• 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 Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.