• Archives of design research
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• v.19 no.2 s.64
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• pp.173-182
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• 2006

In church building, the worship space performing practical rituals and making a place of friendship and education has a role to accept the changing services with the times. And it is also distinguishable from the chaotic surroundings and is the space for religious experience of christian identity we cannot experience in our daily life. Therefore it is very important to investigate its characteristic as the space for religious experience. The important purpose of church building is to make up a worship space, and the chancel in worship space is said to be the core in church building, the center of all worship acts. Especially, today with the tendency of multi-functionalizing and opening in worship space, the chancel in worship space has a more special meaning as spatial, functional and symbolic center. The purpose of this study, with the worship space in domestic protestant churches, is to make up basic data for the worship space plan and interiordesign in church building by analyzing the characteristics of interior design for chancel, the core field of worship space. This study has researched the constituentcharacteristics of interior design for the chancel in worship space in domestic protestant churches in 10 years from 1995 to 2004. And found the worship space opening and multi-functionalizing with the changing times. From now on, the study on interior design for creative worship space should be researched positively for the purpose of expressing the christian identity and the opening and muti-functions, on the basis of christian theology.

• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.1
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• pp.65-74
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• 2008

Light creates ambiance that affects our impression of space. Before the modern age, the role of light is a religious factor and a primitive state to see. In the modern space design, light is used to achieve the continuous transformation and translation of building's image. Ever-changing space is a flexible corresponding of space to its environment, caused by certain dynamic light. The space turn into some other thing from what it was before, or just changing its character. approaching men and society with different meanings. The purpose of this study is to explore the relation between light(natural and artificial) and ever-changing space through the case study. The impacts of light on ever-changing in today's space design can be summarized as follows. 1) Materialization of light in space design. Nowadays light becomes a form itself. The geometric properties of the space form playa secondary role as compared to the importance assigned to light. 2) Pixelization of space by a light effect. The impacts of digital technology on the space design have come through enhancing the 'pixelization' of the surface from which buildings are made their responsiveness and adaptability to changing needs. The surface with ever-changing lights that blur the boundary of space and expand the image of space.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.65-76
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• 2012

The purpose of this study is to grasp the spatial characteristics and consciousness structure for The Third Place through the empirical research, focused on housewives as the survey who spend many times in neighborhood. The four types as the consciousness structure are deducted, Nature-oriented type, Unusual experience type, Solitude enjoyment type, and Originality-oriented type. And the spatial characteristics related to the four types are deducted as the followings: Nature-oriented type contains the spatial characteristics as Wild space, Speculative space, Dotty occupation space, and Green way. Unusual experience type contains as Rambling space, Dynamic sojourn space, and Theme-plex space. Solitude enjoyment type contains as Anonymous private space, Encircling space, and Religious space. Originality-oriented type contains as Chatter space, Self development space, and Community space between families. The results of this study represent six characteristics on the third place, advocated by Oldenburg, and show housewives' various needs and concrete examples for the Third place in city.

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2003.11a
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• pp.185-191
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• 2003

Walled town was located on the axis connecting symbolic places, which was a feng-shui lucky place of a mountain sits to the rear and a body of water sits to the front. It represents environmental development of cultural space by blend of folk belief, religion, social system, administration facilities and living culture buildings. Therefore it is sustainable cultural view connected of formed or formless religious view and artificial view(wall, government buildings, living houses, and cultivated land so on) in a nature landscape. Environmental design technique, enlarging its meaning and value of living to mental level was founded from space composition and settlement, which was constructed organized space of government and residence area of walled town within the wall for looking for lucky place(from best, better, and good places) in order to construct ecological network (天+地+人, 山＋水＋方位＋人, 地理＋生利＋山水＋人心) by outlook of space and settlement.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.56-72
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• 2015

This study area for this research was the Taereung of the 2009 World Heritage-listed Royal Tombs of the Joseon Dynasty. The Taereung space was divided into that of the royal tomb space, religious service space, transposition space and entry space. The original vegetation is assumed to have been planted at the right, left and backside of the tomb based on historical research literature. Regarding the original vegetation landscape of Taeneung, it was assumed that Pinus densiflora was distributed around the tomb lines and tomb space, Pinus densiflora was distributed in the religion services space and transposition and Alnus japonica was distributed in the entry space. By the present status of vegetation in Taeneung, the Pinus densiflora forest was the widest area with 50.3% with the broadleaf forest at 33.7%. Quercus aliena, Quercus acutissima, and Quercus mongolica were the main species found in Taeneung. The planting area was 7.9% and Pinus densiflora were the main species planted. To analyze the plant community structure of Taeneung, 108 plots were set and divided into four spaces. The importance of the percentage of those districts was analyzed on a spatial basis and it was found that the current dominant species of the tomb space was Pinus densiflora. However, as Pinus densiflora began dying out, the power of Quercus acutissima increased and an ecological succession from the Pinus densiflora forest to Quercus aliena forest was made. In the spaces of religious services and transposition, Pinus densiflora was decreasing and Quercus spp. was expanded. In the space of entry, the dominant species were Pinus densiflora and Quercus aliena, Pinus densiflora and Quercus aliena. As soil of this area is argillaceous, Pinus densiflora is expected to disappear in the end. The prior vegetation(assumed) and present vegetation of Taeneung were compared and analyzed and a goal of vegetation management and the way in which to manage vegetation were suggested. The goal of vegetation landscape management was to analyze ecological characteristics and vegetation changes, maintain and restore a landscape suitable for historical landscape forests by space. About the space of the tomb, Pinus densiflora forests and Pinus densiflora planting zones forests should be maintained and there should be efforts to restore and manage the Pinus densiflora forests, instead of the Quercus spp. forests. About the space of religious services, Pinus densiflora forests and Pinus densiflora planting zones should be maintained and managed and there should be efforts to restore and manage Pinus densiflora forests to replace Quercus spp. Pinus densiflora forests in the space of transposition should be maintained and managed and Pinus densiflora forests should be restored to replace Quercus spp. trees. Alnus japonica forests should be restored in the space of entry.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.19-26
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• 2009

Aalto designed his own modern architecture in comparison with other modern architects of his days. It is because Aalto went beyond the principle of dogmatic functionalism based on his attitude not to copy images of functionalism but to fulfill function of the building. He decided architectural form and space according to logical basis including the effective use of light and sound. Vuoksenniska church, as is called the most exceptional and notable church in his works, was designed based on the fulfillment of program. As he knew that the program needed the extension of the main church space into social areas, he put emphasis on individuality of space rather than the wholeness of space. Sound and light analysis of Vuoksenniska church shows that Aalto tried to have adequate environment of each space at the start and Integrate them later. The spatial configuration of Vuoksenniska church shows that the individuality of space has priority over the wholeness of spaces. Discordance between roof form and ceiling is the best example for this matter. Aalto designed various windows that have different sizes, figure and location to induce desirable light for each space of the church. He also adjusted the shape of the ceiling and the angle of wall for a effective sound transmission. This result indicates that he knew the activity of the church is normally confined to one weekly morning and the whole space Is hardly used as a religious purpose.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.3-10
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• 2010

In the history of art and architecture, there are different characteristics in relationship between light and space. Among them, two characteristics seem to be fundamental : The first is that contrast between light and darkness is more articulated. Direct sunlight penetrates into the dark interior space made by heavy masonry structure. This is generally found in the traditional western religious buildings. The second is that light is mixed with darkness and becomes shade. Shade is different from shadow that is usually perceived as the opposite of light. Sunlight is filtered under through the big horizontal roof and rice paper walls in the traditional far-east Asian architecture and becomes weak ambient light. In this shade, there is no strong contrast between light and darkness. This difference is not only originated from the architectural differences, but also originated from the conceptual differences about light, space, and the world in two cultures. This paper tries to study the philosophical, aesthetical backgrounds as well as case examples in art and architecture of two characteristics. Based on the case studies, this paper aims to analyze the main perceptual structure. Finding the relationship between light, space, and human body by making three dimensional models is the crucial analysis method of this research. Although in real life and experiencing the world, these two characteristics are not clearly separated, comparative study based on different cultures gives opportunity to think of diverse perspectives on light and space.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.133-140
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• 2018

This study is change of the street space of the port city of Yokohama and the transformation process of the canal. modern port city Yokohama is a region that was responsible for the development of East-West maritime transport routes in Japan in the 17th century and the inland transportation through fishing villages and ports. it has also grown rapidly as a regional port and new port. In particular, through the revitalization of trade between foreign settlements and Japanese residents in the port area, the existing fishing area became a modern port city space. Yokohama went through the following process and grew into a modern port city. The construction of the port harbor and the maintenance of existing logistics functions, the formation of the central horizontal axis through maintenance of the fishing village, the construction of the logistics movement route to the inland area through the construction of the canal, the expansion of the horizon for fire prevention and fire restoration, The formation of a new settlement space according to the movement, the transformation of the existing religious axis by the combination of the elaboration and the introduction of modern transportation, and the spatial connection between the inland cities.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.12
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• pp.518-531
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• 2016

This study aimed to find the architectural meaning and characteristics of L'Art Sacr? Movement advocated by Dominican Father Marie Alain Couturie. From 1936 till 1954 Father Couturier was the chief editor of the review L'Art Sacr? that became very influential among art critics no longer satisfied with what was considered outdated 19th century church interior decoration. Marie Alain Couturie was a French Dominican friar and Catholic priest who gained fame as a designer of stained glass windows. He was noted for his modern inspiration in the field of Sacred Art. Couturier's greatest ambition was to revive Christian art by appealing to the independent masters of his time. From these viewpoint, we investigated the background and process of the movement and analyzed the architectural meaning and characteristics which represented the Art Sacr? movement. The analyzed chapel buildings were as follows: 1) The Church of Notre-Dame de Toute Gr?ce du Plateau d'Assy, bringing together Braque, Matisse, Rouault, L?ger and Chagall, 2) The Chapel of Saint-Marie Rosaire by Henri Matisse, 3) The Chapel of Notre Dame du Haut and The Couvent de La Tourette by Le Corbusier, and 4) The Rothko Chapel by Mark Rothko and Philip Johnson. These L'Art Sacr? projects inscribedthemselveswithin what was the century's most serious attempt at the reintegration of Art and religious space. Courturier's interactions with artists and architects are traced and shown to have played a major role in the evolution of the priest's thinking and Church interior decoration. At the same time, Courturier's clear and vigorous L'Art Sacr? articles were both defining the theoretical basis of new vision and anticipating the renewal of the religious space.

• Journal of Environmental Science International
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• v.13 no.2
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• pp.109-116
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• 2004

Nagan walled town is located on an axis connecting symbolic places, which is a lucky place from the Fengshui point of view because a mountain sits to the rear and a body of water sits to the front. It represents the environmental development of cultural space by blending folk belief, religion, social systems, adminstration facilities and living culture buildings. Therefore, it has a sustainable cultural view connected with a formed or formless religious view and an artificial view (walls, government buildings, living houses, cultivated lands, etc.) in a natural landscape. Environmental design techniques, enlarging the meaning and value of living on a mental level, can be found in the arrangement of space composition and settlement of Nagan walled town. The organised spaces of government and residential areas were constructed within the wall with the view of searching for lucky places (from best, better and good places) in order to construct ecological networks according to the outlooks of space and settlement.