• 한국가구학회지
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• 제26권4호
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• pp.364-372
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• 2015

Mendini works architect of magazine. He is a era-transcending designer who started design in late fifties and still works actively. In his design, there are some ordinary emotions which make people easier to approch to than without having any resistance. The purpose of this research paper is to define the traits of Mendini's design work. There are four main characters in his design; post-modernism, combination of art and design, use of contemporary art and traditionary italian colors and redesign. Mendini interpret tradition in modern way. His individuality came from the tradition, and also he modernized italian tradition to it.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.28-35
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• 2005

This study is focused on the characteristics of organization types of activity diagrams for experimental residential design. Diagrams became one of the crucial design methods to rationally generate a definite spatial form that contains indefinite human activities In contemporary architecture. Particularly in residential design, activity diagrams based on the occupants' behavioral patterns have been critically important. 'Scientific Management in the Home' by mathematical calculation and the Archigram's 'Living 1990' equipped with innovative technologies are the representative examples in modern architecture. The study is focused on the experimental residential projects since 2000 and three main types of activity organization were discovered: 'Weaving through Circulation';'Flexible Space by Equipment' and 'Activity Selection by Open-Close System'. Two projects from each type are analyzed in detail to further develop the comparison study. The study is concluded that, although the architect's preconceived . philosophical background has an important role, activity organization should smoothly derive from the unique conditions of the project such as the characteristic of the occupant itself.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.112-115
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• 2004

Avante-garde arts which are still being continued until now has become not only just a forefather of art, but also the tradition of modern arts which are still being held on. Rem Koolhaas is growing his reputation as an architect like Le Corbuster. Space image and related documents analysis and characteristic interior image analysis rather than whole concept or the structure analysis, which first, making a analysis tool from derived characteristics from theoretical guidance of avante-garde and then by deriving characteristics of avante-garde arts from space consists of Rem Koolhaas, was able to identify that in his work consists contained characteristics of avante-garde arts

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.140-143
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• 2004

The move from steel tubes to bent wood and the 'laboratory experiments' with wood which Aalto carried out in order to create furniture gave him vital impulses as he sought and found his own architecture style in the 1930s. Like his architecture Aalto's chair designs represent a 'humanized' interpretation of the severe aesthetic and radical technological experimentation of the Modern Movement. The purpose of this study is to find what is the result of the form of his works on the basis of main idea and tend of his works, to search the element and principle of formal composition, to establish the relation-ship between the architect's philosophy and the form of his works. Aalto's furniture, constructed of laminate bent wood or moulded plywood, is not only functionalistic, but also ideal for the psychological need of the people, which is the special quality that complements the Factionalism that features mostly on the metal tube furniture. It shows that Aalto is a humanist dealing with mechanized age.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2005년도 추계학술대회 논문집
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• pp.283-286
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• 2005

In the modern city in which the high-density and complex land use is needed, high-rise residential-commercial buildings appeared as a scheme to arrange a metropolitan residence with multiple high-techs and to induce activation of the city with leading the settled population to flow into the city. And the need of the times is to actively apply the eco-friendly notion to the architecture. In this study, the works of Ken Yeang who is regarded as an eco-friendly architect to make high-rise residential-commercial buildings ecological should be focused on with analyses of eco-friendly characteristics in inside, intersection between inside and outside, and outside of his works. The result o the study would be the suggestion to design eco-friendly high-rise buildings which make the city rise in quality.

• 건축역사연구
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• 제24권6호
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• 복식문화연구
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• 제23권5호
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• pp.737-754
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• 2015

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.114-125
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• 2013

Kengo Kuma used to be very known well as a critic before being an architect. He usually mentioned quite unique type of comments for subjects whenever his criticism, also even his works results have been able to be targets of criticism materials by his method. His works are the achievements of challenges based on his continuous dynamic criticism. Hence, to have well understanding of his architectural thinking and works result, his complexes criticism structure must be needed to understand. And also, this study is using 'KJ Method' type to analyze his architectural thinking which is complicated making by a type of non-linear. Kengo Kuma's structures of architectural thinking and critiques perspective of modern architecture have been created by 'KJ Method'. Critiques types of keywords and consequences words collected from among the local dedicated professional architecture books to get this research result. First of all, Kengo Kuma desired even modern architecture problems to be melt as a specific architecture result such as modern type of power structure. To have result, Kengo Kuma had experienced sensible activity through materials which have specific characteristic. Also place of materiality created to get relationship between environments and architecture. Secondly, he wanted to recover troubled traditional Japanese architectural perspective which blocked relationship by dichotomy as a right way. In conclusion, this research reaches Kengo Kuma's type of architecture which strongly emphasizes harmony among related components such as human being, materials, substances based on accepted natural environments and lives' principle. Also, much more specific methods have been derived by related works results analyzing which have similar characteristic as Kengo Kuma's one.

• 대한건축학회논문집:계획계
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• 제36권5호
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• pp.3-10
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• 2020

According to Carol Duncan, the museum can be studied in the aspect of space and object from viewer experience. The paradigm of modern museums is shifting away from the object toward the human. The modern museum begins to have the diversity activities and the experience by the body. The purpose of this study is to analyze methods of Carlo Scarpa's museum works. An Italian architect, Carlo Scarpa had characterized montage architecture through fragments and isolations. This study reviews the works of Carlo Scarpa's museum focused on Museo di Castelvecchio. Carlo Scarpa had left the existing materials and coated it with new materials intentionally. This method makes the layer and it exposes the historical times. The layer is a reinterpreting technic of Venetian architecture. The perceptive experience appears at the exhibition boundary through light, material, pattern, axis, and composition of elements. Through the analysis, the architecture of Carlo Scarpa's museum provides a walking path and the composition of exhibition objects with visual logics. It makes and show us the experience with combining images. Carlo Scarpa had tried to expose the past times in the architecture of museum with expression on the layers and to connect the body's movements with seeing and gazing. This expression makes possible the perceptual experience. It can be understood as the montage characteristic. Through this, Carlo Scarpa's museum makes us relationship with historical architecture. Carlo Scarpa had planned a exhibitional promenade in the architecture of museums. In this regard, this is the museography of Carlo Scarpa's museums that should be paid attention to modern times in historical architecture.

• 건축역사연구
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• 제31권2호
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• pp.35-50
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• 2022

This study examines the design intent and the construction background of the UNESCO House in Korea planned in the 1950s, with a focus on the initial plans of the House by Kuzosa Architects & Engineers in 1959. To this day, the House has been evaluated as a representative example of an office building in the 1960s, and an early case of introducing curtain walls in Korea. However, only its technical characteristics have been explored with less emphasis on further research data. This study attempts to demonstrate the social and cultural expectations and the demands of the construction of the House by examining the documents produced at the time and the initial plan. This study also highlights the fact that the House was the first project of the architect Pai Ki Hyung to realize high-rise reinforced concrete construction in Seoul's dense center. In the 1950s, the House was planned as a modern building with a complex of various cultural facilities and offices due to the character of activities of the Commission, and the lack of public cultural facilities in Korea. The plan of the Kuzosa Architects & Engineers was selected through a design competition held in 1959. The House was completed in 1967, which took about eight years from planning to completion with design modification in the 1960s. The initial plan submitted before the design modification shows that Pai used the vocabulary and logic of modern architecture and planned the House not as a simple office building but as a complex cultural facility.