• Korean Institute of Interior Design Journal
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• no.13
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• pp.150-160
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• 1997

The tendency of the Minimalism in the contemporary a architecture is based on Mies van der Rohe s saying ‘나SS IS m more" as the principle of the Minimal art and its formative c composition. It can be divided into technical Minimalism p prevailed in Northern Europe and the zone of German l language, and the regional one in Southern Europe and S Southern America. The former is interested in the experiences of the techniques and materials, and the latter in that of the s space and the place through the simple forms. The minialistic approach to the architecture is nat only m methodological one. It accepts the concept and the construction of architecture as 2 axes for making it keeps the tradition and c communication with the master builder, the materials, and i염 m means to compound. The expressive characteristics of works in M Minimalism are 1) as the formal issue, it is simple, self-referring. without any symbol or any allusion, and compounds the r repetitive forms as the comceptual aspec않 of architecture, 2) it h has the characteristies such as the approach directly to the m means by which architecture made, the critical interests to the m material attributes, and the capacity to the contemporary t technology as the issue of technique and materials, 3) regarding t the space and the place, it shows the good sense to the site in t the sphere intervention of architecture 1e Maininlalism architecture has i않 impotance in the point t that it seeks to the qualities immanent in architecture by s showing the marvelous status through discovering the i immanent properties of the site, program materials, and the s structure, and also it begins new way of interpreting a architecture with new viewpoint to the its essence as well as a architecture itself.self.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• Korean Institute of Interior Design Journal
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• v.18 no.4
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• pp.61-70
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• 2009

Rapid social changes and scientific advances of the $21^{th}c$ have brought on a major paradigm shift towards consilience, making boundaries more or less irrelevant. In the field of architecture, this is manifested in the emergence of colors that can be described as 'being aleatory', 'non-formal', 'non-deterministic' and 'perpetually evolving'. Contemporary architectural colors are not definitively fixed. They are rather liquid and metaphorical. Whereas the more traditional architectural colors have delivered clearly and precisely the intended symbolic meaning and visual information, those of today are less definitive and embody a more liquid and conceptual value system. This paper discusses the denoted signification and the meaning effect of the metaphorical color system found in contemporary architecture. This paper analyzes works of architecture from the late 20th century, when dramatic change sin architectural color system surfaced, to the more contemporary creations. Here, three categories of color are suggested, namely material color, spatial color and liquid color. Each categories considered in connection with deconstruction, holistic interactivity and the multiplicity of meanings that may result as information from the external world is perceived as stimulus to the inner mind. Contemporary architectural color scheme is characterized by its unpredictable vagueness of meaning, synesthetic engagement of imagination and chance, and expansion of the inner and outer world, all of which contribute to a metaphorical effect. The metaphorical color system of contemporary architecture can be classified into three dimensions, and it connects with human consciousness and amplifies itself through flexible and fluid communication. In this process non-physical colors materially serve as formal logic and room for varied interpretation of architectural space and our conceptual framework.

• 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.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.164-173
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• 2013

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today's architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject's forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.204-211
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• 2012

The purpose of this study is to analyze characteristics and expression methods of contemporary art museums from the perspective of 'Rhizome', which is considered under similar context as 'indeterminacy' that represents the characteristics of contemporary public spaces. Methods of this study are as follows. First, necessity of this study is verified by investigating literature data and preceding studies, and by examining the fact that indeterminate characteristic is a new approach to contemporary public spaces. Second, in order to analyze Rhizomic expression in public spaces, analysis criteria are suggested by extracting components of public spaces and spatial characteristics of R150hizome from the literature. Third, Rhizomic characteristics and expression methods used in contemporary art museums are understood based on such analysis criteria. Fourth, when each spatial characteristic is expressed in art museums, the study found out that two factors among 'program', 'circulation', and 'form' are planned out as a mixture. Therefore, 'cohesion' is expressed as 'program' and 'form' in contemporary public spaces viewed from the perspective of 'Rhizome'. Also, 'diversity' is actively expressed through 'program' and 'circulation', and 'non-hierarchy' through 'form' and 'circulation'. Such methods are positive methods of expressing indeterminate contemporary public spaces. Since this study conducted analysis on characteristics and expression methods of public spaces from Rhizomic perspective of contemporary society, such results are deemed valuable in planning out public spaces that reflect the characteristics of contemporary society.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.3-15
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• 1996

Friedensreich Hundertwasser , born in Vienna 1928, is a painter, an architect and an environmentalist. His architecture is radically different from the traditional , straight -lined, functional architecture practised, for example, by the Bauhaus Masters. From the very beginning , he has tried by various means to show that radical change in thinking are necessary , possible and realized. Hundertwasser's goal in this architecture is to make and give human dwelling in harmony with nature. his architecture is characterized by avoidance of straight lines, " Window Right", irregular arrangement of windows, onion dom, a wealth of colours and such environmentally -friendly consideration as planting of roofs and realizing of "tree-tenants". hundertwasser sees houses as evolving creations which are to be shaped by their inhabitants. He hates Uniformity. The irregularity is always the guiding principle in his architecture. The Hundertwasser's architeucture express his fundamental belief that we may not simply rob nature of her resources, but that we must also return territory to nature which we habe stolen from her. Roofs, terraces and courtyards planted with vegetation and " tree-tenants" build bridges between man and nature. They influse the architecture with vitality and romanticism and are a statement of a quality rather than a standard of living. It is quite possible to value the architecture of Hundertwasser as an important inspiration, as a sort of turning point in the thoughts and actions of city planners. It's success could be healing shock for the international architectural community, which is hypnotized by technology and abused by the shortsighted interests of ren.tability . Under this pressure, today's architects trend to reduce people to a mere part of the " Dwelling machine", without acknowledging that in the long run such machines eat away at people's souls.uch machines eat away at people's souls.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.50-57
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• 2012

In Ubiquitous era. architecture is not the old building adapting ubiquitous technology. In order to take the role as new architectural paradigm in space, environment and technology, it has to develop technology continuously and experimental architecture at the same time. it must have co-evolution of architectural field and others through organic network. by that, the evolution of space will be in the way that combines space which is responded to human emotion and user-centric human-friendly. It will be the new paradigm of Ubiquitous digital space. Digital technology resulted in a change to a society as well as to the life of human and its way of thinking. Due to those changes, new terms or concepts come out and a new meaning is added to the conventional concepts. This aims to examine type of spatial contexts for interaction design experience. This study is performed through Literature research for theory by interactive space and case studies for construction elements to design. The range of case study is limited to interaction space in addition of interactive elements and user interface. And analysis conclusion is show the many type, First, Interactive space has special purpose for make a interaction by intelligent elements.(sensor, program, algorithm, New-technology) Second, Interactive space was cooperation with various professional for space purpose. Third. Interactive space is self-develop by algorithm, program, sensor network and that is harmonize with user. finally. Interaction space is show the temper elements about allness, metastatic, activeness, liquidity, relationship. That was written by ecological theory.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.12-20
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• 2007

This study, as discussed herein, tries to understand how modern commercial buildings occur and develop in certain type of social and cultural conditions. There are many words standing for modern society, of which the most remarkable one is 'commercial society'. Commercial society is where goods are manufactured to one's taste and consumption is a way of communication and a way of discriminating one from the others by using different code. Nowadays, architecture gets more and more popular and becomes commercial object which is intended to the sign of the social meaning. So, the sign of commercial buildings varies according to the social and cultural backgrounds and kitsch is applicable to it. The original meaning of kitsch, which usually is considered an inferior copy of an existing style, is examined and applied to architecture in order for comprehension. Throughout this study, the types of commercial buildings are selected and immanent meaning to the psychology of consumers as applicable to commercial buildings is considered. Also, the trend of kitsch in commercial buildings is analyzed by classifying the image and code of a building's shape. In a conclusion of the study, two major points can be found; commercial building has a significant meaning in terms of design, and commercial building is the conceptual result of a continuous change in the relationship between society and art.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.153-161
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• 2012

The purposes of this study were to reevaluate urban traditional houses and to propose direction for the conservation and utilization of urban traditional houses in a way of maintaining historical landscape rather than the value of urban traditional houses as components in expanded urban structure. For these purposes, we identified the characteristics of conservation and utilization of urban traditional houses by representative cases and analyzing them exhaustively, and suggested problems in the cinservation and utilization of traditional houses and solution for them. The current conservation system for Urban Traditional House in the Bukchon area is applied to non-residential Urban Traditional House differently according to the owner's consciousness of conservation because there is no support system for non-residential Urban Traditional House. Accordingly, there should be standardized criteria to maintain the landscape of the Bukchon area in terms of beauty formed by the elevation of Urban Traditional House and the continuity of roofs while accommodating various functions. As in total conservation or partial conservation, the interior remodeling of individual houses may be allowed but the three-dimensional external appearance composed of the outer walls, fences and roofs of Korean-style houses should be repaired and improved in a way of maintaining the image. In order to utilize Urban Traditional House in the Bukchon area, plans should be made in consideration of its location, historicity and tradition. We may expect the utilization of traditional cultural facilities and their surrounding areas as alternative cultural spaces. Such use of individual Urban Traditional House should be extended by linearly and areally and suggest the direction of conservation and utilization.