• Korean Institute of Interior Design Journal
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• v.23 no.3
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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.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.38-45
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• 2010

Surface has been an important issue in contemporary architecture. That originates in structural freedom of surface since the end of modern architecture and the current stream of surface becoming an identity of building. Development of digital-media has brought a great change to our society in general. Digital-media is characterized by use of digital-information and interactive communication. Digital-media has been applied on surface in contemporary architecture lately. It is a purpose of the study to analyze the characteristics of digital-media application on surface based on the related characteristics of installation art. The categories and the contents for the frame of case analysis were arranged through document research. The foreign and domestic cases of digital-media application were analyzed based on the frame of analysis. Digital-media, which is installed on surface, is interacted with human and surroundings. It enhances emotional communication between human and architecture. Surface is not any more a simple fixture but an interactive creature. It makes surface more dynamically and fluidly that the course of light and human movement affect on digital-media. Surface itself is also turned into an object of art. It reflects the interweaving characteristics between contemporary architecture and installation art. It was analyzed through the study that emotional level of people is the important issue shared in digital-media application on surface and installation art. The complementary relationship between surface of contemporary architecture and installation art can be manipulated by the application of digital-media on surface.

• Archives of design research
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• v.14
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• pp.209-219
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• 1996

The BAUHAUS started as the purpose of training the people who are designers in the industnal society or who have artistic talent as architect, handicraftman, sculptor, and in the construction, it was based for entire organizational training for every handicrafts in the aspect of the art and form. The preliminary course that became the generative power of the human training that have possessed creativity was studied and put in to practice through the formative activity of dIverse form and method according to the educational idea and the educational method of the teachers who are in charge of such edudation, and common access method that forms the fundamental basis was centered not only human being as a formative principle, and analyzed thoroughly with biological function and further until mental and philosophical part but served and thought synthetically and took principal objects at the formative practice. Together with this, the characteristic structure of the BA UHA US's formative education was taking the grouptherapy educational method where there was not distinguish teacher and student and through the liberal criticism and they realize by experience themselves that how to solve the certain subject and pursue the form by compare each other's solutions.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.68-76
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• 2006

Founding himself on 'The Principle of Self-making' that is the instrument of 'the natural construction' and accomplishing the various interdisciplinary researches, Frei Otto could explicate the fundamental structure of life that is able to make visible the self-making processes in the nature, the technique and the architecture. It is the flexible pneumatic construction that is grounded on the fibrous organization. This was a milestone not only for him who wanted to put the idea of the new architectural form into practice, but also for the contemporary architecture that faces on the style-pluralistic disorientedness. The architectural form of the natural construction includes in itself three constitutional sub-ideas. One of them is 'the adaptable architecture', which is inclined to the architecture similar to the organization of human body, and the other 'the light architecture' that is in the pursuit of the optimal form through the minimal material. The last one is 'the ecological architecture' that aims to realize the optimal dwelling environment based on the effective energy consumption by accumulating knowledges of the always fluid and unstable nature. With these architectural ideas Frei Otto could develop a new architectural form language 'the light architecture of the natural construction'. This study is purposed to explain the various experiments that were made by his team and the basic principles of the structural dynamics of 'the architecture of the natural construction' and then to analyze the structures that were built on the ground of those principles.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.3-11
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• 2012

The first visual contact in architecture happens in surface, and it could be significant object as well as the starting point to recognize the essence and perceive the buildings. Architecture surface could not get out of the restriction of structures and materials that support buildings for a long time in the past. Architecture surface in the past should fulfill the structural role to form are appearance of buildings and support buildings at the same time, so it was difficult to get out of logic for material and thickness of walls, arrangements and sizes of windows. However, since the modern age, architecture surface came to be freer according to the development of building technology, and development of technology changes shows tendencies to express role of new design factor as an architectural element emphasized expression and autonomy,s which was escaped from the subordinate relationship that the surface of building must do the structural function. In this study, it would be examined the expressive characteristics of various epidermis that are expressed in architecture of Herzog & de Meuron since the end of 20thcentury focused on comprehended and analyzed results of changes and characteristics of contemporary society. Through this, it would be comprehended the epidermis of architecture that has particular character expressed in modern buildings of Herzog & de Meuron, and it would be composed a certain linkage between this and characteristics of contemporary society and it would be investigated that the establishing process of inner spaces. Identification through case analysis for this would perform a role of catalyst for the new possibility and development of contemporary architecture's surface expression in the future.

• Korean Institute of Interior Design Journal
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• v.25 no.2
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• pp.151-162
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• 2016

The purpose of this study is to approach to the phenomenological point of view to explore a design method for providing a variety of spatial experience of the viewer according to the functional changes of the modern museum architecture. For that, this study intends to analysis and consider the Steven Holl's Museum applied to the phenomenological perception for architectural design. The method of this study is summarized as follows: 1) Consider the spatial role and function of the Museum Architecture in the phenomenological approach 2) Study on the phenomenological architectural concepts and expressional method of Steven Holl 3) Finally, propose the utilization for the experiential space that is required to implement the contemporary museum architecture. The results of this study are as follows: 1) Steven Holl's phenomenological architectural concept is the basis of the perception and awareness and has connotations of temporality and it is figured out by the approach to the environment, sense and motion. 2) Steven Holl implement the architecture as a place of experience by connecting between the place and the environment through the development of a variety of scenes and situations and planning the phenomenon of multisensory space. 3) The spatial experience appeared in Steven Holl's museum architecture is implemented through the diversity of the scene, the persistence of the situation, the autonomy of light and color, transparency of the haptic and the potential of the material and geometry.

• Archives of design research
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• v.15 no.4
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• pp.177-188
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• 2002

A thousands of chairs have designed from the Victorian era to the present. Thonet's Nol4 chair in 1859, Wright's high-back chair in 1904, Ritveld's red/blue chair in 1917, Breuer's Wassily chair in 1925, Aalto's Paimio chair in 1932, Eames's DAR chair in 1948, Piero Gatti's Sacco chair in 1969, Starck's Von Volgelsang chair in 1984, Stumpf's Aeron Chair in 1992, Little's 'Coat of arms' chair in 1994 - the list of architects who have seized the opportunity to express their theories in the design of a chair is seemingly endless. Architects such as Machintosh(1868-1928), Wright(1807-1959), Aalto(1898-1976) included chairs within their artistic schemes for interiors and buildings. But as the manufacture of chairs moved away from the domain of the craftsman towards that of the industrial process, architects were also ideally positioned, with their background knowledge of engineering, to pioneer innovative chair design within the constraints of modern manufacturing technology. Beyond matters of function and structure, the fundamental worth of chairs, past or present, lies in their communication of attitudes, ideas and values. The persuasiveness of a chair depend on the clarity of its rhetoric. Chair has become an ideal medium for designers to make their visual statements and construct their individual manifestos. In chair design there is a ping-pong game played out between absurd and useful design, and this game is one way in which the design profession explores itself.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2022.11a
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• pp.149-150
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• 2022

본 연구는 현실과는 다른 공간, 시대 및 문화적 배경 등을 디자인하고 그 속에서 살아가는 메타버스 가상 세계를 작품으로 제시한다. 제시된 작품인 언플래닛 시티(Unplanet City)는 상징적 의미가 담긴 조형 언어를 통해 새롭게 창조된 도시를 의미하며, 기존 도시와 대칭점에 있는 상상 속 세상이다. 현재 우리가 사는 플래닛과 대칭되는 언플래닛 시티에는 상징적인 건축물로 가득하며, 이 건축물들은 3D로 표현되었다. 언플래닛 시티는 작품 전체가 전시 공간이 되는 새로운 전시 공간의 활용과 확장 가능성에 목적을 둔다.

• Korea Science and Art Forum
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• v.19
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• pp.293-305
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• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.

• Archives of design research
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• v.15 no.4
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• pp.263-274
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• 2002

This study aims to analyze the image of long-span structures. For the intention, it analyzes the relationship between images and physical attributions of elements such as materials, stresses, configurations, compositions and shapes of structures. The image of structures can represent following 5 factors; friendly-unfriendly, strong-weak, dynamic-calm, superior-inferior, and regular-irregular. The friendly-unfriendly in the image of structure mostly determines on a finished material and partly with a structural shape. The strong-weak in the image of structure determines on configuration of the structural members. The dynamic-calm in the image of structure determines on the structural shape. Hence the structure has dynamic forms when it seems to be open and sharp, namely when it receives the flow of forces in the structural shape, and it has a (-) gauss curved rate or an diagonal appearance. The superior-inferior in the image of structure determines on composition of structural elements. The structure seems to be superior is contributed not simply to support load but positively to create design as a tectonic element. From now on, this study can provide the useful information on the long-span structure design through the more appropriate analysis of the image.