passed by any effect in a modern interior space presented, In order to find the essential meaning in modern interior space, this studies focused on Swiss architect Peter Zumthor's cases. Following analyze of Peter Zumthor's place of architectural space and materials, this study structured by the six kinds of synesthesia characters. First, time and remember to infer changes, Second, traditional and regional ingredients involve the substitution of one empirical space, Third, non-materiality through the neutralization, Fourth, auditory memory through the embodiment of everydayness, Fifth, trail through the sense of smell for the presence, Sixth, the relationship of natural and industrial products. Peter Zumthor's characteristics of these works are result of factors on the synesthetic relationship with the human response to architecture, the five senses, memories, experiences, and temperature. Also it is a synesthetic result of all human emotion to clarify of the architecture materials and non-material mediums by which light by a compound.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.142-156
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• 1994

This paper aims to study on the periodical competition, the program, the jury organization, the reward, and copyright applied to the buildings which were constructed with architectural design competition performed in European and American region between 19c and 20c. The results of this study are as follows; 1. Befor 1900 Period, the type of buildings added to the competition program; between 1900 period and 1950 period, the works of strong nationality and rich local color were preferred; After 1950 period, the design drawings of high symbol and function were chosen 2. There are three types of design competitions: the open design competition, the invited and limited design competition, and the idea design competition. The open design competition has been most often made. 3. The juries were, most of all, composed of professional architects over 30 percent. 4. The program was written about building scale and appointments, described what form drawings, brief notes and air perspective wood have to be submitted. For instance, the use of colour was not permitted in the drawings, as this might possibly mislead the jurors. 5. The reward was given to the winners; the copyright was given to the first prize winner. 6. The standard of entry's qualification was mostly architect 7, Entry term was from a minimum month to a maximum year after annoncement of competition, it was approximetly 63% between 4 months and 8 months. I am convinced that architect gets freedom of pure creation and joy of society service through competition, architect justifies his profession and keep his useful and creative effort to society constantly, as long as the competition exists.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.12
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• pp.39-48
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• 2018

In modern architecture, the concept is the central axis of the design process, but it is not yet a building. The concept is modified in the process of realization because it captures only a part of reality. However, in the works of some Japanese architects, the concept seems to have become almost a building. In this study, I tried to find the cause of such a contradictory situation centering on House N of Fujimoto Sou, which is a representative architect of such tendency. Specifically, I analyzed the concept of House N by dividing it into aspects of function and representation. The reason for this was to see if the functional aspects of the concept were not modified in the first place, or if the representational aspects of the concept covered the functional aspects. For this purpose, I used WLVAE, which is a visual analysis tool, to analyze the functions of design concepts, along with the analysis of photographs, drawings, and diagrams. As a result of the analysis, House N was also modified to conditions of reality in the process of building, but the initial purity was emphasized in the representation of the concept, so that the building seemed to be very conceptual. This fact suggests that the architect has divided the functional and representational aspects of the concept and has focused on the latter. In conclusion this can be seen as an expression of the architect's interpretation of the relationship between the house and the city through the building.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.71-79
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• 2014

The purpose of this study is to elucidate that photo, which has been used as original photo's purpose of information transfer in modern age, is now used as romantic reproduction which is the communication methods of architect's idea and thought through photographic vision which is beyond photograph own capabilities. The photos of Mies van der Rohe and Le Corbusier's architectural works are taken as an example for studying and analysing the way of deliverying the concept of creative work in the functional spaces in the modern era. It looked at the way of modern archirecture configuration, which architects wanted to show by pictures, such as concurrency, movement, sense of exhibition and concept of time-space and planarity on photographic vision such as multiview, movement, daily life exclusion, scenography and perspective loss. Reflecting that, I presents Le Corbusier and Mies van der Rohe's intention through photo by analyzing their picture of architecture by way of photograph techniques-camera position moving, over exposure, photomontage, silhouette technic and overlap technic. Mies van der Rohe and Le corbusier demonstrated the change and manipulation of the their architectural photos in different point of view. They express their architectural theories by photos of their works and overcome the limitation of expression of constructed building designed by them. The photos of architects's works in the case study with photos and descriptions introduce to their design concept. The design concept of the architects have become ideal concept for many contemporary architects and keep reproducing through the photos of their architectural works.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.137-149
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• 1998

The purpose of this study is to learn from a lesson of the historical fact, the Team 10's break away from the CIAM, which is selected as the most important event in the whole 20th century architecture by author as a historian. The CIAM, organized in 1928 by leading European architects in order to propose new architecture in the industrial era, expanded to the world, met almost annually with an idea of economic efficiency, new functional order, and industrial production for thirty years. Young architects had conflicted with old established group from 6th congress, and after 10th congress they met independently in 1959; the CIAM was disappeared and the Team 10 was born. Main issue of the break-away was human aspect. The Team 10 started from real man, concept of 'human contact', 'sense of community', and 'belonging' instead of abstract functional order. Although CIAM did not suggest inhumane architecture, their biological criteria with sunlight, air, sufficient site became physical determinism. Critique against the Team 10, unsuccess for making humane architecture leads to underestimation like a generational hegemony struggle. However, architect is not specialist of life but form. Historical reevaluation for Team 10 should be that they are the first group to raise an human issue in architecture. Success or not to solve the problem belongs to another domain. After 1960, modern architecture was attacked from the common people, not clients but 'users'. Academic circle tried to solve the problem with behavioral approach through a clear process, 'design method' and with phenomenological approach on real human experience. However practice became reactionary tendency, to make form a little complex, they became post-modern and deconstruction form. Failure of the Team 10's form proved that a complex form does not necessarily make a good life of people. In the Korean historic situation of colony ruling, confusion of liberation, and the War, we did not know the existence of both CIAM and Team 10. After 1970s' economic development, we have just copied Western form from Modern via Post-Modern to Deconstruction. If we make architecture people mattered, we should start from the basic, learning from the Team's break-away, instead of copying.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.6
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• pp.3061-3067
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• 2013

This paper exemplifies how "Case Study House" (CSH) Program has been reduced as an architectural style rather than an American alternative to European Modernism. CSH Program became less successful than it deserves in the post-war American building market while its contribution to modern domestic architecture is immense and still regarded significant. The Program was succeeded in obtaining attention from the general public for architect-built(custom-built) houses with standardized building parts and simultaneously it also attempted to discover prototyped plans aiming good affordable mass housing at the time of post-war house shortage. Subsequent works nonetheless stay remained in the realm of avant-gardian image-making only to reflect affluent regional life style.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• Journal of The Korea Institute of Healthcare Architecture
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• v.9 no.2
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• pp.25-36
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• 2003

The purpose of this study is to trace the historical background and to describe the architectural issues of the healthcare facilities in 1876~1945 years. Between 1876~1895 yr, the first western hospital "Jejung-Won" was built in Seoul by the Korean Gov. with the help of the American Missionary Dr. Allen. The special clinic for curing smallpox, Udu-Kuk was built nationally and the hospitals for infection disease were built in the same periods. In the next stage 1896~1905, 1905~1910 yr, there were many type of facilities such as military hospital, oriental medicine hospital, public hospital for poor people, clinic or hospital for Mission. After being conquered by Japan in 1910~1945, the Japan Healthcare System was directly transferred into Korean system and the healthcare facilities was built by japanese architect. At that time, the Japan healthcare system had been constructed after following the modern European healthcare system. Most healthcare facilities in the age of Japanese imperialist was handed over to the Korean Government in 1950~1960 yr after world war II.