• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.206-215
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• 2010

The negative memories which come from tragic events such as war, terror or various conflicts in modern cities have been threatening the mental health of city-dwellers. This thesis focuses on 'healing public space' that will help recover the life of city-dwellers who sustain various trauma. For this, the author investigated the significant memorial space through 1980-2010 from site visits, interviews, and related theses and books and then extracted necessary information from each period. This thesis aims to find the changes of the memorial concepts and visitor's reaction for last 30years. 1)1980-: Healing concept and visitor's positive response 2)1990-: Healing by emotional experience approaches to the memorial museum such as narrative approach, exhibition media using 5senses, interactive display and preserving trace, 3)early 2000-: Healing by architectural experience 4)2002-: present: Healing projects by various programs. Steady advances in memorial design for healing trauma are due to the efforts for emotional design approach to eeply move the visitors and the efforts have to be continued. The study emphasize the importance of attracting eople by experimental, emotional design contents not just by aesthetic and functional public design ideas.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.265-272
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• 2006

Traditionally exhibition design as been restricted to architectural, interior, and lighting design, but recently it has begun to overlap into environmental, performance, and installation art. Exhibition design also increasingly involves the application of film, fashion, and the new media. In the past, exhibits were arranged and displayed for the visitor to view directly, but with the development of more effective exhibit media a connection has been created between the exhibit and the visitor. However exhibition design has reached the limits of continuous growth without background theory, when now it must take Into consideration the museum's activation and the importance of the exhibition's design. Exhibition design has developed and grown rapidly since the Taejeon Expo in 1993, but it is a difficult development without a theoretical structure. The flow of exhibition design must be systemized, as the systemization of the transition process of exhibition design has not yet been achieved. This study aims to present an arrangement of exhibition design flow, and to investigate the variation factors in the transition process of exhibition design and exhibit medium development, based on the 18 year history of the Independence Hall that introduced the first systematic planning of an exhibition in 1987.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.75-82
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• 2014

The aim of this study is to review phenomenological characteristics in Alvaro Siza's works through his design intention, methods and results. As a Portuguese architect, his personal and local background as well as pursuing the essence of architecture made phenomenological characteristics of his works. The emphasis of the placeness of site and the existence of architecture has close relationship with Heidegger's concept of dwelling and the role of architecture. Although Siza has maintained white plat plane of interior space which is one of features of modern architecture, he provides dramatic and dynamic experiences of space using curved and acute angle of plane in his latter part of works. Another his phenomenological nature of buildings is a striking display of space and light which is remarkable especially in his museum designs. He made this character in adopting various shapes of double ceilings, openings and their combination with natural light which he always emphasizes. As a result, Alvaro Siza's phenomenological characteristics comes not from clear architectural or philosophical theory but from continuous practice based on pursuing the essence of architecture.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.80-87
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• 2003

Contemporary shops play an important role as a place to experience contemporary culture as well as sales and display techniques. This study is to suggest one of the prototypes of character streets consisting of characteristic shops through the analysis of the stores in the SoHo area in New York City. The study found that there are three kinds of characteristic shops preserving the cast-iron architectural environment in the SoHo area. In the first case, the interiors of the shops are partially renovated original lofts keeping decorative columns, white plaster walls and wooden floors. In the second case, the interiors are totally renovated leaving no old traces. This is achieved through wrapping columns and replacing old materials with new ones. In the third case, the interiors are renovated with the different approaches using mixed ideas and materials. The original columns exist but are transformed in this case. In the third case, shops tend to be extra large and complicated. The Prada shop in SoHo by Rem Koolaas is the best example of this case. This shop is the conceptual city, theater and avant-garde museum itself, that is, the place of experiencing contemporary culture.

• Acta Via Serica
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• v.6 no.2
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• pp.61-90
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• 2021

Recent excavations in Qinghai Province, China, have disclosed textiles and artworks from Tuyuhun-Tubo (Tibetan) tombs, dated to the 7^th-9^th centuries, that suggest artistic and cultural exchanges along an external southern branch of the main Silk Road, between Gansu and Sichuan Provinces, across the Qinghai-Tibetan plateau toward the Himalayas. Many similar textiles, possibly from this area, have appeared lately on the art market and ended in private collections. Although these textiles, dated to the early Tibetan period, follow a popular prototype established in Central Asia in the 6^th century, the technical features, colors, and other indigenous elements suggest that they were woven in workshops different from those established between Sogdiana and Gansu. The exhibition "Cultural Exchange Along the Silk Road - Masterpieces of the Tubo Period," organized by the Dunhuang Research Academy and the Pritzker Collaborative Art between July and October 2019 in Dunhuang, Gansu, was a groundbreaking event that gathered scholarly attention on early Tibetan material culture, but a relevant publication is still forthcoming. In my previous work, I briefly discussed a group of silk textiles, possibly from Qinghai or Sichuan, that I analyzed in 2014 in the China National Silk Museum in Hangzhou, Zhejiang. In light of the recent material excavated, published online, or displayed in Dunhuang, in this article, I reevaluate the data previously collected, and discuss in detail the technical and iconographic features of one of the fragments held in Hangzhou. Eventually, the piece was recognized as the ending part of a large panel, which is now in the Abegg Stiftung in Riggisberg, Switzerland.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.36-73
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• 2024

The Tomb of Jang Mui located in Bongsan-gun, Hwanghae-do Province has attracted much attention since its first investigation due to the inscribed bricks found there that have allowed the guessing of the name and official title of its occupant and construction date. Inscriptions on these bricks, such as the "Prefect of Daebang Commandery Jang Mui" and the "Mu" (戊, the fifth sign of the Chinese calendar), and "Sin" (申, the ninth sign of the Chinese zodiac), have become the basis for believing the location of the government office of Daebang Commandery to be in Bongsangun, Hwanghae-do Province rather than somewhere in the Hangang River region. From the early days of its investigation, the tomb was suggested as historic remains of the Daebang Commandery along with the Earthen Fortress in Jitap-ri. Inscribed bricks excavated from the Tomb of Jang Mui were featured in several books and articles in the form of photographs and rubbings, leading to a vast body of studies on its construction period and the characteristics of its occupant that drew upon interpretations of the inscriptions. However, the inscribed bricks themselves were not publicly available outside those held in the collection of the University of Tokyo, making it difficult to expect consistent research findings on the types of inscribed bricks and their contents. Following previous studies re-examining the structure of the tomb and the materials used for its construction, most scholars dated the Tomb of Jang Mui to 348, a period after the collapse of Daebang Commandery. However, there is still a lack of adequate examination of the bricks, which account for the majority of the artifacts excavated from the tomb. Among the bricks excavated from most brick chamber tombs, including the Tomb of Jang Mui, only those with inscriptions or designs have been collected. Moreover, among these, only those with inscriptions or designs on the stretcher faces have been documented. Accordingly, the bricks themselves have been notably understudied. This paper intends to reorganize the contents of the inscriptions on eleven types (out of sixty-one pieces) of bricks in the collection of the National Museum of Korea, which make up the majority of the bricks excavated from the Tomb of Jang Mui. It also classified them according to their shapes. Furthermore, it examined the bricks from the Tomb of Jang Mui as architectural materials by focusing on their production techniques, including their forming, drying, and firing. Taking a more specific approach, it then compared the results to other bricks from the second century through the fourth century: those from the brick chamber tombs of the Nangnang and Daebang Commanderies and those from the brick chamber tombs built after Nangnang and Daebang Commanderies were ousted. The examination of bricks from the Tomb of Jang Mui has revealed that these bricks were basically produced using the brick manufacturing techniques of Nangnang, but they incorporated new elements found in bricks from brick chamber tombs or brick-and-stone chamber tombs constructed around the mid-fourth century in terms of their size, the use of lime, and the number of inscribed bricks. This supports the prevailing view that the date of the construction of the Tomb of Jang Mui is 348. The Tomb of Jang Mui sustained the existing brick chamber tomb burial tradition, but its ceiling was finished with stone. It demonstrates a blending of the brick chamber tomb practice of the Nangnang and Daebang Commanderies by using bricks produced based on related techniques, but with new elements such as the addition of a lime layer to the bricks. This fusion reflects the political circumstances of its time, such as the expulsion of the Daebang Commandery and the advance of the Goguryeo Kingdom, leading to diverse interpretations. Given archaeological evidence such as the structure, materials, and location of the tomb, the Tomb of Jang Mui appears to be highly related to the Goguryeo Kingdom. However, the forms of the inscribed bricks and the contents of the inscriptions share similarities with brick chamber tombs constructed during the third and fourth centuries in the Jiangsu and Zhejiang regions in China. Further studies on whether the use of lime was an influence from Goguryeo or a continuation of the Daebang tradition and a comparative examination with contemporaneous stone ceiling tombs will provide a more refined understanding of the Tomb of Jang Mui.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.210-221
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• 2017

First, we can define how our body perceives the external world and embodies its senses through the philosopher Merleau - Ponty. These philosophical orientations of Merleau-Ponty also appear to urban theorists such as Jane Jacobs, Gordon Cullen, and Juhani Pallasmaa. In other words, after the Second World War, people began to pay attention to human emotions and perceptions while opposing human rational thinking. Especially, they reject the abstract space of modernism and explore the everyday city space where the local character of the area lives. This place is a space where the collective memory of the group is shared over several generations. So, in this space, people's active perceptual system works actively. In the sense of this continuity of time, their ideas intersect with the concept of urban. Specifically, Jacobs criticizes massive development and proposes the development of a small block-based city with a commonality of old and new. In addition, we argue that urban space can be a visually interesting object through the continuous visual concept of urban theorist Cullen. In particular, he rediscovers the value of traditional urban space through visual experience between architecture and urban facilities. Finally, the architectural city theorist, Pallasmaa., criticizes the visual centrality of modern cities and thinks about the value of multidisciplinary space that can be experienced in architecture. This study examines the space of reproduction in detail on the perspective of the body philosophy and urban theorists. In other words, the play space inherits the natural city time, so when our body experiences this play space, we can actively sense and perceive the various senses. So we can invoke the active external actions of our bodies. Through the analysis of the size of the reconstruction space of the architectural city, various types of body senses and responses can be. Yoon Dongju Literary Museum, which renovated the old water tank of the city, can recognize the unfamiliar sense of body in everyday life through the traces and smells of water in the past and the restrained visuality. In addition, Seonyudo Park, which regenerates the waste water purification plant, can experience a phenomenal phenomenon through water space, old concrete and traces of steel. Finally, with the most recently played Seoul Road 7017 can experience interesting urban spaces in terms of a variety of plants, a human scale space creating movement, and a continuous visual.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.94-102
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• 2000

The line of demarcation separating architecture from the art in recent years has blurred, due to the expantionist aspects between. This is a study of the direction which contemporary architecture and art are now taking. The results of the study are as follows: 1. The direction of contemporary architecture is revealed through the works of deconstructivist architects and Hans Hollein. Deconstructivist architects have incooperated abstract forms and concepts for their expression. Also Hans Hollein has brought a new aspect to architecture by combining the aura of spirituality and the use of collage. 2. The direction of contemporary art is revealed through the works of installation artists. Daniel Buren works on the interactivity between the object and the observer. Dan Graham deals with the social issues which caused by the interrelation between the eyes and the visual media. Jae-en Choi works on the actual architectural site and space capturing the spirit of what the space is for shile Jung-hwa Jung deals with the layers of perception within a particular space. Another realm coming into being is the cooperation between artists and architects. The cooperation of Holl and Acconci is expressed through their joint project Storefront Gallery. It is the development of Accocis concept of boundary and Holls methodology. Another example of this realm is revealed through the Fish Gallery of the Guggenheim Museum Bilbao. Gehry was introduced to the nature of material by Serra and Serra learned of new ways of viewing the existence of space between materials from Gehry. These new relationships between contemporary architecture and art are reciprocal in nature are indicators of a dynamic and new changing cooperation now emerging.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.165-172
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• 2010

Recently, the recognition is changing about cultural heritage, and the various types of buildings or facilities of modern or contemporary times have been designated as cultural properties after that Registered Cultural Properties System is enforced. The purpose of this study is to survey how the newly born the historic buildings of modern or contemporary times through the remodeling process of the Studio 'Byeol'(the Training Center for Performers of Korean Traditional Music) in the National Theater of Korea so-called a microcosm of performing arts history. In the process, it will examine the merits and demerits of various alternatives and the direction of the remodeling etc., and propose an utilization as a basic data of post evaluation for the remodeling of a historic building. The result are as followings. Firstly, the remodeling that gave a new physical properties to a building can be used a method of conservation and reuse on a historic building. The remodeling of a historic building must be eclectically progress between the owner and the citizen or the economic value and the historicity conservation. And, the remodeling of historic buildings such as the Training Center for Performers of Korean Traditional Music must consider the conservation of the exterior walls in whole or in part at least. Secondly, an architect Lee Hee Tae(李喜泰) who had been to develop his own architectural vocabulary and to test based on the korean traditional architecture and the Training Center for Performers of Korean Traditional Music must be newly evaluated today. Lastly, the remodeling alternatives of the Training Center for Performers of Korean Traditional Music have been analyzed with three types, which is 'repairing only the interior which maintains the size and an appearance of present', 'extending the outer wall to the external column line', 'extending the basement'. And, it was analyzed with the appropriate final decision that it remodels only the interior in the current situation because of a historicity, a budget, a relevant law etc.