• 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.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.168-176
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• 2005

This study is a understanding on technological specific expression to reflect of a research institute in modern architecture. For this study, it separately reduce space program, plan program, design elements of elevation, structural system, mechanical system, building material program to its expressional elements of research institute. Also, it's arranged about a specificity that is expressed for technology each plan elements of a research institute. As a result, elements what is expressive of technology on research institute are influenced an aesthetic expression, expression of an arrangement system, structural expression, expression of architectural organization, and it influences more getting feels technological specificity expressed an aesthetic, structural system, architectural composition, mechanical distribution system in order of their magnitude. This is offered suggestion what must be an achievable complex both a simply technological expression and aesthetic expression.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.117-128
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• 2002

This paper aims at proposing constructional intention and aesthetic consciousness in the architecture of Jajang-temple, which was originally built by the great monk, Jajang in 7c. The results are as follows : 1) The layout and form of buildings in Jajang-temple were remarkably followed the situations and shapes of natural rocks related to Gumwa legend about the original establishment of the temple. 2) As natural rocks were penetrated into both the inner and outer space of buildings and so artificial skills were more or less restrained, it seems to be short of geometrical regularity, symmetry and formal integrity. 3) However it can be said that these architectural treatments were based on the aesthetic consciousness, so called In-Cha and Jol-Bak, which were conceived by intellectual elites in Chosun dynasty.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• 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.

• KIEAE Journal
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• v.6 no.3
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• pp.49-56
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• 2006

The roof among the outer surfaces of buildings is an optimum place to install PV since it is the best favorable part in the building to be exposed to day light. Especially, in case of module of BIPV for Roof, it should have essentially the functions of both electricity generation and roof-finish as a construction material. The followings are the results of the study which has analyzed the architectural conditions and applications thereof at the job site. -The aesthetic function of BIPV module is very important because the roof, mostly located at the top of the buildings, is easily recognized and affects outer interior design of the building a lot. -The heat proof of BIPV for Roof could affect the energy consumption through the roof having a wide area. -For architectural condition to the weather, the roof has to ensure the stability of the weather, humidity proof, and airtightness to the wind respectively. -For architectural condition of the structure, endurance by physical power such as stability of both combining and fixing and transfer of load should be ensured. -For residents protection, it has also architectural functions to secure for the space and shield ozone, UV and noxious substances. -Through its practical applications, It is already confirmed that there are various types of BIPV modules overseas and its application has been proved successfully.

• 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 Digital Architecture Interior Association
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• v.3 no.2
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• pp.20-29
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• 2003

It is an obstacle to improve living environments that an acute angle architectural design is often seen. Though that design give a stress to the neighborhood, we can't prevent the design taking place. We must control architectural design, because it is important to public worth and urban aesthetic. To prevent selfish architectural design, it is recommend to extend design review and reflect neighborhood opinions.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• Journal of architectural history
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• v.12 no.4 s.36
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.