• 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.

• Journal of the Korean earth science society
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• v.21 no.4
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• pp.449-468
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• 2000

The Ordovician Chongson Limestone deposited in the carbonate ramp to the rimmed shelf shows diverse diagenetic features. The marine diagenetic feature appears as isopachous cements surrounding ooids and peloids. Meteoric diagenetic features are recrystallized finely and coarsely crystalline calcite, evaporite casts filled with calcite, and isopachous sparry calcite surrounding ooid grains. Shallow burial diagenetic features include wispy seam, microstylolite, and dissolution seam whereas deep burial features include stylolite, burial cements. blocky calcite with twin lamellae, and poikilotopic calcite. Dolomites consist of very finely to finely crystalline mosaic dolomite formed as supratidal dolomite, disseminated dolomite of diverse origin, patchy dolomite formed from bioturbated mottles, and saddle dolomite of burial origin. Silicified features include calcite-replacing quartz and fracture-filling megaquartz. Burial cements characterized by poikilotopic texture show ${\delta}^{18}$O value of -10.4 %$_o$ PDB, ${\delta}^{13}$C value of -1.0%$_o$ PDB and 504ppm Sr, 3643ppm Fe, and 152ppm Mn concentrations. Finely and coarsely crystalline limestones show similar ${\delta}^{18}$O and ${\delta}^{13}$C value to those of burial cements; however, they show lower Sr and higher Fe and Mn concentrations than burial cements. This suggests that very finely and coarsely crystalline limestones were recrystallized in freshwater and then they were readjusted geochemically in the burial setting whereas the burial cements were formed in relatively high temperature and low water/rock ratio conditions. Very finely and finely crystalline mosaic dolomites with ${\delta}^{18}$O value of -8.2%$_o$ PDB, ${\delta}^{13}$C value of -1.9 %$_o$ PDB, and 213ppm Sr, 3654ppm Fe, and 114ppm Mn concentrations, respectively are interpreted to have been formed penecontemporaneously in supratidal flat and then recrystallized in the low water/rock ratio burial environment. Geochemical data suggest that the low water/rock ratio burial environment was the dominant diagenetic setting in the Chongson Limestone. The Chongson Limestone has experienced marine and meteoric diagenesis during early diagenesis. With deposition of Haengmae and Hoedongri formations part of the Chongson Limestone was buried beneath these formations and it experienced shallow burial diagenesis. During the Devonian the Chongson Limestone was tectonically deformed and subaerially exposed. During the Carboniferous to the Permian about 3.3km thick Pyongan Supergroup was deposited on the Chongson Limestone and the Chongson Limestone was in deep burial depths and stylolite, burial cements, blocky calcite and saddle dolomite were formed. After this burial event the Chongson Limestone was subaerially exposed during the Mesozoic and Cenozoic by three periods of tectonic disturbance including Songnim, Daebo and Bulguksa disturbance. Since the Bulguksa disturbance during Cretaceous and early Tertiary the Chongson Limestone has been subaerially exposed.