• 한국실내디자인학회논문집
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• 제15권1호
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• pp.98-105
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• 2006

This study tries to find how architects interpret and express fashion brand images. First, it examines the concept of brand images and its architectural expression of them in contemporary commercial architecture. Second, it investigates the brand strategies and architectural expression strategies of world-famous fashion brand companies such as Prada and Louis Vuitton. Third, it finds out architects' expression of the brand strategies focusing on Rem Koolhaas, Herzog & do Meuron, Jun Aoki, Barthelemy-Grino, Kumiko Inui. In conclusion, architects have their own expression tools for fashion brand images but the extent of expression vanes according to each brand strategy.

• 한국실내디자인학회논문집
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• 제17호
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• pp.65-72
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• 1998

This study intends to analyze the various spatial structures and characteristics of the museum based on the two of the Renzo Piano's recent projects Menil Collection '||'&'||' Museum and Beyeler Foundation Museum Which defined the direction of the "Third Generation" in museum architecture with reference to the quality of spatial experience and design applications. Comparison and analysis were done on the basic spatial organization floor layout accessibility exhibition area lighting plan and circulation between the two museum. Through the itemized common characteristics of the museum the architect's proposal on meaning and direction of the new museum architecture can be viewed. The contemporary museums distinguish themselves quite clearly from their predecessors and this applies both to their own form and to their spatial organization. As the public demands and requests toward the museum building facility expand everyday the architect must respond by providing multiple types of space where people can experience different atmosphere in each area. One concept he used to create multi experienced area was manipulation of the natural light using by the state-of-the-art techniques of the light filtering system and multi-layering roof system to protect the valuable collections against the direct sunlight. But mainly it was to prove his strong belief in "architecture of light" by creating space with minimized meaning by purposely distinguished area in order to provide maximum support to the physical value of the collection " The connection with nature" is another concept which Piano used to provide the public a tranquil experience through out the architecture which engages in a lively dialogue with art. In spatial organization Piano concerned on functionality which not only concentrated on the visitor's point of view but also on the museum staff's comfort. Unlkie the traditional museum he alternates various size of exhibition areas for spatial hierarchy. Specially the spatial flexibility that the temporary exhibition areas are able to be expanded to the permanent exhibition areas by adjoining t재 spaces differentiate Piano's new museum from the rest. museum from the rest.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.48-55
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• 2014

Luis Barragan is a representative Mexican architect. He designed architectural space as a local architect in consideration of the Mexico's harsh Mediterranean climate. His manifestation of the regionality can be found mainly in his precise expression of light. Such method and concept of using light in Barragan's architecture made a huge impact on later architects but detailed studies on this issue have not been made actively. Hence, this paper intended to suggest a starting point or an orientation by illustrating the characteristics of using and expressing light in architecture through his cases of housing works. The study method was as follows. First, the general characteristics of light were identified by analyzing the elements of architectural space that dealt with light and the characteristics of expressing light shown in the architectural space. Second, the architectural background of Luis Barragan and the architectural space elements of the light expressed in his architectural space were extracted to form a hypothetical ground. Third, five of his works on the houses in his prime (after the year of 1945) were analyzed to explore the characteristics of relational representation between light and the architectural space elements in his architecture. Through this process, it was learned that, in his architectural works, light was the embodiment of the location-related, time-based, daily and illusionary experience into architecture. In addition, meditative light could be experienced by contrasting the soft and dispersed light and shadow of the inside space of Barragan's houses with the strong external light. Therefore, through the process above, this study is hoped to provide an opportunity for the contemporary architects of our era to rethink the fundamental correlation between architecture and light.

• 한국실내디자인학회논문집
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• 제13권6호
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• pp.99-106
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• 2004

The purpose of this study is to investigate the modernity characteristics of the traditional housing in Seoul 1920s to 1930s setting the criterion for analyses based on a Korean architect, Park, Kil-Ryong 'Housing improvement theory' about 'the Housing Plan of the Middle Area in Choseon'. The architect Park, Kil-Ryong expressed 'Housing Improvement Theory' positively founded on having a deep knowledge of traditional architecture. At his early working stage in 1928, he announced 'Housing Improvement Theory' about 'the Housing Plan of the Middle Area in Choseon' from the paper titled 'An Inquiry into the Housing of the Middle Area in Choseon', It is inferred that his paper quite affected the modern changes of traditional housing of those days. As the results of the study, even though the main floored room still keeps the symbolical and central position in traditional housing, the size of that is designed to be smaller than before. The room on the opposite side is generally designed widely as the scope more than 2 'KAN' and shows the features of expansion and division according to functions. By interchanging the location of the kitchen, the inner room as the main living space souths in the front of the house. The kitchen is designed as fitting size and separated from the space of working, linking, setting the table, keeping things and others. The bathroom is built in the house and then connected to the corridor. Each space is effectively planned for the best location in the house as considering lightening and ventilation.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.20-27
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• 2005

The built-in kitchen that is seen in every household is one of the achievements of the modernism architecture in early 20th century. Developed on the basis of two axis, one of which is the high industrialization and the other the sceptical assessment on the traditional value-system, the 20th century was launched in the form of the twofold entanglement, through the unfolding of which the cultural code of the modernism could be operated. The Quantification of the psychic that was attempted by H. v. Helmholtz and E. Mach in the pursuit of the reunification of sensation to the normal science was the first thread of that, while the second the break-down of the authoritative ideology and the emancipation of woman labour, which were initiated by the leftist movements. In this situation Margarete Schutte-Lihotzky was the woman architect who has tried to overcome the patriarchism in the household through architectural work by dwelling on that the emancipation of the housewives from the inefficient household labour is directly connected with the accomplishment of human freedom. She applied the modernist functionalism to the designing the kitchen for that purpose and outlined the effective range and operational realm of the rationalization. After all this the future preoccupying endeavor became the decisive moment that gave birth to a aesthetically and functionally good deliberated design of the kitchen in the present. This study is purposed to actualize the architectural ideas of Lihotzky into the present context through the consideration on the Frankfurt Kitchen of her and to grope for the relationship between architecture and feminism on the common horizon of the functionalist architecture and the women's liberation.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.213-220
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• 2006

Le Corbusier (1887-1965) is known as a great architect ranking with such master architects as Frank Lloyd Wright and Mies van der Rohe who produced great architectural achievements in an era from the dawning to the maturity of the modem architecture. His works are marked for their peculiarity in expressing his architectural concept as perceived through his artistic sensibility. He has brought the form of his architecture to perfect through the influence of Purism. His architectural concept has instigated him to construct the relations between structure, form and the notion of space through the 'Dom-ino' structural system and the 'Five Principles of the Modem Architecture.' As a result, he has become such an architect as has ripened his works by adopting the 'Modulor' for human measurement. During the decade from 1929 to 1939, he made public the 'Museum of Unlimited Growth' programs in an attempt to give a concrete form to his concept of 'unlimited space' spreading to all directions, which was actually visualized by the constructions of three art museums, located Ahmedabad and Chandigarh in India and Tokyo in Japan. Although a number of researches have so far been publicized on the works and the architectural ideas of Le Corbusier, no systematic research has yet been released on the idea of 'Museum of Unlimited Growth' as a matter of fact. Therefore, this study has set its purpose to grasp the peculiarities of his exhibition space design through an analysis on the characteristics of the 'Museum of Unlimited Growth' so designed as to reflect the concept of a space, which is centrifugally growing. With this purpose in mind, this research is also to suggest how the design of the 'Museum of Unlimited Growth' would influence the modem museum exhibit space. The contents of this study comprise the consideration on the early ideas of Le Corbusier, the typical features of the growing museum and the analysis as well as the integration of his works.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.3-10
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• 2012

Vilhelm Wohlert is the Danish architect who designed Louisiana Museum of Modern Art near Copenhagen. Because of Louisiana Museum's popularity, Vilhelm Wohlert's name was started to be aware since 1990s. Although he is a well-known architect in Denmark, unfortunately his name is unknown in other countries. He designed various design projects from small scale furniture design to large scale museum and public projects. There are three programmatic categories in his architecture: exhibition programs including Louisiana Museum, residential program including private houses, and public programs including churches and schools. This thesis focuses on his residential design projects. Even though he designed a multi-family houses, Wohlert's house design consists of mainly one-off large private houses located in a nice natural environment. In chapter 3, the general history of his house projects was studied. Among them, the first exhibition house for Forum was explained more deeply to show Wohlert's early house design philosophy. In chapter 4, three built house projects were analyzed in detail. Analytical diagrams were used to show the key elements in the residential space. They are program composition, circulation, spatialization elements, final construction. His buildings have been compared with Alvar Aalto, Frank Lloyd Wright, and other Scandinavian architects. But there are some major differences that make Wohlert's design unique. In chapter 5, the case analysis results were summarized together to highlight the specific design characteristics found in Wohlert's residential design process. The universal spatial quality found in his residential projects can be applied in contemporary spatial designs.

• 한국실내디자인학회논문집
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• 제22권6호
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• pp.199-211
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• 2013

Indonesia is archipelago country and plural society which consist of diverse ethnic groups. This study select Java island and Java houses as a representative housing of Indonesia. The aim of this study is to present a comprehensive overview of traditional houses of Java in Indonesia by examining pre-existing literature. First, the Java House as a microcosm of the universe that shows universal and religious aspects. Furthermore, each building contains spiritual symbolism. These ideological aspects select the location and layout of the towns, villages and buildings, which create an order to the interior space. The space structure of Java housing is characterized by strong juxtaposition between east/west, front/back, public/private, male/female, and open space/ closed space. There is also a hierarchy of space, which were applied in floor level, height of space and lightness. The structure of the roof shows the best formativeness. Depending on the shape of the roof, the function of the building is shown, and also it represents the social rank and religious respect. Joglo's unique formativeness is an icon of the Java architect.

• 한국가구학회지
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• 제23권2호
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• pp.185-194
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• 2012

Contemporary society maintains mass-product system that keeps endless cycle of making and consuming. In this vein, everyday life becomes to be under the control of function and efficiency. On the contrary, the people are getting to have a desire of escaping from this everydayness, that is, the desire for non-everydayness. British architect, Nigel Coates understood the potentiality of contemporary metropolis which produce new experiences through their heterogeneities. During 1980s, Japanese economic bubble provided rich nourishment to the desire for non-everydayness based on consumers' tastes. Nigel Coates snatched this phenomena and designed commercial spaces aligned to the non-everydayness. He shows very eloquent version of escaping sense. We can find the exquisite quality of non-everydayness through design vocabulary of object's form and arrangement. In the viewpoint of object form, Coates adopted classical statues of Greek, that is antique, and modern gadgets such as airplane wings and seats. Also, we can find abundant gestures of curvilineal contours throughout the objects he designed. As for the objects' arrangement, he introduced repetition and curved composition that can stimulate human interaction with interior scape.

• 한국실내디자인학회논문집
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• 제19호
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• pp.45-52
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• 1999

This study is on Buckminster Fuller, who is generally known as a structure engineering architect, and his influences. Fuller's radical and utopian ideas and designs were regarded as 'paper architecture'. But considering today's high cost of energy and the limited natural resources, Fuller's Dymaxion theory must be re-evaluated. Fuller's influences on the contemporary architecture are summarized as follows. 1) His idea of controlling the environment through the use of technology influenced today's 'High-Tech' architects. Architecture is no-longer designed purely by its formal character, but becomes a tool of investigating environmental significance of modern technology. 2) Through systemizing mechanical equipment, Dymaxion House prototype, and aggregation of high-tech mechanical equipments, influenced Archigram & Metabolist's capsule idea. It is expressed as a plug-in module equipment of 'High-Tech' architecture which has flexible interior with mechanical exterior image. 3) Megastructure. The Manhattan dome project gave an influence to many engineer/architects who tried to achieve an ideal artificial environment. This is in connection to 1960's utopian projects. Today's megastructures show new possibilities in urbanism and architecture. Fuller's comprehensive idea of humans living in harmony in the universe shows possibilities not only in structural engineering, but in solving various problems that confront today's architecture.