• 한국농촌건축학회논문집
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• 제3권2호
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• pp.1-12
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• 2001

This study is about the residential district structure of Gyeryong ceramic art village in Gyeryong ceramic art village is a residential district for potters who succeed to and develop Gyeryong ceramic art. The external appearance of Gyeryong ceramic art village seems like being fixed and simplified. The creative space is either detached or attached to a living room. The relation between inner and outer space is that is directly connected to a garden. In the characters of major spaces, the formation of a workshop is the most important part of a house. And, an exhibition equipment and an oven are connected to the workshop. According to the study, a house, which is designed without an architect's help is simple and has a different form from a house designed by an architect.

• 한국실내디자인학회논문집
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• 제17호
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• pp.80-86
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• 1998

This research is a study on the spatial organization of Korean houses designed by architects. It is focused on the characteristics and transformation of spatial organization of house designed since 1970. The variety and regularity of organization existed at the back of spatial structure of Korean houses were analyzed through typological and topographical theory. The general subject of this study is to find out the characteristics and tendency of transformation of spatial organization of houses designed by Korean architects. As a result of this study it was clarified that the spatial organization of architect's house turned its derection from the concept of 'unification and connection' to that of 'separation and segregation' It also was found that the degree of depth of room has been increased and the degree of concentration to a certain room has been decreased through the passing of time. It is because of the trend of spatial separation of rooms appeared in the architect's houses.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.3-10
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• 2012

Vilhelm Wohlert is the Danish architect who designed Louisiana Museum of Modern Art near Copenhagen. Because of Louisiana Museum's popularity, Vilhelm Wohlert's name was started to be aware since 1990s. Although he is a well-known architect in Denmark, unfortunately his name is unknown in other countries. He designed various design projects from small scale furniture design to large scale museum and public projects. There are three programmatic categories in his architecture: exhibition programs including Louisiana Museum, residential program including private houses, and public programs including churches and schools. This thesis focuses on his residential design projects. Even though he designed a multi-family houses, Wohlert's house design consists of mainly one-off large private houses located in a nice natural environment. In chapter 3, the general history of his house projects was studied. Among them, the first exhibition house for Forum was explained more deeply to show Wohlert's early house design philosophy. In chapter 4, three built house projects were analyzed in detail. Analytical diagrams were used to show the key elements in the residential space. They are program composition, circulation, spatialization elements, final construction. His buildings have been compared with Alvar Aalto, Frank Lloyd Wright, and other Scandinavian architects. But there are some major differences that make Wohlert's design unique. In chapter 5, the case analysis results were summarized together to highlight the specific design characteristics found in Wohlert's residential design process. The universal spatial quality found in his residential projects can be applied in contemporary spatial designs.

• 한국실내디자인학회논문집
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• 제13권6호
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• pp.99-106
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• 2004

The purpose of this study is to investigate the modernity characteristics of the traditional housing in Seoul 1920s to 1930s setting the criterion for analyses based on a Korean architect, Park, Kil-Ryong 'Housing improvement theory' about 'the Housing Plan of the Middle Area in Choseon'. The architect Park, Kil-Ryong expressed 'Housing Improvement Theory' positively founded on having a deep knowledge of traditional architecture. At his early working stage in 1928, he announced 'Housing Improvement Theory' about 'the Housing Plan of the Middle Area in Choseon' from the paper titled 'An Inquiry into the Housing of the Middle Area in Choseon', It is inferred that his paper quite affected the modern changes of traditional housing of those days. As the results of the study, even though the main floored room still keeps the symbolical and central position in traditional housing, the size of that is designed to be smaller than before. The room on the opposite side is generally designed widely as the scope more than 2 'KAN' and shows the features of expansion and division according to functions. By interchanging the location of the kitchen, the inner room as the main living space souths in the front of the house. The kitchen is designed as fitting size and separated from the space of working, linking, setting the table, keeping things and others. The bathroom is built in the house and then connected to the corridor. Each space is effectively planned for the best location in the house as considering lightening and ventilation.

• 한국주거학회논문집
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• 제24권6호
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• pp.33-40
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• 2013

Hiroshi Hara is one of the most famous architect in the history of contemporary Japanese architecture. During the 1970's beginning with the Awazu Residence (1972), he designed a series of symmetrical houses, the so called 'Reflection House'. All the houses in this period were based on the method of 'reflection' and 'inversion', which means a radical reversal of the accepted notion that houses are parts of cities. A concept of "A house within a house" is expanded to "A city within a house". The important spatial characteristics of 'Reflection House' are main internal core and valley-like spaces forming internal urban streets by bringing natural elements and the components of streetscape such as plaza, open space, context of street facades and so on. This procedure is called as embedding 'city' into 'house', Hara mentioned. This paper investigates the outline of the 'Reflection House' and analyses the completed works of housing that were based on the theory. Then in the final part of the paper, the implications of 'Reflection House' and its influence on his later works of following period will be discussed.

• 한국주거학회논문집
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• 제16권1호
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• pp.89-95
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• 2005

This study aims to analyze interior spatial characteristics of Korean single-family house which were designed by architects. For that purpose, plans, pictures and data of Korean single-family 113 houses which appeared in architectural publications from 1998.7 to 2002.6. were collected. The results of this study are the followings; 1) the ratio of southern-facing is higher in living room and master bedroom than in dining room and kitchen; 2) spatial elements of master bedroom are bedroom, bathroom and dressroom, those of dining room and kitchen are dining room, kitchen and multipurpose room and those of family bathroom are bathroom and restroom; 3) the living room does not located in the center of the plan; 4) the ratio of exterior door is higher in kitchen and master bedroom than in dinning room and living room; 5) stairs located in hall, corridor, livingroom etc., 6) there are void spaces in about half of houses which were collected.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.

• 건축역사연구
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• 제21권6호
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• pp.35-44
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• 2012

This paper aimed at investigating into the origin and meaning of the Japanese architect Terunobu Fujimori's 'piercing column', and drew a conclusion as follows. First, the piercing column that made its first appearance in his architect debut work Jinchokan Moriya Historical Museum (1991) was conceived unexpectedly from pencil lines on a sketch that went through over the building's roof. And the tree-like natural treatment of the column's surface was influenced by Takamasa Yoshizaka's description of a Mongolian mud-house. Second, most of piercing columns in his later works have nothing to do with a structural role as in Jinchokan, but were designed for a visual effect and as a symbolic gesture. Again, they allude to a tree in nature through a roughly peeling treatment of the surface. Third, considering his ideas in History of Humankind and Architecture (2005), his column could be related to a universal origin of architecture and a symbol of the sun-god faith, and in particular to independent columns of Japanese Shito shrines, such as 'Onbashira' in Suwa and 'Iwanebashira' in Izumo. That is to say, the Fujimori column is a medium that implies the animistic nature-faith of Japan. Nevertheless, Fujimori's naturalism hints at a disquieting quality through an intentional artificiality and a provocative conflict between structure and finish of a building, which might be one aspect of the modern condition, 'uncanny'.

• 건축역사연구
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• 제30권3호
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• pp.45-54
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• 2021

In 2020, Yi Hunwoo was discovered as one of the earliest modern architects in Korea. However, his personal life was yet mostly unknown, including the time of his death. The research team ('the team' hereafter) searched for the records of his personal life and professional career. First, his family genealogical chart revealed that he died in 1937. Having located and contacted Yi's direct descendents, the team was able to clarify his family background with the descendants' testimonies. They possess the photographs of him and his family members, including Yi's picture when he was a freshman at the Nagoya Higher Technical School in Japan. The team also identifies his birthplace and the location of his grave as Hadong, Gyeongsangnamdo, Korea. The team visited his project site in Jinju, Gyeonsangnamdo, Korea and obtained more detailed information about the Ilshin Girls' High School, which he designed in 1928. Gyohoan, the congregation records of Cheondogyo, one of the leading religions in Korea during Yi's times, confirmed that he was one of the congregation members. The field research also discovered the house he designed and built in his hometown of Hadong, probably the only surviving architectural project by him. This paper is to report the result of the research on Yi's life and career with the aim of providing materials for further studies in identifying and positioning him more properly in the early 20th century Korean architectural scene.

• Architectural research
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• 제9권2호
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• pp.11-18
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• 2007

A cabin for Mr. and Mrs. Popenoe of 1922 was designed by the eminent Los Angeles architect, Rudolph M. Schindler. It stands out as an early exemplar of Schindler's most notable work in its unique employment of compositional strategy. Unfortunately, the cabin was demolished before an in-depth research was executed. In addition, there remains no documentary record with regard to the construction process, structural details and the use of materials of the built cabin. However, a set of drawings of the house are housed in the Schindler Archive. Reworking drawings and fabricating a scale model based on the materials obtained from the Archive, this article first depicts the evolution of the design, and then, attempts to investigate underlying principles governing the spatial composition of the cabin.