• Journal of architectural history
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• v.15 no.3
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• pp.43-57
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• 2006

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.62-70
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• 2005

Basically, modern architect's translation of relations between architectural space and human beings is focused upon the space and the way the space is experienced. Thus, the architecture is construed not as the finalized and fixed structure but as something undetermined and In progress. Here, we can identify the similarity between current trend and theory on process. Experience argument in this study is based upon such a similarity. And for your understanding of the spatial concept broached in the following experience argument, I've presented the analysis of Ben van Berkel's and Kazuyo Sejima's works that represent user's experiences in discussing art works. Taking a step further, I'll try to provide the true definition of being in progress and the potential of the architecture, thereby seeking the value and meaning of trends in modern architecture. In this regard, this study is aimed to analyze the attributes of experiences in progress identified in the art works of Ben van Berkel and Kazuyo Sejima and to extract and analyze the architectural concepts therein.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.61-68
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• 2002

It aims to understand how the time can be expressed in architecture from viewpoints of Oriental and Western philosophy. We just have done sporadic studies such as historical time, physical time, specific time, time as the space-time continuum and appreciation time. It`s impossible to find out that time exactly is since `time` is ambiguous. Because the meaning is formed newly by relational changes between visible and invisible existing thing. In such point of view, this study attempts at analyzing the inter-relationship between the art, music, architecture and time-concept in oriental and western philosophy. A comparative study follows : Time can be classified into the linear concept of time & the cyclic concept of time in an agricultural civilization and oriental philosophy. Linear concept of time can be divided into 1)the inevitable concept of time and 2)the 4-dimensional concept of time and 3) the indefinite concept of time.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.141-144
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• 1999

After the Twentieth century, various movements appear by the sudden change of society. The minimalistic characters are represent in visual art, music literature and fashion. Actually Minimalism is started from the Visual Art in America at the 1960's. Minimalism seek the essence of object from the restorational character and it is characterized by simplicity, moderate design and color. Mies's "Less is More" is guiding the Architectual essence and based on the contemporary minimalistic Architecture. The purpose of this study is analyzing the characteristic tendency of Minimalism and considering the characteristic of contemporary minimalistic Architecture by studing Architects and works.and works.

• Journal of architectural history
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• v.24 no.6
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• pp.83-92
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• 2015

Deoksugung Palace Art Museum was built in 1938 as the first professional art museum in Korea. In 2015, National Research Institute of Cultural Heritage published a book on architectural drawings of this building. This book, called Architectural Drawings of the Deoksugung Palace Art Museum, consists of 646 sheets, 23 types of documents, as well as other historical letters. This paper focuses on the analysis of the characteristics of classicism in Architectural Drawings. It shows that every dimensions of drawings were controled by 3 partition composition through the analysis of architectural plan drawings, elevation drawings and even section drawings. Thus, Classicism for the museum is not about classical elements but the principle of composition of each elements for the construction. This paper further argues that Deoksugung Palace Art Museum exemplifies beautiful Classicism architecture which follows the principle of classical architectural composition.

• Journal of architectural history
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• v.30 no.1
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• pp.33-42
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• 2021

This paper analysed the architectural images on Pleasant Gathering of Leeum, Samsung museum of art, which has been assumed as a work of the Koryo dynasty. Through the comparison between the unique wooden structure at roof edge on the building images and real architectures, it found the buildings on the painting were from China Fujian(福建), not from Korea. It also analysed the color painting on buildings, trees, themes from previous famous paintings and dresses to confirm these images were came from the early period of the Ming dynasty. It is a very unique painting containing various information on the Fujian ancient architecture, but its architecture drawing is not as skillful as typical ancient Chinese paintings.

• 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 the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.11-22
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• 2020

It is the juristocracy in architecture to judge the architectural plagiarism by copyright law. The architectural plagiarism should judge by architectural criticism. From the point of the criticism to discuss architectural plagiarism, the study on artistic imitation should be preceding. The current discussion on architectural plagiarism doesn't consider artistic imitation. Therefore, the result of the discussion only focused on whether the building is plagiarizing or not. From the point of architectural criticism, there should be three considerations, which are creation, imitation, and plagiarism. In the study of Aesthetics, it theorized artistic imitation as the appropriation. With the understanding of the appropriation, contemporary art is developing the discourse on plagiarism beyond the boundary of plagiarism fundamentalism. The purpose of this study is to apply the appropriation to the discussion of architectural plagiarism. The study introduces the discourse on architectural plagiarism rather than judging it with copyright law. There so the study categorized the aesthetics standard of appropriation art, then apply it to the architecture cases. The architecture cases subjects of analysis are the glasshouse by Philip Johnson, National Museum of Australia by Howard Raggatt, and the Meiquan 22nd Century in China. At the point of the appropriation theory, the glasshouse is the only architectural appropriation, and others need to apply the evaluation criteria of plagiarism.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.160-165
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• 2003

Art of today is expressed in various images incorporated in industrial development and visible in industrial parks, modern cities. Avant garde art and modernism brought abstract and conceptual art into conflict in the early 20th century and they absorbed elements of each other and grew into post modernism, which emerged in the 1960s and is still current. The avant garde challenged what was lofty and sometimes opposed modernism and sometimes fed it in cycles until post modernism was established. 'Trans avant garde', which, unlike modernism asserted individual expression, also appeared in the 1970s. Trans avant garde is spiritual art in which the artist's conversation with his soul returns. This study examines the readjustments the trans avant garde is making in its relationship with the dominant ethos of different values and offers the world art with important spiritual beauty. Trans avant garde art takes many forms, from thing to huge, which are manifested every where in architecture, interior design and everyday life.

• Journal of Industrial Convergence
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• v.22 no.1
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• pp.41-54
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• 2024

Contemporary ceramic art as a new art form, how to convey the visual information of contemporary ceramic art works to the audience through the design and display of exhibition space is the primary problem of exhibition space design. Based on the current lack of research on contemporary ceramic art exhibition space design, this study focuses on the characteristics of contemporary ceramic art exhibition space design, in order to achieve the best exhibitions effect of contemporary ceramic art. Firstly, summarize the previous research and examine the "Spirit of Porcelain" -2021 Jingdezhen International Ceramic Art Biennial Exhibition held by the Art Museum of Jingdezhen Ceramic University. From the perspective of human factors engineering, combined with comparative analysis of the overall spatial layout and display space form, the scientific unity of the overall layout of the display space and the flexibility and sustainability of the exhibition space form design are obtained. The theoretical knowledge obtained in this study provides theoretical guidance and important practical significance for the design of contemporary ceramic art exhibition spaces; Simultaneously contributing to the development of contemporary ceramic art exhibition space design in China and even globally.