• Journal of the Korean housing association
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• v.17 no.1
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• pp.37-45
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• 2006

The purpose of this study is to explore the spacial boundary in Kazuyo Sejima's housing architecture, to give attention to contemporary housing architecture that we inhabit, and to escape from existing architectural concepts. This study seeks to the meaning and possibility of the spacial boundary on the basis of contemporary architecture. The spacial boundary can be studied in the aspect of architectural space that molds human experience and perception. As a result of this study, three properties in the spacial boundary are revealed. One property of the spacial boundary is soft that protect privacy from gaze of exterior. Another property is that communication that changes according to material of boundary and its experience of observer. The other property is to have uncertainty by compound of programs and material-mixing senses including its perception. This results means that the spacial boundary as interface which is represent our everyday life in the contemporary housing architecture.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.28-35
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• 2007

This study aims to analyze the projects of Rem Koolhaas and Kazuyo Sejima in terms of program organization and spatialization methods. Diagrammatic methods are frequently used in their design process and are articulated in the graphical presentations in many publications to explain their projects. Even though diagrammatic methods can be used in diverse ways, Koolhaas and Sejima tend to use them to systematically organize the given programs in their specific ways. Furthermore this organization generate spatialization process in which the final building form is flexibly derived from the process itself. After the detailed studies for each architectsquot concepts, design process, and several unique characteristics that have vital roles to construct their ideas into real building were found. This research has a couple of steps to critically analyze the spatialization process: Conceptual Background, Circulation Organization, Structural Method and Furniture. After the examination based on these elements, similarity and difference between two architects are discussed in the conclusion. Ultimately it has been found that there are unique design development processes in each architectquots projects even though they tend to apply somewhat similar program-based spatialization process. It has originated not only from the each architectquots personal view of architecture, but also from the cultural backgrounds. It is hoped that this sort of comparative study would generate more diverse discussions in program-based design process as well as clear application of any related methods.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.32-39
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• 2007

The Program from modern architecture is an indispensable condition which must put in all buildings today and it is a relationship setting of a various functions. According to changing society consequently, a complicated form and program in modem appear again. Through this background from, we intend to observe the meaning which the program is having in the construction in this manuscript. Sejima is the architecture who try to use variously special formation of the program. Specially, we are planning to research the quality which his program is haying form Sejima's architecture and how it is reflected ill this construction. Resultantly, each program which appears from Sejima's architecture makes a gap space and irregular arrangement. The characters of the space which is put each through the gap don't have a deceptive plan each other and they are compounded. Also, each character to have their territories is intersected and putting out of the various features in the program coat. First, form of the maze plane, Intersecting each territory. Second, forming the territory as fitting their act oneself in the space where can be existing. Third, having more interest in the event that happens inside than existence problem of thing.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.62-70
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• 2005

Basically, modern architect's translation of relations between architectural space and human beings is focused upon the space and the way the space is experienced. Thus, the architecture is construed not as the finalized and fixed structure but as something undetermined and In progress. Here, we can identify the similarity between current trend and theory on process. Experience argument in this study is based upon such a similarity. And for your understanding of the spatial concept broached in the following experience argument, I've presented the analysis of Ben van Berkel's and Kazuyo Sejima's works that represent user's experiences in discussing art works. Taking a step further, I'll try to provide the true definition of being in progress and the potential of the architecture, thereby seeking the value and meaning of trends in modern architecture. In this regard, this study is aimed to analyze the attributes of experiences in progress identified in the art works of Ben van Berkel and Kazuyo Sejima and to extract and analyze the architectural concepts therein.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3220-3230
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• 2014

This paper analyzes the house designs of Kazuyo Sejima and Ryue Nishizawa from the 1900s to the early 2000s' works. By analyzing the degree of space integration of each house using the Convex Map of the Space Syntax Theory, this study arrived at the following conclusions in the respects of private space and public space. First, from period 1 (the 1990s) to period 2 (the first half of the 2000s), the differences between average integration values of private space and public space in their works have decreased. Over time, in general, average integration values of private space have increased, and, on the other hand, those of public space have decreased, leading to smaller differences between two sets of values, which means that, as the integration degrees of private and public spaces have become similar, the boundary which divides spaces becomes blurry. Second, in terms of private space, average integration values of private space in S-3 (House in a Plum Grove) and S-4 (House in China), works of period 2, are the highest among those values of their all 10 works. We can identify that, closure degrees of private space in their works have fallen over time. Third, in terms of public space, average integration values of I-2 (Villa in the Forest), I-5 (S-House), and I-6 (Weekend House), works of period 1, are the highest among those values of their all 10 works. Public space has become more central and open from period 1 to period 2.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.39-47
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• 2013

The purpose of this study is to search for values and meanings of everydayness as a design concept by organizing concepts of 'everydayness' shown in contemporary architecture and systematically describing its characteristics through various analysis methods. 'Eerydayness' shown in contemporary architecture is defined and the criteria of case study are suggested, so that characteristics of everyday can be identified by systematically classifying and analyzing the Japanese cases in order to find the values and meanings of everydayness. The findings of this study are as follows: first, materials that show users' everydayness has indefinite potential as an element of architecture concept, and they play the role of communication and sympathy between architecture and users; second, implementation of everydayness leads to design emergence; third, everydayness can be widely applied to architecture; fourth, everydayness can be implemented regardless of architecture uses. In conclusion, the value of everydayness in contemporary architecture is that it draws user-based diverse and fresh architectural expressions that lead to opulent designs. To users, everydayness improves satisfaction of life gained from architecture and provides rich life environment because it changed common human life to a form of art.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.12-19
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• 2005

In contemporary society, Labyrinth and maze are used with the same meaning. They are also used by translating various meanings. But labyrinth and maze are exactly different meaning. The purpose of this study is to inquire about difference for understanding essential meaning between labyrinth and maze. First of all, this study is to grasp composition principles and the characteristics of space through example of labyrinth and maze from ancient to contemporary, prescribe about essential meaning between labyrinth and maze and examine contemporary architecture which is fit for essential meaning. As compositional Principle in labyrinth and maze applied to comtemporary architecture, the labyrinth are centrality, property of one-sideness, determinable space, on the contrary the maze are out of centrality, property of multi-sideness, indeterminable space. Finally, The aim of this paper is analyze exhibition space that suit to the characteristics of composition principle and find the characteristics in labyrinth and maze. Examples of exhibition space are Aldo Van Eyck's 'Sculpture Pavilion', Kazuyo Sejima's '21st Century Museum of Contemporary Art', Ben van berkel's'Museum Het Valkhof'. These research we studied the visitor's circulation and the architectural structure in exhibition space with the spatial characteristics and the compositional principle in labyrinth and maze.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.8
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• pp.735-744
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• 2016

This study attempted quantitative analysis by space syntax on the plan of a non-hierarchical arrangement, which selected SANAA's work after Almere Stadt Theater, and analyzed the difference in the quantitative value of the non-hierarchical arrangement in plan that appears externally. The analysis results were as follows. First, SANAA's spaces with a non-hierarchical arrangement plan that appears externally showed a definite quantitative value difference, and had a hierarchical space difference in the plan that does not appear externally. Second, the spaces with a high integration value also had a high connectivity value, which is indicated by increasing the number of space openings using the method of giving hierarchy to the non-hierarchical arrangement plan or adjusting the size of the room or location to grant hidden hierarchy. Third, SANAA used exterior corridor rather than interior corridor in grid-type plan to solve the accessibility problem, and the open coat spaces between rooms provide natural lighting and ventilation and are used as equipment that controls the hidden hierarchy of space at the same time.