• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2008.11a
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• pp.419-424
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• 2008

The purpose of this study was to analyze aesthetic characteristics of Korean traditional architecture so that it resolve severance problems in modern housing. The main method adopted this study was literature analysis and case study on traditional architecture. This study did the followings; First, it reviewed literature about aesthetic characteristics of Korean traditional architecture and severance problems in modern housing. Second, it identified the main aesthetic characteristics of Korean traditional architecture to lessen severance problems in modern housing in the context of severance among people, architecture and nature. Third, it applied the analyzed aesthetic characteristics of Korean traditional architecture to modern housing and showed the housing design example.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.103-142
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• 2005

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.114-120
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• 1999

The study on architecture can be started with the aesthetic attitude which cognizes it as the art of the space. Architectural space as the subject of the aesthetical study, however, has been ignored such a long period though it should be centered of the whole architectural theory. Even it has not been dealt with independently but just only as a part of aesthetic or artistic field. Also it is true that academic approach to the architectural space as per the aesthetic cognition has not been done so satisfactorily. This study, therefore, aims at prescribing compositional scope from aesthetic cognition of architecture understanding the rational function, mechanic structure, and artistic beauty by man's subject standard of judgement as per the space, the special sphere of architecture. For the absolves, the architectural space in this study is not approached as the spatial art with the meaning of being included the arts general, but with the meaning of intrinsic peculiarity of architecture, based both in practicality of scientific concept and arts of the aesthetic notiov. In order words, the essence of architecture can be prescribed as the architectural realities as the functional, formal and symbolical space not simply the spatial art, and its real but aesthetic meaning can be cognized aesthetically.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.114-120
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• 1998

In early 20th century a tendency of composite art -the aesthetical historian's struggle to unify various genres including paintings with architecture -appered which was created on the basis of spacial thoughts. On aesthetic interpretation of arts the object of aesthetic cognition is formed not just by itself but by aesthetic consciousness systems and this means the object can be classified with basic type that has various figures within its aesthetic categories. Here this study is purposed to prescribe space as an object of aesthetic cognition and define its conceptional characteristics stylistic expressions then to play a role as basic study of aesthetics of architectural space forming aesthetic cognition and analysis of architecture.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.

• 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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• no.16
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• pp.22-28
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• 1998

The purpose of this study is to analyze the architectural space of modern and contemporary architecture which has been changed by the aesthetic cognition on space. The intention of considering architectural space aesthetically is to convert the viewpoint of seeing space as simple physical structure into different viewpoint of regarding 'space' as 'cultural place' However this does not means to apply aesthetic theory to architectural space. The aesthetic cognition on space is one of the main subjects of the expression of art from ancient to today however the appearance of space concept as architectural aesthetics accelerated by G. Semper theory after the latter half of 19th century. On the standpoint of perpetuity in architecture the aesthetics of scientific rationalism in modernism based on the reasonable thinking regards the variety of inherent characteristic in architectural space as 'Transferential Space'. On the other hand, in regarding to architectural trend, the nature in architectural space has been considered as 'Existential Space' starting from the conscious construction of environments to help human existence in the existentialism. The Conclusion logic of follows as belows; first, the concept of space structure in architecture has been exchanged from Enclosed Space to Topological Space. Second, the concept of architectural space has been changed and developed to the Deterministic, Profound, Dissipative, and Recognizable Space according to the change of expression in architecture.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.129-140
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• 2017

This study aims to interpret the current landscape design of the place and landscape of memory, such as post-industrial parks and memorials that have an old, aging appearance from an aesthetic perspective. The objects of the study are large parks and open spaces that have collective memories for visitors. Visitors' aesthetic experience from these places and landscapes of memory could be explained by aesthetic concepts such as the sublime, nostalgia, and melancholy. Because these aesthetic concepts are associated with past traumas, visitors may be affected morbidly. However, due to the capability of the media to form an aesthetic experience when visitors visit a given place and landscape, visitors can autonomously adjust the distance to the place of memory and gain an aesthetic experience. The aesthetic experiences through the sublime, nostalgia, and melancholy are based on temporality and irreversibility. Temporality here refers to a characteristic of memory, and time in the place and landscape of memory and is based on the irreversibility of time, as time cannot go back. Both the place memory and the memory that is recalled from the combination with visitor's past memories and knowledge are two major factors involved in the construction of the aesthetic experience in the place and landscape of memory. The results of the present study are meaningful in that this study presents a framework for a better understanding and use of both the place memory and appreciators' memory in the design process of a place and landscape of memory and also criticizes a materialistic approach that fails to take into account the visitors' memories.

• Journal of the Regional Association of Architectural Institute of Korea
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• v.21 no.6
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• pp.119-128
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• 2019

The aim of this study is to examine the characteristics of facade expression designed by Kim. Han-sup, a key architect in the regional modern architecture movement in Gwang-ju and Jeonnam from the 1950's to 1960's. The study begins with the architectural background and thoughts of Kim. Han-sup through literature reviews and introduces an interview with Han. chong-un, a former college student and employee of Kim, which explains the aesthetic architecture that appeared in his design of facades that was reasonably applied to materials, technology, structure and function in line with the economically tough period in Korea. Furthermore, in order to investigate the characteristics of his facade expression, detailed analysis items will be derived from precedent studies. This study will attempt to conclude with statements that his aesthetic architecture can be defined as an emphasis on formative mass by contrasting between basic rectangular forms, implementation with detailed three-dimensional facade by extruding differently vertical and horizontal structural lines and with the pursuit of decoration through compartmental faces on his 12 representative architectural works.