• Korean Institute of Interior Design Journal
• /
• v.14 no.1
• /
• pp.3-10
• /
• 2005

The purpose of this study is to find the relationship between hightech architecture and digital one through the discussion on Karl B tticher's view on tectonic in 19th century. The discussion of tectonics which has not been brought up until recently. Since there are no studies regarding contemporary architecture relating to Karl B tticher's view on tectonic, so it is fairly significant to study Karl B tticher's conception, discussion and relationship of contemporary architecture. To study the essence and meaning of Karl B tticher's view on tectonic in 19th century, we will analyze each examples of hightech architecture and digital architecture through Karl B tticher's dual form. B tticher insist that dualistic relationship is united and produced simultaneously. Because they have so closed relationship each other, it's impossible to apply only decoration without structure. Therefore they have mutual assistant relationship. A relationship can be found between hightech architecture's technology and structural symbol that Karl B tticher tried to find in steel which is new material ornament. Digital architecture can be confirmed as images which are made of maximum expose through consistent dynamics of structure. Karl Btticher try to find structural symbolism between new meterail, iron, and decoration. In modern architecture it has the closed relationship with high-tech technology.

• Korean Institute of Interior Design Journal
• /
• no.13
• /
• pp.102-110
• /
• 1997

We have lost our true characteristics without being grown and development of our traditional beauty in state of drawing into a whirlpool as the environment of western cultrue. So, to be existed for self-sown capability of our traditional culture, we'll have to keep up with the unique and creative Korean traditional furniture design through the synchloization between 'Traditionalism in our already westernized life' and 'Korean identity in our already westernized life' and 'Korean identity in worldwide culture' based on independent position by correct view of worth, as for the escape from attitude of receive on western culture in recklessnese. Hereupon, first of all, after reviewof fornuclation backround and characteristics in traditional furniture to be established by an ancestor, based on this and extract the conceptual language, it was presented past published works as for the approaching method toward physical form aspect by use of pattern of modern access method. Secondly, it was the symbolic approaching from method based on traditional and cultural context. Gradually, the embodiment of traditional image, in today's features of our furniture loosing the particular cultural identify is very important aspect, and beside above mentioned two methods, it should be investigated as for the diversified approaching study. Thereafter, we'll have to establish the positionof our modern furniture in global wordwide, for seek the beauty being interrelated form past historical communications, under the circumstance of original and future-oriented value.

• Korean Institute of Interior Design Journal
• /
• v.23 no.5
• /
• pp.58-66
• /
• 2014

A desire to lightness of architecture has continued from the past to today. As Paul Virilio mentioned "The aesthetics of disappearance starts from a desire", the desire of architecture to lightness assumes the connection to hidden dimension of everything over the freedom of materials when it is related to the aesthetics of disappearance. This study assumes that the lightness of an architecture today can be interpreted by means of the aesthetics of disappearance. The lightness of an architecture is a concept for the potential possibility of an architecture. Therefore, it is to analyze the relationship by connecting the features of the lightness which is obtained from the examples of the Cartier foundation of Jean Nouvel and Seattle central library of Rem Koolhaas to the aesthetics of disappearance, that is, the disappearance of the materials, disappearance of the subjects, disappearance of the meaning and disappearance of physical. Based on these, it is also to prove the influence of the aesthetic of disappearance on the architecture as a social phenomenon of technology today.

• Korean Institute of Interior Design Journal
• /
• v.23 no.5
• /
• pp.3-13
• /
• 2014

Typology in Contemporary Architecture wants to escape from the classical typology that has the problems about specific program of structuralism, typical repeatation of customary form. As visible and non-visible things are appeared in contemporary architecture through the analysis of the inner system involving development process of changing itself, typology of contemporary is utilized at a tool of form generation in the process of architect. And it notes that the structural properties of the building system. The form of contemporary architecture has the new connecting strucure not reduced to existing ones. It carries out generative access as a device in order to solve the complexity of society. From this perspective, we analyze the process of projects of contemporary architects that can be typological strategy not representation of post geometric form but a tool of form generation in architectural process. As a result, we can find four characteristics of typology as a tool of form generation; 'interference and mix of program', 'continous slabs', 'rearrangement through relationship setting', 'transformation of multi-layers'. These are expanding to the process that reflect history and context or infer from morphology. Therefore, typology as architectural process of form generation overcomes morphological typology of classical typology and suggests that the different architectural approach having potential possibility.

• Korean Institute of Interior Design Journal
• /
• v.18 no.2
• /
• pp.41-49
• /
• 2009

Contemporary design environment is formed with image-centered trend based on pluralism. In this point of view, enterprises' building lobbies are public places containing the equivocal meaning, actively utilizing light as a design element to express the image of enterprises' identifications. Light is an immaterial entity having unlimited possibilities and potentials on space. It also acts as media to activate spaces and create new images in connection with formative elements of space. This study is to figure out how lightings are expressed and affected the formative characteristics of office lobby spaces and activate the specific characteristics of spaces. As a result, we drew conclusions as follows. First, as state-of-the-art technology and media are introduced, light is expressed on spaces as floating, direction, rhythm, silhouette, metaphor and allusion, sense of depth and volume. Second, expressive aspects of light in lobby space are embodiment of light, substantiation of immateriality, standing of materiality from the perspective of spatial aesthetics, and distortion/transformation of shape, pluralism phenomena of space from the perspective of spatial structure. In this way, light on building lobbies which are greatly required design differentiation strategy, specializes space and also integrates all the designs as not only a functional element but also a mental, psychological, formative element. Consequently, light on lobby spaces induces communication between spaces and users, makes formative value of existence in itself, and presents the characteristics of differentiated enterprises' identities.

• Korean Institute of Interior Design Journal
• /
• v.23 no.3
• /
• pp.204-211
• /
• 2014

The development of digital culture has brought radical change in the fundamental concept of what workspace is defined by and has also switched the cognition of workspace originally being a place to spend time and do activities regarding tasks into space more than just that. If we take a look at the cases overseas firms have announced after the year 2000, we can find distinguishing facts different from the existing workspace composition, like creative workspace, amusement workspace, workspace for communities, etc. Thereupon, the goal of this research is to look into the domestic characteristics of workspace by investigating and analyzing case by case targeting domestic firms. This research is to first comprehend the theoretical study of workspace, the changing environment, and the characteristics of domestic workspace, going on to utilizing the information achieved above to analyze 8 appointed domestic firms as examples. Contemporary domestic workspace is defined not a place only for activities regarding work tasks but rather a place comfortable and friendly in the concept of a second residence, community node for sharing knowledge and information, mobile space for the digital nomads, and space for coincidental encountering and communication. Based on this the analyzed characteristics of contemporary domestic work places are metaphor, convergence, beyond boundary, and emergence. The characteristics mentioned above are considered elements that increase corporate profits by managing efficient smart-work and producing creative ideas. Therefore, I believe continuous research and development related to this subject is necessary.

• Korean Institute of Interior Design Journal
• /
• v.22 no.4
• /
• pp.15-22
• /
• 2013

The domestic industry of construction is requiring an application building concept which could be one of the solution to the environment problem sand to the sustainability of development. It means that the consideration of the housing from a environmental friendly point of view is importantly necessary all things and the housing should be planned or responding to the concept of a environmental friendly planing. For this reason, the purpose of this study is to derive the design elements for the environmental friendly housing and to choose the priority element and to bring the planning guideline for the environmental friendly housing. The purpose of this study is to identify pro-environmental attitude of environment-friendly apartment residents, to examine importance of environment-friendly planning features, and to examine environment-friendly planning features according to residents' environmental perception. and now i suggest that important improvement direction by housing estates be accessed and analyzed through environmental approach, because environmentally friendly paradigm is one of the most effective and fundamental methods for developing housing estates.

• Korean Institute of Interior Design Journal
• /
• v.20 no.5
• /
• pp.87-95
• /
• 2011

최근의 현대 건축에서는 재료의 물성과 구축성이 두드러지는 프로젝트를 많이 발견할 수 있다. 이러한 경향의 배경에는 사양한 요인들이 있을 수 있다. 그 중에서도 공간성(性)에 대한 근본적이고 회귀가 중요한 바탕이라고 할 수 있다. 피터 줌터의 건축은 현란한 조형적 효과, 표현만을 위한 기술적 장식을 사용하지 않는다. 대신 그의 건축은 장소와의 관계, 문화적 context 상에서의 맥락, 그리고 공간의 근원적인 경험을 주요한 매체로 사용한다. 그리고 이러한 특수성은 대체적으로 빛과 재료의 고유한 적용으로 나타난다. 이는 장소와 문화의 특성을 관습적인 형태나 화려한 표현으로 재현하는 것이 아니라 '공간감'의 구현으로 구축하는 방식이다. 본 논문은 피터 줌터의 건축에 나타나는 빛과 재료의 구축 방식, 그리고 공간의 경험에 대하여 살펴본다. 그의 건축 구축 방식은 일견 간단해 보일 수도 있으나 실제로는 프로젝트마다 고유한 빛과 재료의 적용과 텍토닉(tectonic)이 내재되어 있다. 본 연구의 목적은 이러한 점들을 자세히 살펴보고 그러한 구축방식이 궁극적으로 어떻게 공간의 경험과 관계를 하는지 고찰하는 것에 있다. 구체적인 사례는 Bruder Klaus Chapel과 Kolumba Museum으로 한정된다. 프로그램은 다르지만 빛을 사용하여 관람자의 공간경험과 공간인지가 어떻게 형성되는지를 다루면서 결론 맺는다.

• Korean Institute of Interior Design Journal
• /
• v.17 no.5
• /
• pp.3-11
• /
• 2008

'The eye' and 'the gaze' organize the visual system and distinguish the subject from the others. Recent philosophical thoughts have forcefully argued against the tradition characterized by the domination of the eye that assimilates the alterity of the others to one's own, cancels their alterity, and totalizes their differences within himself. In the speculative discourse modeled on the eye, the alienation of self in its other and the reflection of the object are linked together in such a way as to form a totality in which they are reflected into one's another, leaving absolutely no remainder outside. By contrast to this totalizing tendency of the eye, Sartre and Lacan propose the gaze that becomes constitutive of vision. The modern architecture reinforced subject's eye and clearly separated the others from subject Through Descartes's visual paradigm, space became homogeneous and nature was seized by architecture. However, recently the clear boundary between subject and object is disappearing. Lacan insisted that oneself's eye and the other's gaze are mixed up in human sight This means that the boundary between the subject and the other is indistinct and also the boundary between an object and landscape is meaningless in architecture. The overthrow of gaze in contemporary architecture appears in the form of trans-boundary, translucency and widen architectural notion and expression.

• Korean Institute of Interior Design Journal
• /
• v.19 no.3
• /
• pp.22-29
• /
• 2010

Recent days, transition to ecological thought is being accelerating by environmental impact with a sustainable development. This symptom is no exception in architecture area. So is vernacular design affecting on modern architecture in many ways in terms of economical aspect and eco-friendly environment as well. Natural energy like solar power, environment, and terrestrial heat that applied in vernacular architecture is also widely accepted in name of 'sustainable energy' of which a design applied with ventilation and airing of natural wind is very useful & pragmatic in terms of economical reason. Accordingly, this study examined a relation between vernacular architecture and natural wind and compared it with traditional type and its feature of ventilation & airing. Ventilation & airing applied in the past can be divided into three categories: methods by convection, natural element, and architectural type. All these methods gave some pleasant felling indoors when there were no artificial energies. Even in modern age, such a ventilation & airing is being used with traditional type in different variety of materials, and it will be developed with modern technology without any extra cost in terms of sustainable expansion, and opened for further researches.