• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.132-142
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• 2013

An event as philosophical thought is expanded throughout our society and affected largely an architectural field as well as aesthetics. Paying attention to this fact, this study is to relate the event to an architectural space and to find an interrelationship between them. Since Martin Heidegger who started to be regarded the event as a subject of thought, many philosophers revealed different thoughts about it. Architecture works of Louis I. Kahn, Peter Zumthor, Steven Holl, Bernard Tschumi, Rem Koolhaas who had the influences from the thoughts of Martin Heidegger, M. Merleau-Ponty, Jacques Derrida, Gilles Deleuze, are analyzed and compared their features. The reason why this relationship has become the subject of research is because the event can be confirmed to be connected with an architectural thoughts by correlating with aesthetic texts. Throughout this study, each architect, who is affected from philosophers, has different characters as they have different thoughts about events. This study is expected to be used as an literature data of intertextuality of philosophy and architecture.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.35-42
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• 2007

Common residential environment is synthetic forms promote with organic organization of varied cultures and images. Users perceive and classify about these environments of feeling and atmosphere of each elements through their experiences and memories, not fixed point of view. In Korea, park designing of common residential room is in operation monotonously attach importance to economical efficiency without aesthetic structures, varied tries of materials, multiplicity, congruity of surrounding, and user-oriented plan. Recently, in policy of park designing has elements that obstruct to characteristic of environment because of applied to wrong guidelines which are end in investigation to model of an advanced countries'. In conclusion, this investigation shows improve on quality of park planning with the pivot of the matter is for users of common residential room. and park planning needs to multidimensional achieve.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.29-34
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• 2007

Purpose of this paper is find the similarity and dissimilarity of Korean, Chinese and Japanese traditional furnitures for storage. Also this paper tries to have a comparative analysis on life style, characteristics of housing space and furniture's form of three countries. The study can be summarized as follows. First, space scale and seat levels of three countries are related to furniture's height and form, so that Chinese furniture have over scale than human, and Japanese furniture have the type of box for stacking. Second, the way of heating and materials of floors are concerned with the type of furniture's legs. Third, even if these dissimilarities, the aesthetic characteristics of three countries furniture would be a data base for making design identity of East Asian modern housing furniture.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.140-143
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• 2004

The move from steel tubes to bent wood and the 'laboratory experiments' with wood which Aalto carried out in order to create furniture gave him vital impulses as he sought and found his own architecture style in the 1930s. Like his architecture Aalto's chair designs represent a 'humanized' interpretation of the severe aesthetic and radical technological experimentation of the Modern Movement. The purpose of this study is to find what is the result of the form of his works on the basis of main idea and tend of his works, to search the element and principle of formal composition, to establish the relation-ship between the architect's philosophy and the form of his works. Aalto's furniture, constructed of laminate bent wood or moulded plywood, is not only functionalistic, but also ideal for the psychological need of the people, which is the special quality that complements the Factionalism that features mostly on the metal tube furniture. It shows that Aalto is a humanist dealing with mechanized age.

• Journal of the Korean Institute of Rural Architecture
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• v.2 no.3
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• pp.25-36
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• 2000

The purpose of this study is to understand and explain the traditional housing-culture in South East Asia, focused on the traditional Malay houses. The research objectives are : 1) to obtain informations related to the traditional Malay houses in West Malaysia. 2) to survey the traditional Malay houses in the selected area. 3) to understand their characteristics. It is expected that the traditional Malay houses were a major focal point of traditional Malay village society. The Malay houses provided the basic needs of shelter to the villagers. They were designed and built by villagers themselves, thus, manifestation of the creative and aesthetic skills of the community. Further, these houses reflect those factors including climate, geographical features, history of the region.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.91-98
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• 1985

^x This study is an attempt to present the possibility of environmental aesthetics and its characteristic form in Korea. This paper investigated the concept of art as a traditional theory of aesthetics through R.G. Collingwood and present- day analytic philosophers who had been influenced by the ordinary language philosophers in 1950s. Accordingly, the study focused on the institutional theory of art which was developed in reaction to M. Weitz′s views. The institutional theory of art concentrates attention on the nonexhibited characteristics that works of art have An virtue of being embedded in an institutional matrix which may be called "the artworld"and argues that these characteristics are essential and defining. Taking this position, the paper examined the relation between environment and art as aesthetic object because it would be one of the ways to find tole possibility and foundation of environmental aesthetics. Furthermore, these works will be the basis to create our proper landscape or ′our own environment′as a significant and a mental cultural landscape.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.32-38
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• 2004

As for the green space construction of the modern parks, landscape design is not only for the aesthetics but its also to promote the spiritual connotation. The appearing of the exemplary type of ecological landscape reflects landscape architects have developed realization and wishes to improve the deteriorating environment and put them into practice. This paper introduces the basic intension of the exemplary type of ecological landscape, and discusses the relative background and ecological aesthetic foundation of the exemplary ecological landscape which appeared under the crisis of urban environment; lists the modern landscape designers practices of the exemplary ecological landscape; studies the developing trend of this practice which becomes multifold along with the reformation of city.

• Journal of architectural history
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• v.29 no.6
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• pp.7-18
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• 2020

The domestic of modern architectural remodeling method emphasizes simple aesthetic elements, and the correct design and construction methods are not established based on quantitative grounds, thus damaging the value of cultural properties. This study attempts to re-examine the value of modern buildings recognized as old buildings. It is a basic step to present the correct remodeling of the building. The design criteria for exterior wall remodeling of modern buildings were presented. These research results are suitable for energy conservation design standards and can prevent defects in buildings. In the future, more accurate analysis will be required by securing physical property values for various domestic materials through subsequent research.

• Journal of architectural history
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• v.20 no.4
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• pp.45-60
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• 2011

The purpose of this paper is to research Gunnar Asplund's Woodland Chapel (1918-20) in terms of the revernacularization of classicism and to investigate into the matter of the constructional logic. The term 'revernacularization of classicism' was used by Alan Colquhoun to explain the process to return to the pure sources of classical architecture, and the case of a successful fusion of classicism and vernacular traditions was suggested by Demetri Porphyrios through Scandinavian Doricist sensibility in the early 20th century. Porphyrios's classicism, not as style but as sensibility, is premised on a constructional logic of vernacular, and is to achieve an aesthetic quality by its mythical elaboration. Woodland Chapel, a representative of the Scandinavian Doricism according to him, illustrates characteristics of the revernacularized classicism as in the fact that it thickly displays vernacular images at the same time as relying on classicism; in the return to primitive simplicity; and in the mythopoeic power. However, the constructional logic of this building was obscured in the capital of the portico columns, the interior dome, and the whole structure of the roof. Confronting this paradox, we have to remember that although Porphyrios emphasized the constructional logic he opened an aesthetic exit of the mythical elaboration, which is in accord with the concept of the tectonic as the poetics of construction. Woodland Chapel assumes atectonic features but is never anti-tectonic. Asplund intensified a poetic effect by setting the myth over construction in the chapel, and so it can be seen as a key example of the revernacularized classicism with the Doricist sensibility.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.