• Korean Institute of Interior Design Journal
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• no.25
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• pp.94-102
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• 2000

The line of demarcation separating architecture from the art in recent years has blurred, due to the expantionist aspects between. This is a study of the direction which contemporary architecture and art are now taking. The results of the study are as follows: 1. The direction of contemporary architecture is revealed through the works of deconstructivist architects and Hans Hollein. Deconstructivist architects have incooperated abstract forms and concepts for their expression. Also Hans Hollein has brought a new aspect to architecture by combining the aura of spirituality and the use of collage. 2. The direction of contemporary art is revealed through the works of installation artists. Daniel Buren works on the interactivity between the object and the observer. Dan Graham deals with the social issues which caused by the interrelation between the eyes and the visual media. Jae-en Choi works on the actual architectural site and space capturing the spirit of what the space is for shile Jung-hwa Jung deals with the layers of perception within a particular space. Another realm coming into being is the cooperation between artists and architects. The cooperation of Holl and Acconci is expressed through their joint project Storefront Gallery. It is the development of Accocis concept of boundary and Holls methodology. Another example of this realm is revealed through the Fish Gallery of the Guggenheim Museum Bilbao. Gehry was introduced to the nature of material by Serra and Serra learned of new ways of viewing the existence of space between materials from Gehry. These new relationships between contemporary architecture and art are reciprocal in nature are indicators of a dynamic and new changing cooperation now emerging.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.87-94
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• 2014

Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.31-40
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• 2015

This study aims to comprehend that Seokpajeong garden for aspect of space change. Spatial characteristics according to the transfer of ownership are classified as period. And investigate the aspect of space change in Seokpajeong garden based on literature and painting, newspaper, photo. The results were as follows. First, Investigate the construction and change of Seokpajeong garden. Accordingly, spatial characteristics of Seokpajeong garden are classified into three period. 1st period is Kim-Heung Keun owned Samgyedong-jungsa garden. 2nd period is Daewongun hold Seokpajeong garden. 3rd period is damaged original form of Seokpajeong garden from Korean War to current time inclusive. Secondly, Kim-Heung Keun owned Samgyedong-jungsa garden has characteristics of water system centric space and many buildings. In addition accept foreign culture like chinese pavilion and Byeoldang Villa. and plant unique flower and leaf in garden. Thirdly, According to Seokpajeong garden folding screen, Daewongun owned Seokpajeong garden accept organization of space in Samgyedong garden. But different locations of Sarangchae in folding screen means possibility of move building to current position. So, additional historical research is required with representation of chinese pavilion location. Fourthly, Seokpajeong garden was damaged from original form to frequent changes of ownership. Transform of geographical features and water system as well as Anchae and Sarangchae, back side of a outbuilding are only the remained among many buildings. Also, Seokpajeong garden is more fell to the subsidiary facility of Seoul Museum than Wonrim. Therefore restoration and recovery of original form are urgent.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.57-70
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• 2007

As a basic element of Jeju landscape, Oreum offers a beautiful and aesthetic view. Considering topographical and geological research achievements, however, an effort to discover implicit value in terms of landscape characteristics and value has been ignored. This paper has investigated the characteristics and value of landscape by Oreum focusing on Jeju landscape characteristics and eco-touristic value and discussed a scheme to maximize the values. Under a theme of 'Sustainable Development' of the RIO Declaration, tour industry has recently changed its focus from eco-tourism to gee-tourism. Fortunately, Jeju Oreum has very distinctive and unique landscape with depressed crater at a crest. Nevertheless, it's very difficult to see a true aspect of Oreum from the street or over the car window. Therefore, it's urgent to begin a research on how to make advantage of and preserve Oreum landscape in order to maximize its landscape values and improve its potential as a tourist attraction. Through diverse programs such as sky leisure sports(ex: light airplane and helicopter riding, paragliding), sky watching, and mountain hiking, in particular, a possibility that Oreum can succeed as LBD(Learning by Doing)-based tour program with volcanic features needs to be examined. Besides, it's also a good idea to develop Oreum tour program or Oreum Museum as an alternative plan. Above all, however, it's most urgent to protect the existing Oreum and restore ecological and landscape beauty of Oreum through proper land use.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.2
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• pp.51-60
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• 2011

Although the comparative advantage of cities is emphasized in the context of transition into an information-oriented society and globalization, it is difficult to define the concept and evaluate the status of each city. There have been many studies and appraisals on urban competitiveness with common features of subjective standards by researchers. This study aims at extracting determinants of competitive advantage of location by not normative but data-based approach, and deals with panel data concerning 21 cities in capital region. Factor Analysis, a kind of multivariate methods, is taken up for the purpose and results in various findings. Time-serial 5-factor models constructed by the analysis show temporal variability in the determinants and have non-exhaustive and overlapped categories. This study also finds that 'educational base' is emphasized as a leading determinant and 'health, welfare and public services' factor is getting more important. The other potential factor explaining variables such as college and museum is also emerging, which is considered as an element to attract people from outside. And the fact that traditionally expected factors regarding industrial or productive basis is not drawn out indicates the other way of thinking on the relationship between the essential function of cities and industrial foundation.

• Journal of Korean Society of Rural Planning
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• v.19 no.1
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• pp.165-177
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• 2013

This study deals with rural village development project of Gasangri, Yeongcheon city area, based on the use of the cultural factors and strengthening them in study area. Unlike other cases of today's Korean rural village development projects, this plan keenly concerns not only for tourists but also for the village people. Since culture means the quality of life also, this project especially deals with 'community', 'well-being', and 'convenience' for the inhabitants. On the other hand, it attempts to connect with "Cyan Museum", which is the first grade art gallery remodelled from closed school, to make village of culturally abundant atmosphere. In result, seven sub-projects of the expansion of basic living foundation, and two improvement of landscape in area have planned. Among stereotype of rural development projects and similar programs of tourism, the project makes difference on targeting for the meaning and resource of place culture.

• Journal of the Architectural Institute of Korea Structure & Construction
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• v.35 no.6
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• pp.129-137
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• 2019

The purpose of this study is to present systematic information and direction to urban underground space development industry, civil engineering and R&D. Regarding the development of urban underground space, the situation in Korea, especially now in Seoul, can be called an underground Renaissance. The Superground project, which has been going on for several years through international competition, is now completed and is about to open the Seoul Architecture Museum. Leading underground space complex development project of Yeongdongdaero, which is the largest living underground space in human history, spectral projects such as the Seoul section of the GTX routes, making underground roads of the Dongbu Expressway and the Seobu Expressway are now speeding up progress. Recently, plans have been made to use the underground more actively through the restructuring project of Gwanghwamun Square, the face of Seoul. And then, patents are indispensable resources for establishing a strategy for R&D as one of the indices showing what technologies have been developed and what technology development will be done in the future. Based on this background, this study attempts to classify and define the technical elements of urban underground space development through the analysis of patents of major countries in the world, and analyze and present state of technology level and situation accordingly.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.