• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.133-140
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• 2005

Jacques Derrida, a leading theorist of the post-structuralism, has explicated how the material reality is subordinated to the ideality of form, by noticing the platonic concept, 'chora', which implicates the spatiality as the matrix and also by actualizing its essential meaning as the femininity. On the basis of the idea of the platonic 'chora', the Derridian deconstructive spatiality and its feminist oriented enlargement of Grosz this study is purposed to elucidate the architectural idea of Zaha Hadid that is located in the similar horizon with the deconstructionism. On the one hand it is focused on the explication of the new concept of space, which is dealt with the deconstruction of the traditional concept of space, on the other on the inference of the feminity of the originally understood spatiality. With this inference it is finally intended to reexamine the foundation of the discussion for the architectural space that must be ahead of the discussion for the difference between the masculine and the feminine space. If it is fundamentally and manifoldly executed, not only the architectural paradigm will enter into an renewed phase, but also the various ways toward the new direction of the architecture be explored.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.197-205
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• 2010

This study examines for the processes of making a architectural significant issue of 20 cases form of Beijjng's hotel through analyzing the space composition from early the 1950's to 1992 in China. In the methods of analyzing process, We study the literatures, research reports and architectural drawings including the site survey. We hope to establish the principle in morphological characteristics and space composition of Beijing's high-rise hotels through analyzing the plan of these hotels. Finally, We find out the principles after researching. Firstly, Beijing's hotels in China faced on the being difficulties through the process of national development especially in political and economical conditions of country and peoples. Consequently, size of the Beijing's hotel developed with the fact that is complicated from that is single styles focused on the medium-sized one, modernizing popularity and the high-rise hotel buildings appeared plentifully and the form appeared with tall building putting first. Secondly, there are many immanent and interlocking styles in hotel's architectural block plans, many composition styles in big sized hotels, in opposition immanent styles in small sized ones and there are many trend of concourse style in medium sized hotels. To the layout of hotel's room inside of the linear styles are many in big and medium sized hotels.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.45-52
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• 2019

The most ordinary form of residential type in Korea is a plate-type apartment, and the common space in these apartment is attracting as an important factor for enhancing social exchanges among neighbors and forming community consciousness. In addition, it provides a sense of psychological security by enabling natural exchanges and communication in contemporary society. It is desirable to plan the flow of space in such a way that private, semi-private, semi-public, and public spaces are linked. Semi-private and semi-public spaces can be defined as common spaces. Semi-private spaces are strongly recognized in the order of unit household entrance, main entrance, elevator, corridor, staircase, playground, bench, trail, walkway and parking lot, exercise space, main/back gate, the ability to gratify is increased sense of belonging, ownership consciousness formation, defensive function. Semi-public space is strongly recognized in the order of playground, bench, exercise space, trail, main entrance, walkway and parking lot, unit household entrance, main/back gate, corridor, staircase, elevator, the ability to gratify is increase of social contact, Secondary activity space function. In addition, the function to gratify in the common space differs according to gender and age group among resident characteristics, and differs according to corridor type, parking lot type and main entrance type. Therefore, differentiated planning of common space is needed in consideration of these differences in the design of common space in future.

• Journal of architectural history
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• v.13 no.3
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• pp.97-117
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• 2004

The tradition of architecture in the East and the West are different in many ways. One of the basic cause of such difference, however, is the different ways of perception of space and time. This paper aims to identify the attitude of perception of space and time in the cultures of the East and the West, and its influence on architecture. Degrees of importance placed on either space or time, as well as the modes of perception of space and time are discussed in relation to architecture. Basically, the architecture of the West seems to be more spatially oriented than the East, and this have much to do with the fact that the tradition of Western architecture is visually oriented. On the other hand, East Asian architecture have been more conscious on bodily feeling and its movement in architecture. Spatial units of traditional Eastern architecture, are arranged in such a way in which man can experience the change of space that is supposed to be organized to form a sequential message. Thus, in the East, temporal dimension is more deliberately included in the course of architectural experience compared to the cases of the West. Although it is not easy to attempt any kind of value judgment on such aspects, it is necessary to understand how the different perception of space and time influenced architectural outcome, especially when one wants to understand the cultural cause that have made the architectures of the East and the West very different. Such understanding is particularly important in East Asia where their future of architecture depends much on how they harmonize the Eastern and Western background which are already built up as two cultural structure in their consciousness to be able to create more desirable architecture for themselves.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.112-116
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• 2003

The aim of this study is to extract the design vocabulary of flexibility from analyzing Steven Holl' architectural works. For this purpose, the four works were selected and the design elements like their concepts, elevations, plans, furnitures, lights, materials, and colors were analyzed. The results of this study are as follows ; First, flexible design method is shown in adaptable space planning by using system of hinged panel and multi-functional furniture of various form. Second, Windows were made a plan of the geometric partition of surface and with clear materials for expanding space to outside. Third, the changing of level and the using of the phenomenological elements like a light color, water, and materials were applied for enhancing the image of the flexible space.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.21-28
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• 2010

This study is purposed to understand the spacial usage of the furniture in detail for interior architecture. Many documents have prescribed the spacial furniture at random. While modernist have been interested in the spacial usage of the furniture, the importance of the spacial furniture stands out in architectural space. Since long ago, a great deal of effort has been put into creating a relational harmony between the space and furniture. The villa, the weekend home of the Savoye family, was built between 1928 and 1931. Particularly, the villa Savoye was focused for this study. Le Corbusier viewed desks and case pieces for storage as architecture, and the unite furniture and architecture by developing cabinets in standard modules that could be painted either the wall color to become part of the wall or in contrasting colors to stand out as furniture. Spacial furniture was used architecturally in the interior as well, it gives the space an unexpected playfulness with the color of the finishing materials. The various usage of the Spacial furniture constitute an element of great architectural richness. They have a unique principle based on emotional order and make the man move to another space and experience the spacial connection. In particular, the furniture that was considered by Corbuisier have rational function, division of the space, leaning the structure, and so on. The furniture as the element of the space composition can change the architectural space and view as well as connecting each other. Spacial furniture appear as physical ones called wall, floor, column, and existential value as a living space.

• Journal of the Korean housing association
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• v.17 no.2
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• pp.143-150
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• 2006

In this Study, it was investigated what the critical elements of the Architectural Review by the Seoul Building Design Committee were. The critical elements selected by the members of committee were systematically analyzed. They were based on the 169 cases reviewed by the Building Design Committee. The committee consists of Professors, famous architects, architectural experts and official members. Thus, the critical elements selected by the committee can be regarded as the important criteria for the forthcoming architectural reviewing process. The critical elements selected by 960 members of the committee were classified by the frequency. The results in this study showed that the critical elements were ordered as follows: (1)floor plan, (2)landscape gardening, (3)form, (4)open space, (5)structure, (6)plan for preventing disasters, (7)circulation for men and cars, (8)facilities, (9)parking, (10)revision of drawings and documents. These criteria of the architectural evaluation established by the Seoul Building Design Committee can be applied to the fundamental preparation of the architectural review.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.39-47
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• 2004

In modem days when architectural materials have grave impacts on overall design expression, materials for architecture, especially finishing materials have become the most essential elements for the design expression, as architectural space and form have been. This study closely verifies the concept of tensity analyzed in preceding studies by quantifying it through experimentation and questionnaire, and suggests possible alternatives which verified concept of tensity applies into the architectural design. It was examined how architects consider the finishing materials through a questionnaire. With a questionnaire, the possibility of quantificative analysis for tensity is evaluated by SPSS program. Moreover, a questionnaire about the social image that the architectural finishing materials have was also conducted. This questionnaire results In the actual methods to apply quantificated psychological tensity and social images into the architectural design and recommends better plan to select finishing materials for each spacial function and usage, Due to the great influence of social images in design expression, the application mechanism of the tensity should follow the general and individual principles together. With the tensity figure and application of social images we can find more resonable method for material selection.