• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.133-141
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• 2009

Since Adolf Loos' Ornament and Crime was released, ornament had been regarded as a vice in Modern architecture. In Post Modern architecture, the ornamental vocabularies extracted from the classical architecture have been symbolically expressed. As a result, the significance of existence of and the use value of architecture have increased with improved intimacy to the public. However, many studies that have analyzed architecture in terms of semantics and semiotics focusing on communication between architecture and the public have admitted instability in architectural meaning because of the fundamental difference between architecture and language. At the same time, the architectural representation has encountered a lot of limitations along with the deconstruction and non-presentation theory in Post-Structuralism. Even under these circumstances, the ornamental representation can be a critical factor which makes communication possible while expressing spatial identity in this pluralistic contemporary society. Hence, this paper has established logical grounds for research based on theoretical investigation on the concept of representation, semiotics, and ornamental representation, with regard to spatial communication through ornamental representation in commercial space. Based on Peirce's Semiotics which is the typical theoretical science in terms of representation, this paper has analyzed the three kinds of signs (Icon, Index and Symbol) that he proposed. Peirce's classification of signs becomes ideal when the factors are well balanced, with room for combination instead of strict classification. It appears that his theory of signs would be useful in understanding and analyzing ornamental representation. This study on representational ornament could offer a plan for ideal communication and abundant spatial experience in the interior design of commercial space in which the expression of creative space identity is required.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.212-220
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• 2015

The study aims to identify the design character of libraries today into outwardness which enhances publicity in the library buildings. This design trend tends to be emphasized in contemporary civic libraries. In these days, the libraries become not only to be the traditional places of information but also to be the multi-purpose places to provide community services and cultural spaces. Thus the contemporary libraries, especially big civic libraries, are willing to open to the public of diverse purposes and to accelerate social communication among them through outward design in the buildings. This study surveys literatures and identify accessibility, symbolism, openness, amenity, connection, as the characters of publicity in the libraries. The study also examines the outward design strategies of the libraries which enhance publicity in the ways of design to connect surrounding environment, to symbolize buildings, to wrap transparent external surfaces and to build interior spaces. The study finds in the case studies of ten outstanding civic libraries abroad which were built in relatively recent years that the outward design is achieved mainly through four ways. First, the libraries have connection with surrounding urban environment, thus have continuities from the surrounding. Second, the libraries have the shapes of landmarks which expose themselves and their roles to the outside. Third, the libraries have transparent surfaces through which outdoor environment penetrates into the buildings. Fourth, the libraries have corridors and halls which look like traditional urban public streets and plazas. The study concludes that outward design strategies which employ in contemporary libraries enhance publicity in the libraries. Thus the libraries can perform as multi-functional cultural and open places which accelerate social interactions among the public of cities. This study has the value as a research which emphasizes outwardness as the design strategies which enhance publicity in contemporary libraries.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.68-79
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• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.86-93
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• 2013

Illumination in church building has played an important role in making workship space more suitable for divine service. As time has changed, however, the worship space of Protestantism is no longer somber and reverent, but changing into practical and multipurpose space with bright and colorful image. This study investigates intensity of illumination of worship space during day and night respectively and figures out the change of psychological change of congregation in accordance with brightness and color temperature in worship space in order to find out preference and look into the usage and change of illumination in recent Protestantism in compliance with the needs of the time and influence. Then, result value is to be compared to Korean Standard intensity of illumination. Also, the correlation between intensity of illumination and color temperature by Kruithof's curve theory is used to identify the comfortableness of the worship space during day and nigh. And it is a common task of space designers and pastors to map out the worship space in terms of illumination suitable for its own purpose with even more modern and Korean sensibility and to create spiritual space for worshippers by collecting opinions from congregation, the main user of the space. With appropriate usage of illumination in Protestantism worship space, the atmosphere and purpose of worship can be enhanced.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.52-61
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• 2013

This study set out to compare and analyze the spaces in the images and sets of the representative movies that led the new heyday of Korean film since 1997 and examine the characteristics of contemporary Korean modernism in the movies, thus building an academic foundation for future exchanges between contemporary Korean architecture and contemporary Korean cinema. As for methodologies, the study first examined the film theories on how to utilize spaces projected onto moving images. Secondly, the study made an overall comparison of the characteristics of spaces in the representative movies of contemporary Korean cinema since 1997. Finally, the study compared and analyzed them with the intrinsic characteristics of modernism architecture space. The research findings were as follows: first, the representative movies of contemporary Korean cinema since 1997 either had a backdrop of everyday modernism space in the 1970s and 1980s or created a new space of late or post modernism in them that escaped from daily life for the mise-en-$Sc\grave{e}ne$ composition. Secondly, the contemporary Korean cinemas used the unornamented modernism architecture in Korea as the props of revealing the personalities and emotional aspects of the characters in a prominent fashion. Thirdly, they also used communication between internal and external space and spatial severance via the facade window in modernism architecture as important devices for narration organization. Finally, they selected the camera positions by applying the principle of open space, which allows for the expansion, reduction, and distinction of space according to functions, and thus established a methodology to create a space fit for the personalities of characters and stories.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.158-167
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• 2012

This research began by considering that, although architecture and architectural culture of the last two decades seem to have rediscovered ornament and some recent studies have reconsidered the ornamental issues of contemporary buildings, there is currently some difficulty in providing a synthetic investigation of this topic, because of the complex nature of the contemporary architectural situation. Following this premise, this research provides some reference points for further studies that will aim to expand the understanding, and attempt to classify and hypothesize the future of contemporary ornamental phenomena. Based on the assumption of the historical continuity of ornamental problems, and adopting the relation - both technical and aesthetic - between ornament and structure as one of the crucial issues to link past and present problems, the study firstly defines two categories and two sub-categories concerning the relation between ornament and structure, namely: a) ornament integral with the structure and b) ornament applied to the structure; a1) ornament visually expressing the structure and a2) ornament not visually expressing the structure. The study then reviews the historical development of ornament from ancient times to the present in the light of the above mentioned categories, and finally discusses the principles of traditional and modern ornament thus analyzed in relation to contemporary ornamental trends, as identified in selected case studies. Some common points between past and contemporary experiences are revealed in order to facilitate further investigations. In particular, the analysis shows a certain trend in contemporary architecture for a strong link between ornamental treatment and the structure of the building and a current tendency among contemporary designers to keep the exterior appearance of the building project separate from the design of the rest of the construction.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.3-9
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• 1999

Contemporary society that is apt to be homogeneity because of the development of computer communication and mass-media desires to seek its own identity in native realm. Contemporary Korean architecture has endeavored continuous discussion and practice to keep its identity within the current tendency. The purpose of this study is to grope the alternative for genuine 'Koreaness' to analyse the variant trend of its characteristics 1990's. The variation of Korean society in 1990's that emphasize self-regulation and individual value has influence on the realm of architecture so much. The cognition of 'Koreaness' has changed with center in the individual and small -size design group, not present accommodation of past, but continuous research to find archetype of tradition which can play a decisive role of linking present and future on the foundation of past. Many attempts and practical works that express 'Koreaness' in 1990's are performed in the area of residence works that reflect Korean emotion and life-style directly. This change can be an answer to solve the problem of peculiarity and universality in 'Koreaness'. After 1960's the main theme of 'Koreaness' was traditional architecture form, but because of the induction of Postmodernism and at once its reflection and critical attitude with limit of formal duplication, which lost its meaning. In 1990's, research for spatial form as korean emotion and image has carried out and played an important part of original expression for 'Koreaness'

• Korean Institute of Interior Design Journal
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• no.40
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• pp.60-67
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• 2003

The perceptual change and reproduction process of a space is distinguished from the difference between the Modem Times and the digitalized Post-modem Times. According to this changing aspect, the dwelling. concept is also progressed toward the escapeness from the regularly standardized settlement. But, as written above, the escapable dwelling behavior pattern is re-territorizated through new restriction and domination system. Among the newly re-territorized dwelling areas, the virtual space that included human being's equal in the contemporary meaning has already been on the surface in our daily life, it has been enlarging into all kinds of activity. The virtual space has the possibility to extend beyond a already well-used to physical space and time unlimitedly. But, owing to the ambiguous boundary between the real space and the virtual space, it is getting more important to define the spatial substance in the Digital Age. From now on, especially, the academical fields like a Architecture and a Interior Design that dealed with a living space have to give it a great shot. What I really want to say is that various approach about the space itself with the help of many sorts of so-called a Case Study could be a diversity & uniqueness out of a typical point of view about the study handling on space and time.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.147-155
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• 2014

The purpose of this study was to investigate expression characteristics of korean traditionality in restaurants & Ccfes which adapted thatched roof & shingle-roofed house. As a method of this study, a case study was made to investigate for exterior and interior elements(roof type, facade, floor, wall, ceiling, door & window) of 12 restaurants & cafes in Seoul and Kyunggi Province from June 10, 2013 to December 1, 2013. The results of this study were as follows: First, traditional transformation was mostly used among the traditional expression methods. But, there was not many traditional reinterpretation method. Second, looking at each component, traditional reproduction method mostly used for roof, column and ceiling to emphasize facade. Traditional transformation method can be divided into 3 ways in detail. The first method is mixing materials of modern and traditional, and the second one is transforming traditional material and combining this with modern one. The third is removing traditional material completely and transforming totally into modern materials. Third, traditional high quality noble houses are found in luxurious Korean restaurants and luxurious cafes while common houses are found in local food restaurant and cafes. It is because traditional common houses are still considered as low quality of design and it may prevent common houses from becoming high quality of design.