• 한국실내디자인학회논문집
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• 제16권2호
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• pp.24-31
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• 2007

Berlin Philharmonic Concert Hall is one of most prominent architecture of Hans Scharoun, which is known as the fine combination of the functionalism as an important factor in modern architecture and the hi-developed technology Moreover, the plan and spatial planning of the concert hall is famous for its evolutionary approach compared to other traditional concert halls. The objective of this paper is to examine forms and organic system of functions of this concert hall in order to re-evaluate it's historical meanings in our modern architecture history, The current study will also look into how the personal background of Hans Scharoun has influenced his design in various ways, especially the inside of lobby and auditorium of Berlin Philharmonic Concert Hall.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.20-28
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• 2005

This paper investigates that the ambiguity of the boundary between interior space and exterior space in architecture appears universally in history and reveals the various aspects of ambiguous boundary in architecture. The space is formed by the relationship with the surroundings and the boundary of two opposite spaces is apt to be ambiguous according to lots of complex factors. Before Modern Architecture the boundary of interior and exterior space had a tendency to be ambiguous by modifying compositional method of material boundary, that is semi interior-exterior space, the reversion of interior and exterior space and space in space. After Modern Architecture the meaning of physical boundary in space is lost along with dissolution of boundary over the society and the boundary of space comes to be dematerialized by the technology and the change of space perception. The phenomenon of deconstruction in spacial boundary accelerate increasingly according to fluid space, mutually interpenetrated space, visual transparency and adjustment of layers. And contemporary technology is collapsing the meaning itself of space division fundamentally.

• 한국실내디자인학회논문집
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• 제13호
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• pp.78-88
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• 1997

The objective of this study is to analyze the residential space as designed by Richard Meier thereby grasping its main characteristics and historical development. Richard Meier has developed his own peculiar architecture based on Modernism. He has solved problems of modern architecture by combining the form elements of Le Corbusier with Mies van der Rohe's architecture which pursued the beauty of structure and proportiov. Meier's houses, sculpture-like in forms, are characterized by clear distinction and variations of the interior spaces. The clear separation between a large, two-story high living room and a tiny, cozy bedroom securing the privacy, endows the interions with variation and vitality, while simple white walls reveal the good shape of the space. The houses also unfold the diverse spaces one after another as one steps into inside. His interiors, shaped by simple walls and settled functionally, has inherited the rationality in modern architecture. Richard Meier has established his independent working world by applying his own design method and languages based on the rationality in Modernism.

• 한국실내디자인학회논문집
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• 제23호
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• pp.26-33
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• 2000

The ideas of cyberspace and bio-mechanic hybrid architecture which has been made in conjunction with the electro-mechanic environment and human body as an organic body are newly illuminated in the main stream of contemporary architecture. This study aims at the analysis of the expression of the image of cyborg as a hybrid of an organic body and machine after modern era and its methods of application to arthitectural design. The results are as following: Cyborg is a hybrid of human and machine that is made according to the principle of cybernetics, and is a kind of bachelor machine in the late 20th century. The cyborg images in modern architecture were expressed as prosthetic object-machine, organic image, pataphysical machine. The cyborg images in contemporary architecture are expressed as auto-control function, organic machine, cyberspace.

• 건축역사연구
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• 제6권2호
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.45-50
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• 2001

The modern architecture has to find more essential configuration order rather than the spatial order in the reasonable feint. In other side, paintings and sculptures as a part of the building in the past become a pure art and develop an abstract art. Also they make many affects on the modern architecture as a paradigm. New material has brought to the new forms and the changes of the overall culture and art. One of the new changes has made the object that is one of unique culture symptoms in the 20C and the general part of the modem art includes it. The wall that limits the inside area through mass and volume before the recent times had treated as the object to express the special mean and character. However, the wall has developed as a component that consists of the internal space through surface and volume rather than mass or structure since the recent times. Now, I survey the objective tendency of the wall in the modem interior architecture mainly focused on the relation between object in the abstract art and wall inside.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 추계학술발표대회 논문집
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• pp.128-133
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• 2007

Modern society changes so fast that it makes the borderlines obscure among all the elements in physical environments as well as culture and economy through rapid flows of Network or new media. Also these flows of changes appears and collides everywhere at the same time, which continuously generates heterogeneous environmental factors. For this reason, architecture is required to correspond with circumstances of the day, but it doesn't keep up with the speed of social changes actually because it features physically fixed construction. This research offers new direction and possibilities of architecture space elements using pluralistic and do-centering attributes of hypertext as a counterplan, and finds out how architecture space should correspond with the moving environment of modern society.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.13-23
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• 2007

This paper has focused on comprehending the interior designs and characteristics of modern department stores in Korea by looking into the birth and changes of those built under the Japanese Forced Occupation Period. The first modem department stores including Mitsukoshi, Georgia and Hwashin Department Stores began to appear in Korea under the Japanese Colonial Rule. They considered a variety of architectural elements like construction planning, shop arrangement, path of customer movement and interior design. The interior of modem department stores aimed to pursue the so-called modernization movement, but failed to fully contain the unique characteristics of the times in that particular period. Modem department stores took on new western styles prevailed in Korea and were characterized by the eclecticism in which various architectural forms exist together. In other words, their interiors implied a sign of the times in the confusing and corrupt world then. Especially those modern department stores were designed, repaired and extended by foreign designers who were ignorant of the history of Korean architecture. What is worse, their further remodelling practices made big mistakes by considering only functional and economical aspects and giving a back seat to the architectural and historical value of existing modern department stores. Therefore, we should make more efforts to study and conserve the fundamentals of modem architectures like modem department stores in order to have better understanding of the aesthetic value of indoor space and facilitating smooth communication between past and present.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.69-79
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• 2011

The concept of architectural sustainability is gradually being highlighted in several ills and consciousness of crisis of modern architecture. However, many of us tend to realize its sustainability focusing on ecological sustainability in many ways. Such perspective is considerably technical and extensive. Therefore, I paid attention to Herman Hertzberger's architecture to find out how to consider spatial aspects, when interior architecture designers engage in design process. This study aims to analyze architectural progress for social communication of Herman Hertzberger's project, breaking from the existing research to only limit him to one of structuralism architects. In particular, it was found that in relation to social sustainability, universal/social design, cultural design and green/ecological design have been progressed in their forms through communicational perspectives of social architecture which he's insisted since the structuralism era. Recently, majority of issues about sustainability are restricted to economical aspects. Accordingly, further study is needed to consider his architecture from social aspects. As his architecture is concentrating on coexistence from a social perspective for communication, not on modern spatial discourse, his architectural works need to be analyzed consistently as realistic measurements.

• 건축역사연구
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• 제10권2호
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• pp.73-84
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• 2001

The main purpose of this paper is to show that the new paradigm of a period can be constructed by the reinterpretation of the historical precedents or the dialectical mediation between the old and new. We can tell this process the creative dialogue between the past and present. The continuity and rupture, the renovation and succession of the tradition can be understand by this interpretive insight that opens the new horizon in architecture. In oder to prove this preconception this paper analyses the ideas and design principles of Le Corbusier. By showing how his main ideas and principles are formulated we can understand his unique position as a modernist and characteristics of his architecture. It is also the another purpose of this paper. This paper first looks into various aspects of his architecture and his personal background, then Investigates his unique approach to historical precedents. By the imaginative eye and comparison with inspiration he connected contemporary situation to the tradition and was able to deduce a new paradigm in architecture. His way of making relationship with the past was a priori, dialectical, and fundamentalistic. He always searched for universal norm, eternal rules, and timeless principles which are also modern and new. This both side shows well his characteristics and his architecture. Eventually he could invent a Modern language of architecture by the several ways of dialogue between the modem and the classical, new technology and old convention. We can say that his way of dialogue is a kind of reinterpretation of the historical precedents which enables open the future of architecture.