• 대한건축학회논문집:계획계
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• 제34권12호
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• pp.21-30
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• 2018

The traditional market has formed for itself through a long time thus has special value of the place. The tangible value of the traditional market is high, however, it became jeopardized to be dismantled since it can not cope with the consumption environment of modern society. Modern industrial society provides an inefficiently and standardized solution to the traditional market by ignoring the identity of place only by the value the traditional market in the law of large distribution industry. This study aims to define the placeness of Namdaemun traditional market by considering tangible value of place. The identity of the place was analyzed as a spatial configuration, space organization, and sense of place through the place's physical setting, activities, and meanings by Edward Ralph. Based on the analysis by Ralph, we analyzed the traditional market and compare to the department store, which is the representative of large scale distributor, using comparative method. We performed quantitative and integrative analysis for the placeness and provide a way to appraise the worth of the traditional market by deviating from the traditional evaluation method.

• 한국농촌건축학회논문집
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• 제8권1호
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• pp.25-32
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• 2006

The object of this study is the new city hall of Miyashiro in Saitama pref., Japan, which was built through local resident participation. The purpose of this study is to offer the reference data of regional public facilities by researching the process, role and meaning of resident participation and architectural characteristics and meanings. The results of the study are as follows. First, the new city hall of Miyashiro was built through voluntary will and efforts of the residents. Through close cooperation of the local residents, administration and specialists, it took into significant consideration regional conditions and individual characteristics. Second, the new city hall of Miyashiro applied the concept of barrier-free for children, the aged and handicapped, etc. Third, the new city hall of Miyashiro introduced wooden structure making the most of the merits of lumber. Finally, the new town hall of Miyashiro took sustainability into consideration by striving for the efficiency of energy application.

• 한국실내디자인학회논문집
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• 제21권6호
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• pp.3-11
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• 2012

As most modern architectures had been constructed aiming at only both self-reliance and the purity without considering the place, the contemporary architectures have been also exposed to 'the loss of the place' similarly. From recognizing these problems, studying new spatial approach and various movements to create new modern place overcoming this have been progressed. It is meant that building shouldn't exist away from a land, without meanings. It is need to create new space aggressively against varying spaces. Thus, This thesis focus on architect Jean Nouvel among the architects having the insight of space and study his architectural design philosophy through his works creating new space. The aim of this study is to review how to define the 'placeness', and the light as a mediator of place. First of all, this thesis begins with a review what is the 'placeness' as spatial analysis and how to define 'light' as a mediator of place with his books, scholarly lectures, interviews, writing and papers and then analyse how light is represented through 'the place program of light' from his selected works. As a result of it, the thesis provides the possibilities of his constant challenges about 'existence-space-essence' by deriving the characteristics of 'the place program of light' focused on what his architectural approach constructs new space all the time through a regular program even if hard to define all his works as one model.

• 한국실내디자인학회논문집
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• 제17권3호
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• pp.139-147
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• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.

• 건축역사연구
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• 제25권6호
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• pp.35-44
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• 2016

The purpose of this study is to identify the aspect of expression about the form of Shwedagon Pagoda as well as to find out its meanings. The aesthetic value of Shwedagon Pagoda appears as the worship and infinite respect to Buddha realizing its beautiful sacred symbol. The meaning of Shwedagon Pagoda is to progress in keeping pace with the specific flexibility of Buddhism in Myanmar developing Buddhistic diversity and accepting its active changes. As time passes, Shwedagon Pagoda has been transformed. It is because that Myanmar's architecture was developed independently being affected by India with the introduction of Buddhism, and accepted it through autonomous reinterpretation. Then, the function of the worship space surrounding Shwedagon was extended and its annexes and statues of the Buddha were built; its scale became larger. This study shows the comparison between Shwezigon Pagoda and Shwedagon Pagoda. This method of investigation reveals that the formal changes of Shwedagon makes it transform to concise composition and develop aesthetical component giving the sense of vertical rise.

• 건축역사연구
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• 제27권3호
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• pp.59-72
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• 2018

The detailed names and meanings of Korean stone pagodas have not yet been properly studied or clearly defined. Therefore, an aim of this report is to compare the detailed names of Korean, Chinese, and Japanese stone pagodas by focusing on content used previously by Ko and his students and content that is currently in use (i.e., since the Japanese colonial era). Additional objectives are to assess the significance of these names and propose an appropriate detailed draft regarding names of stone pagodas. The discussion will proceed by dividing the stone pagoda into three parts: the podium, main structure, and finial. First, the content in Luo Zhewen(羅哲文)'s "Ancient pagodas in China(中國古塔)" (1985) is considered; then, "朝鮮の石塔" (1943)-published by during the Japanese colonial era-is explored. The thesis written by Yu-Seop Ko regarding Korea's first stone pagoda and the content in "A Study of Korean Pagodas(朝鮮塔婆의 硏究)" (1948), which contains Yu-Seop Ko's posthumous works published in book form by his student Su-Yeong Hwang, Heu-Kyoung Kim are examined. to pagodas that are used today, are compared and reviewed. Since Korea, China, and Japan influence each other, pagoda-related terms are shared to some extent. In this study, these were applied to stone pagodas, and names used thus far that have not drawn criticism were studied and proposed as suitable alternatives.

• 한국실내디자인학회논문집
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• 제25권2호
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• pp.3-12
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• 2016

Aires Mateus Architects is one of the most well-known Portuguese architects after $\acute{A}lvaro$ Siza and Eduardo Souto de Moura. The studio shows clear design methods in which the relationship between solid mass and void space are creatively inter-connected. Subtractive transformation of form is the fundamental aspect of this relationship. Most of Aires Mateus' projects were designed based on the subtractive method. Although subtraction can be seen as architectural formal presentation, in Aires Mateus' cases, there are deeper logics, strategies, and meanings. Not only to create a form, subtractive method has been flexibly used to organize and compose different programs and spatial atmosphere. To examine this hidden dimension of Aires Mateus' unique design process, 5 case projects were selected and analyzed in detail based on program, light & visual-perception, and site's placeness. From the case study results, it is found that there are much deeper role of subtraction: relationship between solid-void are constantly changing to generate serviced and servant spaces, there are central spaces that are contrast against the complexity of exterior forms, aiming to build an archetypal form that transcends ever-changing time, ambivalent balance between universality and peculiarity in the genealogy of contemporary architecture. The study concluded that the unique characteristics of subtraction method as design organization have various possibilities that can apply on other architectural and interior projects which would have similar ideas and circumstances.

• 한국실내디자인학회논문집
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• 제25권5호
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• pp.157-166
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• 2016

This study is intended to examine the various kinds of emptiness that are shown in the empty spaces created by Hyo-Sang Seung and Louis I. Kahn. Architecture creates the usefulness of a certain space thanks to its emptiness. The word, 'Emptiness' has the following meanings, 'non-fulfillment', 'non-existence', 'emptiness', 'blankness', 'non-visibility' and 'non-limitation', etc. Such concepts of emptiness can be broadly divided into 'ideological emptiness', 'aesthetic' and 'architectural spatial'. Comparisons regarding such concepts of emptiness as they are expressed in the architectural spaces created by Hyo-sang Seung and Louis I. Kahn shall be identified in this study. Hyo-sang Seung tried to leave numerous open possibilities which can contain everything into a certain space since 'emptiness' is not being used at this moment. Louis I. Kahn tried to contain into a space the essence and silence of that space before something that exists is created. The 'emptiness' created by Hyo-sang Seung and Louis I. Kahn is a specific space which can contain more kinds of non-visible spaces than some visible ones. Thus, such spaces may contain various potentials which are possible because they are empty, because of changes in nature and time, and because of silence and intentions going beyond an artist's original intent.

• 한국실내디자인학회논문집
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• 제26권2호
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• pp.55-63
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• 2017

Recent projects of Japanese architect, Ito Toyo have been evolved into innovative and experimental stages that are unique and different from other contemporary architects. Since Ito established his own office in 1971, there were several critical changes and developments in terms of architectural philosophy as well as design methods. Particularly, after Sendai Mediatheque, Ito has tended to focus on creating three-dimensional organic body in which architectural form, space, structure, facilities, images are merged all together. With this new type of three-dimensional structure, Ito aims to generate a new notion of architecture as 'living organism'. This paper tried to analyze Ito's new concept of architecture, design process of three-dimensional organic body and its ultimate characteristics and meanings. For the analysis, three projects were selected: Taichung Metropolitan Opera House(2005), Berkeley Art Museum and Pacific Film Archive(2007), The New Deichman Library in Oslo(2008). These projects clearly represent several types of three-dimensional organic body. After the comparative studies, it is found that, in Ito's design process and method, there are unique characters: ambivalent relationship between plan and three-dimensional form, aiming new/hyper reality through complicated collaboration of analogue and digital design tools, and contradictory relationship with surrounding urban context. Although there are some limitations and restrictions, ever-evolving Ito's design concept and methods are very much valid and meaningful in contemporary spatial design in various perspectives.

• 건축역사연구
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• 제8권1호
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• pp.81-94
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• 1999

This Study aims at searching the meanings in the creative process of Ronchamp chapel by analyzing the drawings of the site, plan, section and elevation in chronological order. The origins of his architectural creation are identifying with the site(memories of Acropolis), analogies of crab shell, air plane wing and hydraulic dams. The architect informed himself about the site ,the tradition of pilgrimage associated with the place, and its devotion to the Holy Virgin; he looked into the rituals of the Catholic religion, spoke with ecclesiastics; he studied and annotated a monograph devoted to the site of Ronchamp. Also ,the plan required that it be possible to collect rainwater, since such was rare on the hill. In the first design phase, overall conception of building was carried out in the sketches and drawings from June 1950 to November 1950. The second phase in the elaboration of the project was from January 1951(at which time preliminary project was presented to the Commission of Holy Art) to April 1953. The modifications made were in response to opinions expressed by the patrons. The building moved to east and gargoyle moved to west, then, the elevations of north and west were changed. He designed the artificial land and bell tower from the first phase even after the beginning of construction ,he wanted them to be built .But they were not constructed, so the outer space for rituals of religion had no tension. I concluded that Le Corbusier had gifted ability and efforts to create spontaneous birth(after incubation) of the whole work, and the execution of drawings itself. He devoted himself to accomplish the project in spite of the change in situation or by clients.