• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.4
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• pp.113-121
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• 2020

The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.339-346
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• 2007

This thesis has purpose of explaining that light is not only appreciated but also physically percepted in contemporary space design and examining effects of space experience through the physical perception. In keeping with such developments, light has been perceived as the object of another architectural tool in modern space design and has provided men with new experience by providing space image and function different from previous ones. With the expansion of the area of light, light has changed a space that is not a simple architectural factor into the essential concept that gives the architectural space image ! by combining it with architectural space, structure, form and materials throughout the whole process from the beginning to the completion. Through phenomenological approach, light is percepted and experienced by body movement, intervention of senses and memories, and passing of time. The percepted and experienced light brings increase of mutual understanding in space, activation and continuance of user's sensation, recreational experience by event occurrence and space experience effect thorough information from media.

• Journal of architectural history
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• v.29 no.5
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Journal of architectural history
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• v.31 no.5
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• pp.45-56
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• 2022

The purpose of this study is to understand the architectural changes that occurred in the main space of Deoksugung Palace based on the Deoksugung Wonan. In the 1910s, constructions in the Deokhongjeon area and Hamnyeongjeon area caused a change in the main space of Deoksugung Palace, which is similar to the change in the central space of Changdeokgung Palace. In both palaces, the space composition, architectural structure, construction equipment, and architectural design of the palace were changed due to the changed architectural organization and construction system.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.45-55
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• 2018

The purpose of this study is to analyze common features and methodological differences of PN-spatial characteristics found in architectural theories and works of contemporary young architects in Japan, such as Sou Fujimoto, Yo shimada, Keisuke Maeda and Junya Ishigami. These architects have paid attention to space between nature and inner space and have tried to establish their own architectural theory on that. Such space is ambiguous and PN-spatial in a way that it has features of both nature and inner space. Ambiguousness is a characteristic of modern architecture and PN-spatial characteristics are one of the features of Japanese architecture. This study aims to analyze the architectural theories and works of contemporary young architects in Japan from the perspective of PN-space and to draw methodological differences and common features. Their theories and works have common features in terms of 'ambiguous spatial boundary', 'unregulated spatial territory', 'detoured circulation' and 'architectural motifs', but each has their own methodology. To sum up, the works and theories of the Japanese young architects contain the philosophy and discourse of modern architecture in general. To be sure, they clearly have characteristics of Japanese architecture, which needs to be studied constantly.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.3
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• pp.11-21
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• 2018

This paper explores the structure of space in architecture from a viewpoint that individual unitized spaces are gathered to form the whole. To understand the spatial structure of architecture, firstly we need to understand each unitized spaces, and secondly, one must understand how the following adjacent spaces are connected to form the whole building. this gives salience to a fact that understanding the whole comprehensively. It is the most fundamental bases that must be understood and unitized when understanding the spatial structure of an existing building and designing a new one. It is necessary to hypostatize space as an abstract notion. In regards to this space examines the logical flow of structure within actual space. Hypostasieren process includes the process of shaping space and the shape information. In this process we need to refer to the properties of space and the morphological characteristics of physical elements. The segment of the unitized space is the realization process of the basic space. This study aims to provide a theoretical basis for analysis and design of spatial structure by comparing several representative methods of segmenting unitized space.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.152-160
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• 2011

Contemporary architecture pursues new method of Interpretation of Non-linear space as digital media appears. As various materials and new methods can be used due to developments in science and expansion of thinking, contemporary architectural color developed extensive possibilities. It means not only the change of drawings, method of architectural product and materials but also the change of value system for architectural space. Thus the purpose of this paper is to suggest interpretation of space applied by color structure, and this point of view was based on the three elements of color perception which are light source, reflector, and observer. According to this categorization, architectural color of exterior color, layer color and interaction color are explained via examples of colors recently used on the contemporary architectures. In summary, contemporary architecture can be explained by Non-construction space interpretation for intrinsic complex meanings. Therefore, it can be explained as moving space, collage, by picturesque space, moving blur color and emptiness of color. This pursues various point of views for space interpretation, therefore it can be developed to the identity of strengthening architectures' design concept.

• Korean Institute of Interior Design Journal
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• no.39
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• pp.37-44
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• 2003

From long time ago, stairs are performed the central role of vertical circulation system in architectural planning for convenience of human. The purpose of this study is to find the spacial characteristics of stairs in architectural space. Two methods In this study are discussed. First, it is to extract the formal elements in its stairs shape raising an impulse of visual-perceptible recognition. Second, it is to analysis its characteristic through relationship between stairs and spacial elements. In conclusion, the characteristics of stairs in architectural space have as follows 1) spatial connection - to connect between space and other space or masses; 2) spatial separation - to separate between inner space and other space; 3) openness or closeness of space; 4) directed-tention of space.