• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.4
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• pp.113-121
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• 2020

The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

• Journal of architectural history
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• v.7 no.1 s.14
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• pp.49-66
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• 1998

The purpose of this study is to connect the technics and form from ancient to Korea Dynast But in these period there is no buildings remains but paintings, fine arts, and stupas. In the historical materials there are many architectural form and signature revealings, so as a result these analysis, 1)The building showed in paintings of Silla, and Korea Dynasty reflect the architectural style their own Dynasty. 2)In detail, the architecture of Silla and Korea Dynasy was connected with Chinese architectur Liao, Song. But from the 8Century Koreans were succeeded the one of Silla Dynasty and had originility in architectural style. 3)The architectursl style in Silla and Korea Dynasty were very various and very rich content. And we must more serious study of historical materials so that we improve the ancient a middle age of architcture in Korea.

• Journal of the Korea Institute of Building Construction
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• v.19 no.5
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• pp.449-456
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• 2019

Recent developments in architectural technologies and programs have enabled architects to think creatively and design free-form architecture. however, there are many problems in the production technology of FCP(Free-Form Concrete Panel). In particular, reduced accuracy due to lack of free-form panel production technology can lead to redesign of buildings as a result, problems such as an increase in construction cost and period. Therefore, this experiment aimed to compensate the decrease of the accuracy according to the displacement difference and to derive the proper mixing ratio for maintaining the shape during the free-form panel curing. In this study, molds were made using paraffin that is a recyclable phase change material. Concrete Panel is usually produced from Portland cement, dead burn magnesia, phosphate, borax and fine aggregate. In this study, four mixing ratios of FCP were selected after each material was blended to determine the proper blending ratio of the fluidity phase, the water absorption rate and the water content of the test piece. FCP was fabricated on the basis of the selected four compounding ratios and thickness and error rate were measured. Based on the error rate of the measured FCP, the quality standard was satisfied among the four compounding ratios.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.222-226
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• 2007

Buildings form interior space when part of an external environment is limited by a physical surface. And, the interior space forms an appearance of building when space-defining elements, such as floor, wall, and roof. An appearance or a form of building has a lot of meanings depending on the physical and psychological conditions, as well as symbolism. Especially, the prevailing meaning of form in the modern age was, "Form follows function," was quite different from the meaning of form in the architectural era of Louis I. Kahn, who asserted "Form always supercedes function," when functional modernism was still existed even after some 50 years later. Existing studies on Louis I. Kahn usually analyzed his architectural terminology and philosophical concepts of Centrality, Light, Order, Form, and Design; or they were focused on an overall plane and the principle of composition. The purposes of this study are: (1) to investigate how the formal composition characteristics of building are expressed on skylights; and (2) to demonstrate that the formal composition characteristics of skylights plays an important role in constructing a whole structure of building in relation with other architectural elements.

• International Journal of Concrete Structures and Materials
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• v.9 no.1
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• pp.21-33
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• 2015

This study aimed to present a reinforced concrete block system that reduces the flange thickness of the existing form block used in new buildings and optimizes the web form, and can thus capable of being used in the seismic retrofit of new and existing buildings. By conducting a compression test and finite element analysis based on the block and grouted concrete strength, it attempted to determine the compression capacity of the form block that can be used in new construction and seismic retrofit. As a result, the comparison of the strength equation from Architectural Institute of Japan to the prism compression test showed that the mortar coefficient of 0.55 was suitable instead of 0.75 recommended in the equation. The stress-strain relation of the block was proposed as a bi-linear model based on the compression test result of the single form block. Using the proposed model, finite element analysis was conducted on the prism specimens, and it was shown that the proposed model predicted the compression behavior of the form block appropriately.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.61-70
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• 2011

Based on the trend of architectural lighting of residential building, this study is to examine architectural lighting for residential buildings, and deduce the value and significance of architectural lighting by analyzing architectural lighting and characteristics of residential building through the analysis of works according to the types of works and by analyzing discourse relating to works of architectural lighting of residential building. First, architectural lighting for residential buildings can be categorized according to continuity and extensibility, lighting method and lighting factor. Second, architectural lighting of residential building has come into play since 2000 due to diversified activities at home. Third, architectural lighting had been introduced for living room and used in the form of structure or foundation up until early 2000s, but since mid 2000s, it has been used in intellectual and abstract form using various shapes, finishing material or objects. Fourth characteristic is a space of changing functions overcoming limited space, suggesting an alternative space, and using finishing material and object.

• Architectural research
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• v.15 no.2
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• pp.87-94
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• 2013

Throughout the history of architecture, sometimes the main focus of design was determined by a particular visual representation method, and other times a particular form of visual representation method was required by perception of a particular architectural issue or an architectural form or idea. That is why the visual representation method of architects becomes an important means of reading the flow of idea and thinking behind architecture. This study is an investigation on the relation between architectural thinking and visual representation method expressed through the conceptual drawings by avant-garde architects of the 1970s and 80s, a period of the emergence of postmodernism. Rather than proving the objective reality regarded important by traditional architectural drawing, attempts are made to express the design concept in which the project has its base. Such interpretation and explanation regarding the concept become the main interest of the drawing. It is not that the architecture itself was not expressed in the contents, but it may not be the main subject of expression in the drawing. The value of architectural drawing recovers its value as an art work in itself, as a means of communication, and as an important conceptual tool in the design process. It can be seen that the visual representation method in postmodern architectural drawings is breaking free of the traditional objective depiction of matter and is changing and developing as a design tool of the architect.

• Journal of Korean Association for Spatial Structures
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• v.21 no.3
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• pp.9-14
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• 2021

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.14-23
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• 2011

The purpose of this study is to analyse the inclinations and expressions in contemporary architecture. Specially, we call this tendency and architectural movements as architectural metamorphosis. Metamorphosis in architecture present the core of the change of Forms and spirits in a change of outward shape and terrestrial identity. As in Ovid's extended dramatic poem of change and transformation, Metamorphoses, all Souls are deathless, and migrates from one form to another. Like these stories in Metamorphoses, Ovid tells the soul never dies, but leaps one form to anther, and can take any shape. So the architectural form, transformation and deformation in contemporary architecture means architectural sensations and cognitions can even approach the soul of form and shape under the transformation. The expressions and design strategies of metamorphosis in comtemporary architecture reveal continuous and sequential formations of space, linear structure with force and vector, rhythmical wavement and folding surface, lively wiggly flows of volumns and objects, and so on. Such qualities came from the periodical needs; separation of structure and surface, poly-surfacial movement, poly-sensual expression and experience, dematerialization and the dematerialized space, formless of non-formal architecture, digital architecture. Architecture of Metamorphosis is the ways and the needs of our period to overcome the static limits prohibits the liberal thoughts, to find the ways toward the opportunities and diversities and to unlock the imaginaire of the contemporary architecture.

• KIEAE Journal
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• v.16 no.1
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• pp.121-130
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• 2016

Purpose: This paper is an attempt to explicate the principle of space and form-making in Le Corbusier's architecture from the viewpoint of integrating and relating architecture with the natural landscape. It shows thereby how the geometrical element of architecture and the non-geometrical element of the nature coexist in terms of form. It also explains how space is deployed for the construction of cognitive system between natural landscape and architectural scenery in terms of space, hoping to make a contribution to design method of contemporary house as an elementary datum. Method: Three issues are studied, focusing on the designs around nineteenth thirties in the earliest phase of Le Corbusier: How architectural form and nature is related, how natural greens is introduced into urbanism, and how natural landscape is introduced to house design. 1) it is studied how the relation between the nature and the formal elements of purism in Le Corbusier's architecture is formed. 2) it is studied how the relation between the nature and architecture proposed in Le Corbusier's urbanism is formed. 3) Le Corbusier's "four compositions" is analyzed in terms of relation-formation between architectural space and the nature. 4) it is studied how the natural landscape is introduced to Le Corbusier's house-design in the form of architectural promenade. Result: It has been found out that the natural landscape in Le Corbusier's architecture is not just a simple background, but a necessary element for the consummation of form and space in his architecture, and that architectural inspiration is maximized with coexistence with nature.