• Journal of architectural history
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• v.32 no.4
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• pp.19-33
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• 2023

This study investigated the architectural expression of Taekpungdang(澤風堂, The Pond and Wind House) built by the Neo-Confucianist Taekdang Lee Sik(澤堂 李植, 1584~1647) from the perspective of the symbolic system of the Zhōuyì(『周易』, Classic of Changes). This study examined the historical context, personal history, and construction process of Taekpungdang at the time of its creation through his collection of writings, the Taekdanggip(澤堂集). The study also estimated the original form of Taekpungdang through field surveys and historical evidence. In addition, the architectural principles and architectural expressions inherent in the Taekpungdang were derived based on the symbolic system of "taekpungdaegwa"(澤風大過) which is Lee Sik's divination and one of the 64 trigrams in the Zhōuyì. Lee Sik, who was knowledgeable in the Zhōuyì, used divination to cope with the chaotic political situation and his own misfortunes. Accordingly, He determined the direction of his life and planned the surrounding environment, architectural structure, and form of Taekpungdang based on the rules and meanings of his divination system. He embodied the architectural space of Taekpungdang with the concept of time and space inherent in the divination of "daegwa",(大過, great exceeding). In addition, he expressed the principle of the generation of palgue,(八卦, the eight trigrams for divination) and the principle of the co-prosperity of ohaeng(五行, the five elements) through the composition of walls and windows of the house. The images of Taekpungdaegwae, which are dongyo(棟撓 wood submerged in the pond) and taekmyeolmok(澤滅木, shaking pillars), were manifested in the form of buildings. Therefore, Taekpungdang can be considered a remarkable example of a building designed through the thorough utilization of the Zhōuyì divination system.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.29-36
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• 2006

This study aims to analyze the multiple meaning of color variously expressed in contemporary architecture. Nowadays heterogeneity, plurality and ephemerality of modem society have been well presented in contemporary architecture. The phenomenal characteristic of color is so appropriate to express the unfixed and immaterialized attributes of contemporary architecture that it can make color a major element of architecture, which, in the past, used to be a minor element for the lack of materiality. Through the analysis of contemporary important building projects in terms of color, it can be concluded that the architectural application of color shows multiple meanings as follows; phenomenal expression, visualization of complex programs and embodiment of design process, reflection of context and control of users' mentality. At the same time, these multiple meanings are complexly presented in a single building project.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.15-22
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• 2019

According to Kenneth Frampton, the modern architecture starts to be recognized as the poetics of construction and lays a great weight in its value on the technology of making forms and the inherent meaning in the tectonics. The tectonic connotes not only the technological construction of the architecture but also ontological details as the joint of material and texture. The works of Carlo Scarpa are examples to prove the way how the ontological meanings are exposed in the tectonic form of architecture. The purpose of this study was to analyze the connections between Carlo Scarpa's architectural thoughts and visual logic(schemata) from the characteristic of details in his work during the 1950s to 1970s. Through the analysis, the Italian tradition in the architecture is reinterpreted through isolation and break of recollected montages. Carlo Scarpa makes spatial fragments and aspects of reinterpreting in surroundings and situation with the architectural place in Venezia. As a result, the unique details of his craftsmanship provide lessons on how to reinterpret the traditional architecture. In conclusion, Carlo Scarpa's architecture emphasizes the passage of its perceptive experience aspects as a dis-joint of tectonic forms. It may imply the significance of his philosophical approach, especially to the ontological architecture and tectonics.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.23-41
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• 2001

This paper aims at understanding the transformed characteristics of expressional system of Church architecture in Korean traditional style. Through the analysis of transformed forms and its meanings of those, this paper investigates the unique process of stylistic development of Korean traditional church architecture in early modern, 1900's. The method of this study is the analyse of them after the actual field surveys of Korean traditional churches, specially eclecticism churches as the HWSAN church and KUPODONG church, and the analysis of Semiology. Theory for Semantic Interpretation of artistic objects as an objects of art and architecture. Specially, the survey concentrates on the architectural elements(the form, the architectural structure, the material, the roof shape, the window, the door, the bell tower, the plan, etc) of eclecticism churches, especially those of HWASAN church and the analysis of semiology theory contains the research results which were studied by theorists as Charles Jencks, Umberto Eco and Juan Pablo Bonta. Acceding to analysis, Korean eclecticism churches have the unique transformation process and specific meaning of the spontaneous process of development. In the results of the semiological analysis of HWASAN church, it can be revealed clearly that transformed process of form리 characteristics of HWASAN church intented to formal originality of western Gothic church, but its form and meaning were based not on any simply imported western style but on existing system of Korean architecture.

• Journal of architectural history
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• v.24 no.4
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• pp.19-28
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• 2015

This study examines the Singapore public housing supplied by Singapore Improvement Trust (SIT) in the 1950s. Focused on the Princess Elizabeth estate and Princess estate of Queenstown, this study surveys their construction backgrounds, site plans, unit plans, architectural designs and meanings. The Princess Elizabeth estate was the model estate for workmen's flats. This estate showed mixed blocks of flats arranged around a large quadrangled open space for children. The Princess estate was a neighborhood of Queenstown, Singapore's the first new town. At this Estate, there were some new architectural occurrences departing from the Tiong Bahru Estate. Those are the appearance of high-rise typology, and the increased specificity in the functions of open spaces. Thus the open space became to get hierarchy, and divided an estate to small neighborhood units. For the SIT, open space is synonymous with the improvement of urban environment. Through the purposeful creation of open space, the SIT intended to solve the problem of sanitation and to make a neighborhood unit which can be pleasant place for regional community.

• Journal of architectural history
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• v.17 no.3
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• pp.45-60
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• 2008

This study lists the vocabulary of the inscriptions on SeoGwol-YeongGeon-DoGam-UiGwe(西闕營建都監儀軌 1831). This study also deciphers and explains the meanings of them. In advance, this study compares them with the vocabulary of the national language in the middle ages and in modem times. There are two important missions in deciphering a transcription marking of the architectural vocabulary of UiGwe(儀軌). One is to gain an understanding of the reading method of transcription marking and the other is an explanation of what that means. As a result, we can correctly understand the UiGwe(儀軌) written in transcription marks. If we could decipher the transcription markings of the documents as it is, we cannot only recover plenty of vocabulary related with characteristic architecture in the age of the later Joseon Dynasty, but also correct wrongly used vocabulary in the present. As a result, we can standardize and adjust the vocabulary use of Korean traditional architecture. In advance, we can correct errors of spelling and mistaken explanations in the Korean Encyclopedia.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.68-76
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• 2012

Contemporary architecture has a tendency to concretely approach based on the concept of Deuleuze's 'fold' diversity problems creating continuously potential diversities within Post-structural paradigm. Contemporary architecture relates to human life through its relation with human being. The research investigates through case study the possible relation of the concept of Deulezue's 'fold', one of his concepts of 'unfolding' based on Monadology, with logic of creation that constructs a space in contemporary architectural space. Eight contemporary architectural spaces since 1990 with architectural embodiment of Deulezue's 'fold' concept have been selected as cases. Based on the fact that the potential possibility of a space can be embodied by the thinking of 'fold', the research draws four physical activities such as 'properties connection', 'beyond border', 'diversity of circulation' and 'potential opportunity', through which it studies on the principle of actualization of space creation. Consideration of metaphysical theory as a pre-modern and outdated one may lose a huge potentiality. Leibniz's metaphysics can be rediscovered as a model that provides diverse potentiality. The concept of 'fold' in Monadology needs be reconsidered because it possibly suggests a methodology that embodies through the actualization of space the meanings underlain in contemporary architectural space.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.