• Korean Institute of Interior Design Journal
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• no.30
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• pp.68-77
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• 2002

From ancient to modern architecture, the light in the architecture spaces as the only changing factor, was the most important theme contributing vitality to the space and judging its character and expression. The efforts, to acquire both natural-physical light and internally experienced spiritual-supernatural light, had been revealed in several ways of the architecture from the ancient architecture. It was the main issues on the christian architecture. In this study, 1 have intended to determine how the light, the most important factor on the christian architecture symbolizing the blessing of God and forming the pious and restrained spaces has been expressed in the church spaces. For this purpose, I have compared and analysised the examples of the using the light, to the arts of the modern maestros of architecture and newly constructed churches in Korea on the way of light input pattern by the shape of windows. The results from the examples show that the most outstanding point of the modern christian architecture compare to the past, is that the natures of the inputted light has many diversities by the architects. And I reached the fact that the constructers by their own will to acquire the intended light, they are chose progressive light expressing methods through the shape of windows.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.30-37
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• 2007

Modern cities are weak in traditional culture with the lack of characteristics and the problem of environmental deterioration. As the important carrier of urban culture, landscape architecture should be responsible for solving these problems. The urban need is paid much attention in the design of South Bank Linear Park in Meizhou city. Following the principle of inheriting and developing urban traditional culture, the design of the whole park is integrated with Hakka culture in Meizhou, which forms the landscape with local features and modern landscape architecture culture, and promotes the urban culture construction.

• Journal of The Korean Digital Architecture Interior Association
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• v.10 no.1
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• pp.49-56
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• 2010

The purpose of this study is to examine the relationship between the structural system used in modern architecture and the form and spatial composition of the buildings. The principle in stabilization of structures is closely related to the architectural form. That is, in order to stabilize a building, a special type of structural system is required and consequently shows up with consistent characteristics in the architectural form. Modern architecture can be classified into skeleton structure, trusses structure, and space structure according to the structural characteristics. Skeleton structure is then divided into a perpendicular form and tapered form. Trusses structure is categorized as dome-shaped structure and slab-shaped structure, and space structure can be divided into compressible space structure and tensile space structure. When classifies the modern building with the aspect of architectural effect, there is a possibility of trying to divide with effect of production, and its expression. Effect of production mean structural system and effect of expression mean space and plan.

• Architectural research
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• v.19 no.1
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• pp.21-26
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• 2017

This research examines the historic preservation of Korean modern architecture by applying Kenneth Frampton(1930-)'s concept of critical regionalism. It explores the representative Korean modern architect Gil-ryong Park (1898-1943) and two of his buildings: the Hwashin Department Store (1935) and the No-soo Park house (1937-1938). The former was in the hot spot on the preservation. There were plans to preserve this building but that it ended up being demolished in 1987. The latter building, however, has been preserved and is currently being used as a museum. These two Korean modern buildings are explored through the frame of Kenneth Frampton's critical regionalism, in particular focusing on three important concepts: "dialectical expression," "place-form," and "sustainability." In this sense, this research will provide pioneering research in understanding the preservation of Korean modern architecture through a representative Western modern theory. In the early $20^{th}$ century, Korean modern architecture, which was built during the Japanese colonial period (1910-1945), could be interpreted as critical regionalism because it represented a dialog between the West and the East, in particular between Western modernism, Japanese modernity, and Korean tradition in the East Asian context. Understanding Korean modernism in this context of a cross-cultural perspective enables scholars to define both the origins and uniqueness of Korean modern architecture.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.238-248
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• 1997

The spatial form of architecture in the same era has its own common characteristic spatial form. This study is based on this proposition and is focused on how architectural spatial forms have been changed up to now after modern ages(from the beinging of 1900s to the early days of 1990s ; from early modern age, golden modern age, post modern, late modern architecture to recent experimental trend) and how architectural theories of spatial forms will be changed in the future is predicted.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.169-175
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• 2000

Since the late 19th Century, modern architecture of definite figure and form shared similar concepts on space and from with the abstract art, pursuing the geometric purity and the abstraction. So the reductive approach had been taken in modern architecture as well as on modern art. The 1960 minimal art had experimented an extreme reduction with the cubic forms and the plane canvases, embodying so called minimal-art content, it was just another version of modernism art interpreted by the extreme reduction. The reduction is a characteristics of modernism adopted in every art field, including architecture. Not from the apparent, but from the essential quality of architectural form, figure and space resulting from the reductive approach, a building in this trend schould be judged and appreciated. In many aspects, Korean traditional architecture has been shown the characteristics of Minimal Architecture. With these points of view, this study analyzes characteristics of Korean traditional architecture with above contents through the form and space.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.121-129
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• 1998

It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.135-141
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• 1998

The objective of this study is to examine the specific progress in modern architecture with a premise that structure-oriented paradigm, as a primary factor, exerts a strong impacts on 18th and 19th centuries architecture. For this purpose, the concept and meaning backgrounds of structure-oriented paradigm have been checked also intrinsic thought s and critical aspects of modern architecture with the light of structure-oriented paradigm have been studied, This study summarized as follows: 1) The concept of structure-oriented paradigm in accordance with ideologies and technologies is framework of through which is shared as collective consciousness. 2) The backdrops of this consciousness are scientific methodologies stemmed from Renaissance and Enlightenment spiritual absoluteness claimed by German Idealists developed structural engineering with newly introduced material like iron steel and reinforced concrete. 3) The intrinsic through in architectural theories are rational and technological idelolgies which is derived from the backdrops of structure-oriented paradigm. 4)The critical sapects of modern architecture in structure-oriented paradigm point of view are $\circled1$ material alteration and directive imitation of vocabularies in classical architecture with simply using newly introduced building material and structure systems $\circled2$ morphological substitution with abstractly interpreted materials and structure systems $\circled3$ revolutionary conversion into engineering architecture through maximum consideration in compliance with tectonics capabilities

• Journal of architectural history
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• v.22 no.2
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• pp.7-19
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• 2013

The formation of modern architecture during the Weimar Republic in Germany is seen through the works by Bruno Taut, one of the leading architects during that period. Through the extensive literature readings on Bruno Taut and critical analysis of Bruno Taut's ideologies, his works and the circumstances that he was in, the contention of this paper is that the root of modern architecture has less to do with functionalism and new technologies, but more to do with need to express new ideologies and expressions of their view of a new society. Although the socialistic idea did not account for sole reason for influencing their architecture, it did play a considerable part in deciding what architectural expressions are preferred. For this discourse this paper limits Bruno Taut's years from 1913 to 1932 prior to his exile from Germany; 1913 to 1923 being the years that constitute theoretical activities and 1923 to 1932 being the golden years for social housing when he participated on many public housing projects. It was during this period that his architecture put importance of practicality, and utilitarian; however the transition was not an abrupt departure from his expressionistic architecture but an inclusive act on his part.

• Journal of architectural history
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• v.32 no.6
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• pp.49-62
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• 2023

This research aims to investigate Park Kilyong's architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his 'Overview of Modern Buildings in Gyeongseong' and 'Critique of Gyeongseong Buildings' (Samcheolli, Sept. and Oct. 1935); and 'Architectural Form of the 100% Function' and 'The Modern and Architecture (1)-(4)' (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park's functionalist theory from both the 1930s' and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.