• Journal of architectural history
• /
• v.13 no.4 s.40
• /
• pp.75-88
• /
• 2004

The German Werkbund, which was founded in 1907, played an important role in the history of modern architecture. Its exhibition 1914 in Cologne is estimated as a meaningful event in the development of modern architecture. Especially two examples, among which were built at that time, are worthy of notice. The one is the 'Modelfactory' by Walter Gropius and the other 'Glashaus' by Bruno Taut. Generally in the Textbook on the history of modern architecture, the Taut's Glashaus is rarely mentioned or described as a early example of some expressionistic architecture, while the Modelfactory by Gropius is regarded as an essential workpiece in the early stage of modern movement. the time of searching alternative not only from rationalistic modernism but also postmodernism and today in the time of plurality, Taut's Glashaus could bring us more interesting and meaningful aspects in architectural design. Through investigating the background in the planning stage and analysing the composition of space, construction, circulation etc. it is to try to understand the building as really as what it was. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; what should be reflected in architecture and how could 'Zeitgeist' be architecturally adopted?

• Journal of architectural history
• /
• v.20 no.4
• /
• pp.115-134
• /
• 2011

International Competition for Parc de la Villette has evoked the old architectural question that is about the conflict between unchanging architecture and ever changing time. Tschumi and Koolhaas suggested well-known solutions for it, both of which had started from the criticism of general urban design approach that ignored changing factors in time. However, this study argues that the approaches of Tschumi and Koolhaas are even opposite to each other in spite of their common aims. Influenced by deconstructivists' theories, Tschumi tries to generate the 'text' on the surface of la Villette so that the different users of the park can read it differently. The text is built by 'superimposing' different systems such as points, lines, and surfaces. This study criticizes such formalistic approach since such 'forms' do not generate any dialogue with the real users but just stay as a backdrop for irrelevant events. Meanwhile, Koolhaas concentrates on the 'ground-ness' of la Villette. What he deals with is the real ground which embraces all the potentials on it already. His 'bands' express nothing but the metamorphosis of the ground, and the ground generates the 'differences' out of itself by repeating itself ceaselessly. This study tries to clarify all those happenings and meanings by intimate investigation of various drawing works for the la Villette project by Tschumi and Koolhaas.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.5
• /
• pp.3-10
• /
• 2019

This study is purposed to analyze of House Vision exhibition and projects in Japan. The contemporary residence has been planned and designed with fixed territory and boundary of rooms. According to the symposium of House Vision, the spatial boundary can be studied in the aspect of territory that molds the experience of residents. So, this study reviews Aldo van Eyck's concept of 'in-between'. Through the analysis, House Vision exhibition is revealed that the housing models present architectural characteristics of middleware and third place. The cognition of internal and external boundary stems from movements and activities of residents. That is the dwelling and residential space determined by users and residents. In this regard, 'in-between' of House Vision has structures(multilayer) causing various relationships to be perceived, so as to connect with the dwelling and activities of residents. As a result, it has relational meanings of sharing, as well as makes possible other community life to be done. According to the projects of House Vision, the units and cores have created the new connections and relationships between privacy and publicity. In conclusion, this research shows a new direction of the spatial strategies on House Vision exhibition in Japan.

• Korean Institute of Interior Design Journal
• /
• v.14 no.6 s.53
• /
• pp.193-201
• /
• 2005

In this study we analyzed and interpreted the phenomenologlcal characteristics and meanings of water space in religious architecture through field studies and phenomenologlcal approaches, focusing on the religious architecture Introducing water space in contemporary architecture. The phenomenological experience elements of the research ate light, time, place and context. As the results of this study, first, light as a phenomenological element not only induces a contrast and change between light and the shadow in architectural space and various changes of light in inner space, but also operates as an element which expresses building features outward with time. Second, time as a phenomenological perception experience makes us feel changes of the environment and physical properties and experience space visually and physically. The continuity of time shows the change of a day, night and daytime and seasons. Third, water space makes the sense of place more remarkable, connected closely with surrounding nature In outer space, and creates a new space. Fourth, water space is a contextual element which harmonizes with surrounding environment by connecting surrounding natural environment with architectural space. Fifth, water space in religious architecture is a symbolic and central element, and emphasizes the atmosphere of architectural space. In addition, it makes the people who experience water space perceive the place by triggering sensitive response.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2007.05a
• /
• pp.222-226
• /
• 2007

Buildings form interior space when part of an external environment is limited by a physical surface. And, the interior space forms an appearance of building when space-defining elements, such as floor, wall, and roof. An appearance or a form of building has a lot of meanings depending on the physical and psychological conditions, as well as symbolism. Especially, the prevailing meaning of form in the modern age was, "Form follows function," was quite different from the meaning of form in the architectural era of Louis I. Kahn, who asserted "Form always supercedes function," when functional modernism was still existed even after some 50 years later. Existing studies on Louis I. Kahn usually analyzed his architectural terminology and philosophical concepts of Centrality, Light, Order, Form, and Design; or they were focused on an overall plane and the principle of composition. The purposes of this study are: (1) to investigate how the formal composition characteristics of building are expressed on skylights; and (2) to demonstrate that the formal composition characteristics of skylights plays an important role in constructing a whole structure of building in relation with other architectural elements.

• Journal of the Architectural Institute of Korea Structure & Construction
• /
• v.34 no.3
• /
• pp.103-111
• /
• 2018

A prototypical building that represents the energy characteristics of buildings can be used as a mean of improving building energy efficiency by supporting policy makers, researchers, architects and engineers. This paper is a fundamental study for the definition of prototypical office building models of Korea. First of all, the term "prototypical buildings" was defined in the context of the representatives of building stock by examining the meanings used from many previous researches. Then, building energy related DB of Korea that is available from public and governmental organization such as MLIT (Ministry of Land, Infrastructure and Transport) and KEEI (Korea Energy Economics Institute) is analyzed in terms of materials for prototypical building definition. Finally, numerous prototypical building studies since 1990's from all of the world were classified with three criteria based on the degrees of the used DB and assumptions in defining prototypical building. The found three criteria are EDPB (Empirical Decision based Prototypical Building), HIPB (Hybrid Information based Prototypical Building) SAPB (Statistical Analysis based Prototypical Building).

• Korean Institute of Interior Design Journal
• /
• v.18 no.4
• /
• pp.61-70
• /
• 2009

Rapid social changes and scientific advances of the $21^{th}c$ have brought on a major paradigm shift towards consilience, making boundaries more or less irrelevant. In the field of architecture, this is manifested in the emergence of colors that can be described as 'being aleatory', 'non-formal', 'non-deterministic' and 'perpetually evolving'. Contemporary architectural colors are not definitively fixed. They are rather liquid and metaphorical. Whereas the more traditional architectural colors have delivered clearly and precisely the intended symbolic meaning and visual information, those of today are less definitive and embody a more liquid and conceptual value system. This paper discusses the denoted signification and the meaning effect of the metaphorical color system found in contemporary architecture. This paper analyzes works of architecture from the late 20th century, when dramatic change sin architectural color system surfaced, to the more contemporary creations. Here, three categories of color are suggested, namely material color, spatial color and liquid color. Each categories considered in connection with deconstruction, holistic interactivity and the multiplicity of meanings that may result as information from the external world is perceived as stimulus to the inner mind. Contemporary architectural color scheme is characterized by its unpredictable vagueness of meaning, synesthetic engagement of imagination and chance, and expansion of the inner and outer world, all of which contribute to a metaphorical effect. The metaphorical color system of contemporary architecture can be classified into three dimensions, and it connects with human consciousness and amplifies itself through flexible and fluid communication. In this process non-physical colors materially serve as formal logic and room for varied interpretation of architectural space and our conceptual framework.

• The Journal of the Korea Contents Association
• /
• v.9 no.8
• /
• pp.231-236
• /
• 2009

Men's jewelry are thought to have a limited role as assisting women's jewelry or wedding gifts. The variety of designs are limited, and most of them are just copies of Japanese designs. In order to bring out a new kinds of variety in men's jewelry design, I have chosen architectural structures as a motif. Architectural structures have strong symbolical meanings that express man. They are powerful and challenging, and symbolize wealth and authority. Mario Botta, the wolrd famous architect is an architect with this kind of spirit. His architectural style does not lose his own color in a chaotic situation, but keeps the feeling of shape and space on the basis of locality. In this study I have started with a motif that may express specific and modem feelings by compressing the shape and spatial images of Mario Botta's structures minimally into men's jewelry in order to grope the possibilities in all aspects. I have done these in order to rediscover the beauty of the architectural structures by using the shape and spatial images that are found in Botta's structures, so that I may propose a new kind of men's jewelry with stresses on their shapes.

• Korean Institute of Interior Design Journal
• /
• v.15 no.6 s.59
• /
• pp.27-34
• /
• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• Korean Institute of Interior Design Journal
• /
• v.24 no.3
• /
• pp.79-86
• /
• 2015

Myths and architectural spaces are cultural products symbolizing ideologies and objects respectively. Myth has the structure and the contents of a unique view of the world that reflects thoughts and representations of the nationalities. This study is about 'the spaces of the memory' adapted by the mythic tradition among many aspects of the Japanese tradition. The process of this study is illustrated as follows: At first, it mentions the concept of Gilbert Durand's mythic imaginaries and prototype with the method on how the myth is applied to the architectural spaces in the cultural context. Secondly, It clarifies basic meaning arrangement of the Japanese traditional spaces related to the myth. It shows sourceful 'prototipical system' that lies in the relation between thoughts and representations, regarding the shinto's spaces in terms of mythical imaginaries and Japanness. Thirdly, it ascertains mythical structure represented in the traditional space designs on terms with 'prototype' from symbolic system of the myth. It selects the cases among Japanese contemporary architects's works designed after 1960's, and analyses the meanings. In conclusion, it clarifies that this way can be a suggestion as the space design method combining the human's imaginary property with the time-stratigraphic region, and offering creative ideas for the strategy of the space design brand image that embraces a wide range of culture, ecology, and sensibility.