• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.14-21
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• 2016

This article explores Changgyeongwon's spatial and cultural characteristics that were created there as the first modern urban park in Kyeongseong in the Japanese colonial era. First, in point of comparison regarding a colonial historical view, the study tried to understand the background of Changgyeongwon's establishment as well as three aspects of Changgyeongwon's characteristics as a modern urban park. The study found that; First, foreign envoys and high ranking members had visited Changgeongwon in the early opening period. This shows that this site was a park for foreign propaganda and modern display. Second, Changgyeongwon was altered as a place of enlightenment in the 1920s. This is related to the tendency of Changgyeongwon's increasing popularity around this period. More facilities and events particularly for women and children were offered at that time. Third, investigating the historical records, Changgyeongwon's cultural characters as a park are discussed. Changgyeongwon was an important place creating a modern park culture in Kyeongseong in the colonial era.

• 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 Korea Furniture Society
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• v.23 no.2
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• pp.185-194
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• 2012

Contemporary society maintains mass-product system that keeps endless cycle of making and consuming. In this vein, everyday life becomes to be under the control of function and efficiency. On the contrary, the people are getting to have a desire of escaping from this everydayness, that is, the desire for non-everydayness. British architect, Nigel Coates understood the potentiality of contemporary metropolis which produce new experiences through their heterogeneities. During 1980s, Japanese economic bubble provided rich nourishment to the desire for non-everydayness based on consumers' tastes. Nigel Coates snatched this phenomena and designed commercial spaces aligned to the non-everydayness. He shows very eloquent version of escaping sense. We can find the exquisite quality of non-everydayness through design vocabulary of object's form and arrangement. In the viewpoint of object form, Coates adopted classical statues of Greek, that is antique, and modern gadgets such as airplane wings and seats. Also, we can find abundant gestures of curvilineal contours throughout the objects he designed. As for the objects' arrangement, he introduced repetition and curved composition that can stimulate human interaction with interior scape.

• Korean Institute of Interior Design Journal
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• v.26 no.2
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• pp.55-63
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• 2017

Recent projects of Japanese architect, Ito Toyo have been evolved into innovative and experimental stages that are unique and different from other contemporary architects. Since Ito established his own office in 1971, there were several critical changes and developments in terms of architectural philosophy as well as design methods. Particularly, after Sendai Mediatheque, Ito has tended to focus on creating three-dimensional organic body in which architectural form, space, structure, facilities, images are merged all together. With this new type of three-dimensional structure, Ito aims to generate a new notion of architecture as 'living organism'. This paper tried to analyze Ito's new concept of architecture, design process of three-dimensional organic body and its ultimate characteristics and meanings. For the analysis, three projects were selected: Taichung Metropolitan Opera House(2005), Berkeley Art Museum and Pacific Film Archive(2007), The New Deichman Library in Oslo(2008). These projects clearly represent several types of three-dimensional organic body. After the comparative studies, it is found that, in Ito's design process and method, there are unique characters: ambivalent relationship between plan and three-dimensional form, aiming new/hyper reality through complicated collaboration of analogue and digital design tools, and contradictory relationship with surrounding urban context. Although there are some limitations and restrictions, ever-evolving Ito's design concept and methods are very much valid and meaningful in contemporary spatial design in various perspectives.

• Journal of the Korean housing association
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• v.24 no.6
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• pp.33-40
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• 2013

Hiroshi Hara is one of the most famous architect in the history of contemporary Japanese architecture. During the 1970's beginning with the Awazu Residence (1972), he designed a series of symmetrical houses, the so called 'Reflection House'. All the houses in this period were based on the method of 'reflection' and 'inversion', which means a radical reversal of the accepted notion that houses are parts of cities. A concept of "A house within a house" is expanded to "A city within a house". The important spatial characteristics of 'Reflection House' are main internal core and valley-like spaces forming internal urban streets by bringing natural elements and the components of streetscape such as plaza, open space, context of street facades and so on. This procedure is called as embedding 'city' into 'house', Hara mentioned. This paper investigates the outline of the 'Reflection House' and analyses the completed works of housing that were based on the theory. Then in the final part of the paper, the implications of 'Reflection House' and its influence on his later works of following period will be discussed.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.102-110
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• 2008

Construction space of Japan suggests the factor of speculation to human and reveals tradition. The speculation can be embodied in the aspect of space and human's mental aspect is expressed as a main factor of tradition space of Japan. The purpose of this study is to research expression characteristic of speculation space, shown in the architecture of modem architect, Tadao Ando, who succeeds the concept. His works surveyed through research contain the emotion of nature and human, which are traditional factors of Japan. Moreover, it is reinterpreted by modem space, delivers its function of space and physical factor to user and grants value to activity and behavior of user residing in the space. Users recognize movement, create new meaning of space and accept physical barrier in the space. In conclusion, it can be said that the space of speculation is not a simple visual thing but a frame of visual structure, which is invented for embodiment. The factors show the Japanese architecture, real and contemplating one, which is positive in real life and allows experience. Through the conditions above, the researcher can find the meaning from the aspect that modem architecture of Japan is planned on the basis of concept of speculation.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.169-179
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• 2010

Since modernization period thru Japanese colonial era the modern architect began to play a important role for Korean housing architecture. So called 'House as an Art Work', detached houses by prominent architects, belong to a meaningful sector in Korean modern housing architecture. The harmony with tradition was always big issue for such works. This study aims to understand how paradigms for tradition were interpreted with the changes of the time. The analysis showed various tryout by architects, that concretize traditional characteristics in their work. For example, traditional lifestyle were clearly reflected in the floorplan during 30's and 40's. In the 70's building mass and formative roof design were emphasized to present traditional image. As well as it represented primitive esthetic and vernacular decoration. In addition, expressive tendency, that demonstrates korean sentiment through material and its texture, got a preference. Since latter half of 80's some traditional architectural elements were modernized and space characteristics were newly created from acculturation. Furthermore the philosophy of "Subdivision of building wings and Emptiness" follows this trend. This type made a courtyard and connected articulated building masses each other. "Sympathy with Nature" were most essential for a traditional houses in contrast with western architecture. Many architects today make various method to bring nature into interior space and to contemplate nature In the house. Such kinds of adaptation to tradition could be understood as a unique process to manifest identity of Korean modern houses.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.101-107
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• 1999

In 1994, Songbuk-gu Office of Seoul held a design competition for Miarigogae-Park, Miarigogae has a special sense of place. It was a place where bararians had crossed the boundary to this country during the Manchu war of 1636. It was a public cemetery where only Koreans had been buried under the rule of Japanese imperialism. It was a place where national patriots had been kidnapped to the North during the Korean War. It's sorrows have been sung in the name of song-'Danjangeui-Miarigogae'(one of the most popular song in Korea). It's sense of place has been kept in every Korean people's mind in the form on 'non-physical image'. Even though, the site itself was a small space - only 1000㎡, the meaning of park-making was very significant. It meant that it would create a physical 'setting' to express the sense of place which has been existed only in our mind as a form of 'non-physical image'. In the winning scheme proposed by the author, the sense of place of Miarigogae was expressed in the form of 'castle walls' which could be easily come into everyone's mind as an image of war. The scope of work also included a crossing bridge and symbolic features. It was meaningful that a landscape architect won the competition including on those items which were not usually handled in pure landscape architectural offices. The purpose of this paper was to articulate the concept of the winning entry in detail and to describe how the concept actualized in reality.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Journal of Navigation and Port Research
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• v.35 no.5
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• pp.393-400
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• 2011

The residential complexes in waterfront provide the residents with pleasantness and comfort with their scenety and view in the surrounding watersides. However, it is currently true that there has little been established any designing plan utilizing the environmental characteristics of the waterfront. In this study, a survey was conducted on the residents of a Japanese waterfront. in Nishimiyahama and Lake Biwa, and conducted a comparative and analytic investigation regarding water-friendly activities, residents' consciousness of the housing environment, and reasons for the choice of residenve. From the results, we were able to obtain some suggestive points resulting from the differences of the aforementioned. We also fully comprehended that there are some issues and needs for solution for the environmental characteristics in the waterfront as well as for the damage incurred by salt breeze and insects. In addition, we realized that scenery and view toward watersides are becoming the important factors in the residents' consciousness regarding the housing environment. In case of planning housing complexes located in the waterfront, we keenly understood that "the size of a room", "ventilation", "view and daily lighting", and "securing privacy" are having effects on the residents' consciousness of their housing.