• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.111-118
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• 2010

The Buddhist reliquaries of these 6 Reliquaries(松林寺, 感恩寺, 法門寺, 慶山寺, 唐招提寺, 法隆寺 玉蟲廚子), when compared with those of China, Japan and Korea in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa, Kam-Eun-Sa, Famensi, Qingshansi, Toshodaiji, and the Horyuji Tamamushi Zushi, the most important ones in this research, were in the precious tent and the inner and outer Coffins shapes having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• Architectural research
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• v.2 no.1
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• pp.7-15
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• 2000

A bubble diagram is understood as a graphic medium which bridges program and plan in architectural design process. The role of a bubble diagram is either to generate or to explain a plan in relation to its program. Despite the explicit role of a bubble diagram in architectural design process, what a bubble diagram indicates exactly is very ambiguous. Here I attempt to reveal the nature of the bubble diagram more sharply. My main argument is that the ambiguity of a bubble diagram results from the fact that it is used to range two different types of representational formats. Reviewing the theories of shape recognition and shape representations in vision science, I will also argue that the procedural description of architectural design process should be criticized and that the focus of design method research has to be shifted into the representational format of form description in architectural design process.

• Journal of the Korean housing association
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• v.3 no.1
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• pp.35-46
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• 1992

The purpose of this study is to find out the architectural device for two places to be perceived as having distinct characteristics from each other. A residence of Yi Dynasty is selected as the object appropriate for this purpose and analyzed accordingly. The result of the analysis can be presented on two demensionis one is that of the concrete form and the other is that of the abstract meaning generated by the form. It is meaningless to employ the form of the architecture of the past in today's architecture. The language of the architecture of the past must be reinterpreted into that of tody. This means understanding and expressing the meaning of the architecture of the past, using the form and materials available today. Without limiting its scope to figuring out "the architectural device for giving destinction" on the formal demension. this study tries to clarify the meaning generated by the form, on which its significance can be said to lie.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.15-23
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• 2009

Chaos theory, qualitative study of unstable aperiodic behavior in deterministic nonlinear dynamical systems, is dominant paradigm in the twenty first century. Fractal geometry, as an expressed form of chaos, now influences many areas such as architecture, art, music, economics, literature, etc. The purpose of this study is to analyze fractal geometry and fractal formative elements in architectural design. There are scaling, superimposition, distortion, deformation and repetition in the fractal form generator that can be applied to design concept and process in architecture. This study shows fractal geometry can be the architectural form creation method. Fractal geometry similar to nature's patterned order can be provided endless possibilities for design analysis and methodology in architecture. Therefore the further study of fractal geometry should progress synthetically through the basis of the study.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.3-13
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• 2014

Typology in Contemporary Architecture wants to escape from the classical typology that has the problems about specific program of structuralism, typical repeatation of customary form. As visible and non-visible things are appeared in contemporary architecture through the analysis of the inner system involving development process of changing itself, typology of contemporary is utilized at a tool of form generation in the process of architect. And it notes that the structural properties of the building system. The form of contemporary architecture has the new connecting strucure not reduced to existing ones. It carries out generative access as a device in order to solve the complexity of society. From this perspective, we analyze the process of projects of contemporary architects that can be typological strategy not representation of post geometric form but a tool of form generation in architectural process. As a result, we can find four characteristics of typology as a tool of form generation; 'interference and mix of program', 'continous slabs', 'rearrangement through relationship setting', 'transformation of multi-layers'. These are expanding to the process that reflect history and context or infer from morphology. Therefore, typology as architectural process of form generation overcomes morphological typology of classical typology and suggests that the different architectural approach having potential possibility.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.97-105
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• 2012

Winsborough Hall built by Martin L. Winehart who was the missionary of the Presbyterian Church of America in 1927 was built by Mrs. Winsborough's birthday contribution. Winsborough Hall was clearly divided into the original form built in 1927 and remodelled form by extension. Most of walls were constructed with several kinds of bricks for both sides and opening in the original form and remodelled form. Each room divided by inner wall was kept with original form because it is difficult to remodel it on the characteristics of building. But, it was confirmed through the related literatures that security of opening at some rooms and annexation of rooms through removal of the wall on the 2nd floor which was relatively easy to transform wall compared to the first floor were made. Variability of the wall affected the truss structure of roof and it created rare double truss structure. Architectural value of Winsborough Hall was in its first architectural trial using red brick in Gwangju region since 1920s. It suggested that it was differential architectural trial from Korean-Western mixed building constructed by the missionaries from 1940 to 1910 and buildings made of gray bricks prevailed from 1911 to 1920 and it showed the advancement in the architectural structure and materials.

• Lingua Humanitatis
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• v.1 no.2
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• pp.107-121
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• 2001

This paper examines the way in which the idea of language has been introduced in architectural discourse since the late 1960s. The paper reviews the works of Robert Venturi, Charles Jencks, Peter Eisenman, Alan Colquhoun, and Mario Gandelsonas, which explore the analogy between linguistic and architectural form. All of the writers above are responsive to each other's theoretical positions, sometimes implicitly and sometimes explicitly. A system of signs can be approached by asking how the lexicon and syntax are proportioned. The same question may be posed to architecture: can architecture be understood as a lexicon or as a relational structure, such as language is\ulcorner Two perspectives are presented by architectural theorists. The first advocated by Venturi and Jencks posit architectural form as a problem of signs. The problem with this perspective is that, it reduces architecture into popularized iconography in favor of the representational aspects of architectural form. The second perspective, developed by Eisenman, explores the possibility of finding new formal constructs in the abstract relationship of formal properties. Eisenman's theory, however, has its own problems for, in highlighting syntactic structure, it minimizes the distinction between the perceptual and the pragmatic dimensions. Yet both perspectives address crucial problems of contemporary architecture and expand architectural discourse into the broader realm of humanistic studies.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2002.11a
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• pp.85-88
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• 2002

Architectural space consists of the interior and the exterior. The layout and form of architectural space has a great variety of characters by region and culture. In other words, it can be understood which has a priority between the interior and the exterior in developing the layout and the form of architectural space. Belonging to the culture area of Chinese characters with Korea, Japan has maintained its own identity. It has an identity in the layout and form of architectural space as well. Therefore, the architecture and architectural theories of the two countries were compared and analyzed with priority given to the traditional architecture extending to the contemporary architecture, also the backgrounds of architecture and architectural theories of two countries were examined in this study. This study shows that each country has different characters in how to introduce nature, how to expand space and how to compose windows, including the view of nature and the cult of space. As a result, the space in Korean architecture has relatively the exterior-oriented character but in Japan architecture spatial character is interior-oriented. The interior-oriented character can be relevant to the word ‘reduction’ and the exterior-oriented character to ‘extension’ after all. Also it can be thought that each character has a great relation with climate and idea of people in power

• Journal of architectural history
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• v.14 no.3 s.43
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• pp.89-102
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• 2005

Frank Lloyd Wright and Mies van der Rohe are two of the most influential architects in modern architecture. In spite of the different values in their architectural lives, the design of high-rise building had been a continuous matter of primary concern for them. The purpose of this study is to compare the architectural characteristics of the two master architects in terms of building form, structure, function, and envelop skin. glass. Both of them shared with the principle of organic architecture even in the design of high-rise buildings. However, the specific approaches to realize it in high-rise buildings are significantly different. Although they emphasized the integration of building form and structure, Wright regarded the reinforced concrete structure as an organic form-giver, while Mies introduced the steel skeleton structure only as an efficient and flexible building frame. As primary finishing materials for high-rise buildings, glass was used for functional purpose by Wright, but for visual purpose by Mies.