• Journal of architectural history
• /
• v.13 no.4 s.40
• /
• pp.35-54
• /
• 2004

Perception of architectural experience is different in different culture. This paper aims to identify how the experience of architecture is understood to be different in Eastern and Western culture. The discussion is based on the idea that the Western architecture placed more emphasis on visual perception, while the Eastern, on mutual responsiveness between man and built environment. The fact that the Western culture is more visually oriented than other culture, and therefore visual aspect of architecture, too, is considered to be very important, is already widely agreed among scholars. But, then, what had been considered to be important in the architectural experience in the East? It is the degree and quality of mutual responsiveness between man and architectural environment. This fact influenced much on the making of architecture of course, and the same fact played the key role in making the Eastern architecture different from that of the West. We are so used to the way of architecture of the West, that the quality of responsiveness is unknown if not forgotten. However, it is not the quality that was useful only in traditional society of the East, but necessary in our modem period as well. The quality for responsiveness, therefore, should be rediscovered and restored as the prime value and quality of architecture in the future architecture.

• Korean Institute of Interior Design Journal
• /
• v.15 no.6 s.59
• /
• pp.35-42
• /
• 2006

'Place' as the spacial concept became now key concept in the environments and architecture from the mid 20th century. The purpose of this study is to explain the placeness in Aldo Rossi's architecture according to space sequence. Aldo Rossi has attempted to apply the typological elements for the restoration of place in the cites and buildings which had ruined by modem architecture. Therefore It would be important for us to find out a method which making placeness in Aldo Rossi's architecture. Experiencing place could be examined by the method of space sequence. The experience of place is related to the experience of the human body in architecture space. The experience of place in space can make a unique placeness of architect. And, the experience of the place through the movement of the body and the vista, is the key elements of space sequence to explain the placeness in architecture. The results of this research are following. (1)Key space which related to movement of human body in Aldo Rossi's architecture make a set consisted of a goal space and the surrounding space. (2)The Arrange of Space and the formation of the boundary is more complex in the dispersed buildings than that of the single building. (3)The typological elements like a courtyard, a cylinder and the axis in the buildings made the goal space and helping people to find the orientation of human body.

• Journal of architectural history
• /
• v.15 no.4
• /
• pp.7-22
• /
• 2006

The purpose of this study is proposing a method of developing experience program for organizing continuous 'Recreating Cultural and Traditional Village'. Therefore, with having purpose of developing experience program which is deeply related with residents organization and architecture in the village, the researcher has participated in '2005 An-dong Gunjamaul Recreating Cultural and Traditional Village', accomplished developing experience program which can continuously manageable by residents and space and facilities which are accompanied with program. The results of this research are as follows. The developing process of experience program has four phases, selecting program, planning program, growing and changing program, and practicing and firmly establishing program. Moreover, the relationships between space planning and setting up a resident's organization and the experience program need to be considered. The things that experts have to consider are come up with three subjects. First, planning experience program with citizen participation. Second, designing experience program with spaces which will contain the programs. Third, developing programs which are accompanied with rediscover village's resources through continuous feedback.

• Korean Institute of Interior Design Journal
• /
• v.14 no.6 s.53
• /
• pp.193-201
• /
• 2005

In this study we analyzed and interpreted the phenomenologlcal characteristics and meanings of water space in religious architecture through field studies and phenomenologlcal approaches, focusing on the religious architecture Introducing water space in contemporary architecture. The phenomenological experience elements of the research ate light, time, place and context. As the results of this study, first, light as a phenomenological element not only induces a contrast and change between light and the shadow in architectural space and various changes of light in inner space, but also operates as an element which expresses building features outward with time. Second, time as a phenomenological perception experience makes us feel changes of the environment and physical properties and experience space visually and physically. The continuity of time shows the change of a day, night and daytime and seasons. Third, water space makes the sense of place more remarkable, connected closely with surrounding nature In outer space, and creates a new space. Fourth, water space is a contextual element which harmonizes with surrounding environment by connecting surrounding natural environment with architectural space. Fifth, water space in religious architecture is a symbolic and central element, and emphasizes the atmosphere of architectural space. In addition, it makes the people who experience water space perceive the place by triggering sensitive response.

• Journal of The Korean Digital Architecture Interior Association
• /
• v.4 no.2
• /
• pp.1-6
• /
• 2004

There are many spreading effects that never experienced before due to digital progress of the present age. Digital progress produce innovative changes now in cultural environment, architectural process, exhibition techniques, called the age of digital technology. The functional relation between 'Digital' and' Architecture' must not to be overlooked in field of cyber architecture, further more, space design, so that requests some necessary to build new paradigm for digital presentation and spatial experience.

• Journal of The Korean Digital Architecture Interior Association
• /
• v.9 no.1
• /
• pp.19-29
• /
• 2009

The architectural space is the involuntary place where man lives and experiences, and as a 3 dimensional space through the continuous experience with the concept of 4th dimension of time, it provides the observers with the dramatic space imagery These kinds of space experiences are experienced mentally and perceptively through the physical elements of inner and outer space of the architectural buildings, and this space imagery is created here by all the space composing elemensts of the building. These space experiences are caused by the changing processes of the space characteristics, and the observers perceive the changes in space characteristics. The present building is going with Eco-Architecture. When 2008 sees the building,,Eco-Architecture design which hits appears. There is a possibility of seeing 16 kind types from that place. And From here examined the spatiality which is expressed. These changing processes of inner and outer space, space versus space, and unit space, which are perceived by the observer. It's way to help in architectural design and wishes.

• Architectural research
• /
• v.13 no.1
• /
• pp.3-9
• /
• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

• Journal of the Korean Institute of Rural Architecture
• /
• v.6 no.2
• /
• pp.43-52
• /
• 2004

The function and role of museum has changed focused on the experience program and visiter's participation in this time. In Comparison with Korean museums, like this visiter's personal experience has special effects through experience programs of museum in Japan. So, I researched cases of Japan and the survey on experience museum programs should summarized three characteristics as followings implied cultural desire about museum directly or indirectly. 1. Experience programs base on the rural community, identity, and tradition. 2. Boso village museum and Tokusima experience museum harmonized with out-space and institutions, prepare various programs, exhibition, and selling of collections. 3. Through experience programs classifying into visiter's experience at first hand and expert's rehearsal according to difficulty of the job, it is sufficient about visiter's demands.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.3
• /
• pp.80-87
• /
• 1999

This paper examines the conventional notion of natural beauty and its legacy on the aesthetic experience of nature and landscape architecture in terms of critical perspective. We can take its clue for discussion from the our routine convention of experiencing natural beauty from the picture-like nature. We often equate natural beauty with superficial representations of nature shown in pictures. However, it is no more than a by-stander's nature seen purely through the eyes of the outsider. Problems of the picture-like nature can be summarized as the contemplative and visual-oriented aesthetic experience of landscape, which has had its influence not only on the ways of seeing the natural beauty but also on the ways of making it. The tradition of the picture-like nature has been transplanted into the real world through the practice of landscape architecture. It has been mass-producing superficial beauty of nature, focused on visual form. Landscape architecture in such a form is just a static means of decoration devoid of meaning and content.

• Journal of the Korean Institute of Rural Architecture
• /
• v.6 no.2
• /
• pp.53-64
• /
• 2004

The result of this study about application methods of regional heritage are important things. 1. Rural community going ahead Rural Activation Policies applied in regional heritage, have principal experience programs based on visiter's demands. 2. The programs applied regional heritage are most useful application methods of traditional-cultural experience, and following, folk-life and nature environment experience. 3. Insufficient of scheme for applying regional heritage, and specific characters and identity of rural community, is coming out the inadequate plan of community design with comparing other neighborhoods.