• Korean Architects
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• no.5 s.123
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• pp.47-63
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• 1979

• Korean Architects
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• no.9 s.127
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• pp.55-66
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• 1979

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.2
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• pp.59-65
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• 2007

This study is aimed to find out the conception of planarity in Modern Architecture. Some architecture historians such as Hildebrand and Schmarsow indicated the planarity by which new idea of space in architecture was made. The characteristics of the planar was embodied and developed through the proclamation of the ideology and their works in the avant-garde art movement of Cubism and Neoplasticism. The planarity in modern architecture was embodied from various aspects -the perception of space, the pictorial art and the metaphysics- by means of imaginary plane, superposition of planes, oscillation of plane, deconstruction of mass and elimination of natural color.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.77-83
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• 2009

Van Doesburg founded the magazine De Stijl with Mondrian in 1917. De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy. De Stijl proposed ultimate simplicity and abstraction by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. Vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements In 1924 their different concepts about space and time were split between Van Doesburg and Mondrian. Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism. The works of De Stijl would influence the Bauhaus style and the international style of architecture.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2011.05a
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• pp.145-148
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• 2011

As a futuristic construction model, building information model(BIM) based project management system(PMIS) and mobile PMIS have been showing visible sign. However, researches on the 3D BIM based PMIS using mobile device are hard to find, result from limitation of mobile device application(slow speed at huge BIM file, display size, and etc.) and undefined standard of business processes. Therefore, this research aims at studying feasibility of mobile BIM PMIS based on cloud computing as a business model. In case of applying mobile BIM PMIS, 3D drawings and integrated building informations are possible on mobile devices in real time. it would support increasing the productivity of project participants as designer, engineer, supervisor, and etc. Globally, BIM based PMIS and Mobile BIM system, cloud computing based mobile BIM simulator are in the concept or experimental phase, therefore it is possible to secure global leading technology of IT and construction merger in the mobile BIM.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.12
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• pp.6514-6520
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• 2013

Arcology (architecture plus ecology) is a new term that was coined by the visionary architect, Paolo Soleri (1919-2013), and aims to provide a useful solution for a sustainable dense urban environment. Inspired by the environmental and humanistic crisis in the 1970s, he continuously promoted ideal future city forms with arcology in mind. Arcosanti is one of the many arcologies he proposed and is the only one that was constructed. This paper constructs arcology as a sustainable architectural theory with Arcosanti as a verifiable case study. Despite the fact that arcosanti is only partially built, and far from completion, it still possesses some of the values that Soleri's vision may offer to future generations.

• Journal of the Korea Institute of Building Construction
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• v.10 no.6
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• pp.77-85
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• 2010

Recently, with development of core technology for supertall building construction projects, the need for an improvement of the related legal system is increasing dramatically. Therefore, the supertall Buildings R&DB Center, which is funded by the Ministry of Land, Transport and Maritime affairs (MLTM), is studying the legal system for supertall buildings. This research, as one part of the 1st year research results, aimed at studying supertall building project related issues and problems to develop supertall building elements, and conducting an importance-performance analysis (IPA) of these elements in order to conclude a strategy and direction for an improvement of the related legal system. A total of 68 supertall building elements were derived, and the IPA method was used to analyze these elements based on attribute types. Furthermore, an improvement strategy and directions were suggested for upgrading the legal system related to supertall buildings to the level of global standards. These efforts can be the base for advancing the legal systems of the domestic construction industry in all areas, including supertall building construction.

• Journal of The Korean Digital Architecture Interior Association
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• v.12 no.4
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• pp.97-105
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• 2012

This study aims to evaluate Rietveld's creative design style and concepts. To this end, I looked into the evaluation of major researchers on Rietveld, classified all his works into four groups according to the design types and analyzed them. As follows: based on the results of the analysis of works I concluded. First, Rietveld created the concept of the spatial extension to the ingenious joint which had the structural node formed of three listels with quadrangular section. It is the design innovation that led to liberate the closed construction. Second, Rietveld had opened up the possibility to neutralize the gravitational three-dimensional works. He subtracted the weight in the direction of gravity from the three-dimensional structure of the works and painted the three primary colors on them partially to get rid of the original material color. Therefore they looked like the forms liberated from gravity. Third, Rietveld ripped off the surfaces of cube through several formative experiments and decomposed the volume into the tesseract. Through this method of realizing the new plastic concepts, he completed the architectural models of weightlessness. Fourth, Rietveld opened the possibility of the realization of the three-dimensional works integrated all space and time in the one-pieced works and the folded works. Fifth, Rietveld steadily experimented and realized the internal and external integration of time and space in his later works.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.123-126
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• 2011

건축공간의 발전에 있어서 새로운 미디어의 출현과 그에 따른 영향이라는 관점에서 디자인의 역사를 고찰하였다. 토마스 쿤은 그의 저서 과학혁명의 구조에서 밝힌 바와 같이 과학의 역사는 단순한 형적인 발전의 역사가 아닌 그의 신조어인 패러다임에 의한 새로운 혁명적 역사의 발전이라는 논의를 피력하였다. 디자인의 역사는 기본적으로 그 본질에 따른 아름다움과 기술의 결합체의 시간적 기록으로 볼 수 있을 것이다. 또한 공간 디자인은 문화를 담고 있는 그릇의 성격도 띄고 있으므로 상당히 복잡한 성격을 갖고 있다. 본 연구에서는 디자인의 역사에서 당시의 새로운 매체의 생성 및 수용이 디자인의 발전에 과학의 혁명과 유사하게 혁명적 영향을 끼쳤음을 발견하고 그 영향과 작용에 대해 연구 하였다.