• 한국실내디자인학회논문집
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• 제16권6호
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• pp.28-35
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• 2007

This study aims to analyze the projects of Rem Koolhaas and Kazuyo Sejima in terms of program organization and spatialization methods. Diagrammatic methods are frequently used in their design process and are articulated in the graphical presentations in many publications to explain their projects. Even though diagrammatic methods can be used in diverse ways, Koolhaas and Sejima tend to use them to systematically organize the given programs in their specific ways. Furthermore this organization generate spatialization process in which the final building form is flexibly derived from the process itself. After the detailed studies for each architectsquot concepts, design process, and several unique characteristics that have vital roles to construct their ideas into real building were found. This research has a couple of steps to critically analyze the spatialization process: Conceptual Background, Circulation Organization, Structural Method and Furniture. After the examination based on these elements, similarity and difference between two architects are discussed in the conclusion. Ultimately it has been found that there are unique design development processes in each architectquots projects even though they tend to apply somewhat similar program-based spatialization process. It has originated not only from the each architectquots personal view of architecture, but also from the cultural backgrounds. It is hoped that this sort of comparative study would generate more diverse discussions in program-based design process as well as clear application of any related methods.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.32-39
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• 2007

The Program from modern architecture is an indispensable condition which must put in all buildings today and it is a relationship setting of a various functions. According to changing society consequently, a complicated form and program in modem appear again. Through this background from, we intend to observe the meaning which the program is having in the construction in this manuscript. Sejima is the architecture who try to use variously special formation of the program. Specially, we are planning to research the quality which his program is haying form Sejima's architecture and how it is reflected ill this construction. Resultantly, each program which appears from Sejima's architecture makes a gap space and irregular arrangement. The characters of the space which is put each through the gap don't have a deceptive plan each other and they are compounded. Also, each character to have their territories is intersected and putting out of the various features in the program coat. First, form of the maze plane, Intersecting each territory. Second, forming the territory as fitting their act oneself in the space where can be existing. Third, having more interest in the event that happens inside than existence problem of thing.

• 한국산학기술학회논문지
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• 제15권5호
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• pp.3220-3230
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• 2014

본 논문은 세지마 카즈요(Kazuyo Sejima)와 니시자와 류에(Ryue Nishizawa)의 1900년대에서 2000년대 초반까지의 주택작품들을 연구대상으로 한다. 공간구문론(Space Syntax Theory)의 Convex Map을 통한 각 주택의 공간별 통합도(Integration)를 분석하여 개인공간 측면과 공용공간 측면에서 다음과 같은 결론을 도출하였다. 첫째, 제1기(1990년대) 주택에서 제2기(2000년대 전반) 주택으로 갈수록 개인공간과 공용공간의 통합도(Integration) 평균값의 차이가 작아지고 있음을 알 수 있다. 제1기 주택에서 제2기 주택으로 갈수록 대체적으로 개인공간의 통합도 평균값은 높아지고, 공용공간의 통합도 평균값은 낮아져 간극이 좁아지는 경향을 보이고 있으며, 이는 개인공간과 공용공간의 통합도가 서로 비슷해지며 공간 구분의 경계가 모호해지고 있음을 의미한다. 둘째, 개인공간측면에서 살펴보면, 제2기(2000년대 전반) 작품인 S-3(House in a Plum Grove), S-4(House in China)에서의 개인공간들의 통합도 평균값이 10개 작품들중 가장 높은 수치를 보이고 있다. 개인공간은 제1기 보다는 제2기 작품들에서 더 폐쇄도가 떨어지는 경향이 있음을 알 수 있다. 세째, 공용공간측면에서 살펴보면, 제1기(1990년대) 작품인 I-2(Villa in the Forest), I-5(S-House), I-6(Weekend House)에서의 공용공간들의 통합도 평균값이 10개 작품들중 가장 높은 수치를 보이고 있다. 공용공간은 제2기 보다는 제1기 작품들에서 더 중심적이며 개방적인 경향을 보이고 있음을 알 수 있다.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.39-47
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• 2013

The purpose of this study is to search for values and meanings of everydayness as a design concept by organizing concepts of 'everydayness' shown in contemporary architecture and systematically describing its characteristics through various analysis methods. 'Eerydayness' shown in contemporary architecture is defined and the criteria of case study are suggested, so that characteristics of everyday can be identified by systematically classifying and analyzing the Japanese cases in order to find the values and meanings of everydayness. The findings of this study are as follows: first, materials that show users' everydayness has indefinite potential as an element of architecture concept, and they play the role of communication and sympathy between architecture and users; second, implementation of everydayness leads to design emergence; third, everydayness can be widely applied to architecture; fourth, everydayness can be implemented regardless of architecture uses. In conclusion, the value of everydayness in contemporary architecture is that it draws user-based diverse and fresh architectural expressions that lead to opulent designs. To users, everydayness improves satisfaction of life gained from architecture and provides rich life environment because it changed common human life to a form of art.