• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2008.11a
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• pp.397-402
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• 2008

For the past years, Korean Housing policy have been focused on quantity rather then quality, when they provide housing. Focusing great quantity on housing led monolithic and standardized house forms in limited area. Most of our traditional residental environment, which made Koreans to communicate with neighbors, disappeared from the result of providing great quantity on housing. However, the increase of the income and standard of living, changed people's view. People start to demand for the place which is commodious and comfortable to live. Moreover, more leisure time caused people to communicate with their neighbors. To meet the demands of new forms of housing, they started to provide a community space to increase sense of belonging and community spirit for the residents in apartment house. The forms of past house which is defined by uniformity is delivered from rational thoughts. People can get emotional satisfaction from Community space because it provides opportunity of communicating and increase community spirit. This research is to classify the emotional expression in Community space and analyze the elements that is expressed in community space of apartment house.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• Archives of design research
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• v.18 no.4 s.62
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• pp.297-302
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• 2005

A house in the traditional Korean living had a shape without shape containing all the acts, emotions, and reason of a human being and was an integrated whole creating a life by involving in all the diverse acts. In this vein, a good house for the Asian people should emotion to make the residents healthy rather than comfortable and have its own life constantly changing, exercising, and creating and circulating ch'i(氣). This study presents a house design plan with the focus on the circulation of ch'i(氣) in order to create a space for a healthy body and free spirit. By approaching ch'i from the two aspects of spirit and body, the ways were examined to make a house be full of ch'i and breathe itself as if it were alive along with humans. And the case of Jungam's design process was illustrated.

• Cross-Cultural Studies
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• v.47
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• pp.291-312
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• 2017

This paper examines how 'house' is meaningful in Chi Li's novel. Chi Li focuses on the house as a symbol of status, and the house as a place of gender performance. First, as a sign that symbolizes an individual's identity, 'house' is divided into intellectual and petit bourgeois, and constitutes binarism into civilization/non-civilization, knowledge/non-knowledge, spirit/anti-spirit and superior/inferior. In recognizing the irrationality and unfairness behind house symbolizing intellectual and petit bourgeois, Chi Li shatters the boundaries of the binaralized house as a sign of identity. Second, it dismantles the house as a place where gender is (re)produced. This is accomplished through two aspects. One is to re-define a private area house as a public area in which economic activity occurs. The house, as a public area in which economic activity occurs, becomes a place where women are reborn as economic entities. Passive, dependent femininity is reconstructed as independent and subjective. The other dismantles the definition of the house which is identified with masculinity. The house identified with masculinity is a place that symbolizes the socio-economic capacity of men. According to the socio-economic ability of males, the house is a place symbolizing the realization of masculinity, and it becomes a place to fix the gender order while reproducing masculinity. It may become a place to experience the weakening or defamation of masculinity. At that moment, the house becomes a place where the gender order of masculinity and femininity is overturned. Through this, Chi Li reconstructed, and in a sense revolutionized the definition of the house as a place where traditional gender is (re) produced by dismantling the definition of fixed femininity or masculinity.

• Journal of Physiology & Pathology in Korean Medicine
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• v.19 no.6
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• pp.1483-1490
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• 2005

This study was written in order to help understanding of visible diagnosis of appearance(形). Visible diagnosis of appearance(形) is a very important factor of diagnosis and a first step of visible diagnosis. appearance(形) is closely connection with spirit(神), so is house of spirit(神). If we make a visible diagnosis of appearance(形), we know the prosperousness of energy and the relative seriousness of an illness. Spirit(神) is understood by appearances and movements of patient, and influenced by seasons, lands, human's relationship and the grade of age. By visible diagnosis of appearance(形), we can conclude existence or nonexistence of spirit(神), As comparing spirit(神) with appearance(形), we can decide good or bad prognoses. One man's own appearance(形) is determined by the five human type(五形人). There are very various points of changing form. As divided into principal groups, there are three main groups, that is, sky(天), earth(地) and man(人). The age and sex belong 治 the factor of sky(天), a direction and configuration of the ground(地形) belong to the factor of earth(地), the five human type(五形人) and white fatness(肥白) and black emaciation(黑瘦) belong to the factor of man(人).

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.43-55
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• 2001

Living spaces are the results of social environment and also the reflection of the viewpoints by their residents toward human culture and society. Therefore, in studying living spaces, the true essence of the spaces could be easily distorted when cultural and symbolic motives and values are disregarded and only their apparent characteristics are looked into. Hence, it's necessary to simultaneously understand both physical dwelling spaces from architecture's view points and social ideas, simultaneously, of people who form and interact with the spaces. Hence, this paper tries to study housing religion which is one of shamanistic religions which, in turn, have been the fundamental element of ancient religions and came into existence on the basis of dwelling spaces. This study presumes that house religion may have been permeated with its creators' ideas about living and those ideas could be one of those factors which plays a role in organizing of dwelling spaces. As such, with these prior analyses, this thesis attempts to understand the meaning of various dwelling spaces via the characteristics and functionalities of various house spirits which are mentioned in a local house religion and also will find out spatial harmony of Korean traditional living spaces by way of corelations among living spaces, people, and personalized house spirits. Almost all traditional Korean houses have assigned a house spirit to their individual dwelling space. This means a traditional house was considered as a scared space in a secular world called human society and the space was actually intended to protect sacredness of dwelling places from earthliness outside. So when the hierarchy of house spirits in housing religion is projected to a Korean traditional house, it can be shown that a dwelling house as a building was personified to a respectable human status. In other words, it can be concluded that each space was synonymous with a dwelling place for each house spirit and was considered a sacred godly place. In a nutshell, not only each space in a Korean traditional house was a physical and functional space, but also it formed a scared spatial place along with the concept of house spirits intending to ward off disasters and enjoy a comfortable life through those religious symbols and meanings. Housing shamanistic religion which has long been existing with residents and their lives is seeped with the viewpoints of the residents toward life, and hence understanding the meanings and organization of Korean traditional housing can reveal commonly practiced principles of spatial organization of the traditional houses. Therefore an analysis of Korean traditional housing on the basis of humanistic social ideas will help learn Korea's traditional houses which need to be understood in various methods.

• Journal of architectural history
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• v.23 no.4
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• pp.7-17
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• 2014

This paper aims at researching the cave concept of the Japanese architect Terunobu Fujimori and the result could be summarised as follows. First, a cave is Fujimori's only theme related to the interior space. He set some design guidelines for practice concerning openings of the wall and finishing materials of the interior, following the two major characteristics of a cave: 'comfortability' and 'homogeneity in material'. And 'fire' was also the premise in the cave as a 'spirit' of the space. Second, Fujimori applied the concrete guidelines to Tanpopo House (1994~95), which had in fact borne the ideas. Yakisugi House (2005~07) that took the cave as its design theme showed the transition of his cave concept, from closedness to openness. Third, though his cave concept might deserve the criticism that it is inclined to 'image' rather than 'essence', it illustrates that he seeks after an archetype of human dwelling before the purity of the original space was tarnished with rationality and abstraction. And the cave idea allows the seemingly contradictory 'sachlich' and 'surrealistic' features to coexist. Summing up, Fujimori's cave concept proves that his architecture is a rejection of the Cartesian modernist ideal and the contemporary architects' desire for dematerialisation. In a fundamental level, however, it is a result of his strategic choice induced by his own primary principle that his building must not be similar to any styles in history or any other architects' works in the world.

• Journal of the Korean housing association
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• v.26 no.5
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• pp.97-104
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• 2015

This paper aims to discuss the concept of resilience in floating housing, to investigate the resilient features of floating houses & to review the possibility of floating housing as a new form of resilient living, and to suggest some reference ideas for the planning and design of floating housing projects. Resilient features of the floating house can be summarized as the buoyant characteristics for natural disasters, the easy employment & potential use of renewable and nearly self-sufficient energy systems in locations subject to limited energy sources, the movability, mobility, long life, water recycle system, prefabrication and modular construction with the potential for reduced environmental impact. Additional benefits include the potential for a peaceful and comfortable atmosphere due to direct connections with nature, good relationship with neighbors, a solid social spirit of unity, and sense of security. Considering the resilient features of floating house at a time of serious climate change requires a new paradigm, and floating/amphibious/floatable housing has great possibility as a new form of resilient living.

• Journal of the Korean housing association
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• v.3 no.2
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• pp.75-88
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• 1992

The purpose of this study is to analyze the relations between the conditions of the flaws and the types of damage according to the characteristics of housing, and then to provide with some basic data for the construction of houses of good quality. The effective analytic data for this research are 558 of all 700 questionnaires gathered through distribution collection and personal interviews conducted from June 22, 1992 Through to July 6, towards the first occupants in apartment houses, tenement houses, multidetached houses, multifamily houses and detached houses that last 10 years after construction, located in Seoul and Kyungki-Do. Our major findings are as under:1) Our data reveal that the ratio of flaw occurrence by general type breaks down into noise 53.7%, crack 39.3%, dew condensation 36.9%, windows and doors 36.6%, structure and frame 35.3%, built-in materials 33.3%, the inferiority of equipments/facilities 29.0%, ill drainage 22.0%, and the leakage of water 19.3% average number of flaw occurrence, multi detached house is the highest as 13.7, apartment house 10.5, tenement house 10.5, detached house 10.51 and multifamily house 8.7.3) As regards the degree of flaw occurrence, the flaw of noise is as serious in the degree of occurence as it is high in the ratio of occurrence. Particularly, the following contrastive phenomena are found: multidetached house is normal (2.0) in the degree of occurrence but it is high in the ratio of occurrence: while multifamily house is 2.9 in the degree of occurrence but it is low in the ratio of occurrence.4) In view of the relations between the types of flaws and those of damage, the flaw type which significantly influences on the injury of spirit and health is built-in materials; the flaw types that have considerable effect on the damage of house and home life are the inferiority of equipments/facilities, due condensation, and inferior windows and doors; and the flaw types that have a bad influence over the reliance on the constructors are the inferiority of equipments/facilities, due condensation and built-in materials.