• 건축역사연구
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• 제31권3호
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• pp.17-30
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• 2022

Jangchungdan is located at the skirt of Namsan near Namsomundongcheon, so the buildings are arranged with many podiums. The steps for people to go up and down such podiums are placed around the buildings. The Western-style constructional methods and materials introduced by the opening of ports were used for a variety of Jangchungdan buildings with differentiated levels of podiums, for Jangchungdan memorial ceremonies, and other building materials were also installed along with the changes in clothes and lifestyles. Although Dansa was constructed in the Chinese style, it reflected the shrine plane used in Joseon Dynasty, which in turn is thought to reflect Gubonsincham, the basic concept of Gwangmu Reform, as in the case of Jangchungdan memorial ceremonies.

• 한국조경학회지
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• 제26권2호
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• pp.1-14
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• 1998

The purpose of this study is to find out how the urban landscape of Korea, especially Seoul, changed during the last half century since 1945. The modernization of Korea, which had begun in 1960's after the chaotic period caused by Korean War, influenced the rapid growth of cities and the radical changes of its structures. But the Western-minded planning theories based on rationalism and positivism was directly applied in developing our traditional cities and consequently the modern urban landscape including urban pattern, architectural style, and commercial and residential landscape revealed disharmony, discrepancy and inconsistency in skylines, streetscape and so on. The findings are summarized as follows. 1. Because the urban structure and pattern changed in undesirable manner in terms of land use and traffic circulation, cities as a whole resulted in exclusive and heterogeneous landscape, and citizens lost their identity and felt alienated. 2. Because the architectural forms of important and monumental buildings which influenced the character of streetscape were not so successful in inventing contemporary Korean Style in true sense, we still have difficulty in creating the urban landscape of originality and legibility. 3. Because from the beginning of this era almost all highrise buildings were designed by modernism-oriented western architects, the commercial landscape of central cities did not evoke a sense of place, and after the introduction of postmodernism this tendency is ore striking even in everyday ordinary streetscape. 4. The newly formed residential landscape which was mainly composed of highly dense and highrise apartment, not only evolved very overwhelming and ugly visual impact but also exposed many social problems in living condition, neighboring and face-to-face contact. In conclusion, in ordr to define the 'Koreanness' of our urban landscape, we have to struggle to combine traditional architectural heritage and native townscape with Western shape, thought and theory, no matter how difficult it may be.

• International Journal of Human Ecology
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• 제7권1호
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• pp.1-12
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• 2006

The numerous changes made during the Japanese colonial rule became the basis of the current housing in Korea. Therefore, in order to understand the modern Korean housing, it is essential to understand what the Korean traditional life styles admitted or changed, and how the foreign culture of that time influenced the Korean housing under the Japanese colonial rule. Content analysis through literature review was utilized for the study, and specific sources were research papers, books, magazines, newspapers, and novels. The period during the Japanese invasion was the most active era of modernization in the Korean history. For the housing culture, especially, it can be considered as the most significant period that accepted new housing cultures that replaced the old traditional housing. The Japanese and the Western styles of housing were introduced, new materials and collective production methods were used, and the symbol of the current urban housing in Korea, multi-family dwelling, was constructed. In conclusion, the Koreans did not directly use the Japanese and western housing culture, which were constructed during the Japanese colonial period. They were adapted and altered into Korean style, and eventually, produced various eclectic housing styles.

• 한국실내디자인학회논문집
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• 제17호
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• 한국전통조경학회지
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• 제41권3호
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• pp.59-66
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• 2023

본 연구는 근대 시기 일본풍 정원의 확립과정을 인물과 작품의 공간구성과 공간구성요소, 재료 등을 통해 살펴보고 우리 정원의 정체성 구현을 위한 자료로 삼고자 하였다. 그 결과는 다음과 같다. 첫째, 한국성이 수용하고 있는 인자를 한일 근대 시기 정원문화에 대입한 결과, 장소성, 현재성, 주체성에 있어 모두 차이를 보인다. 이는 근대 시기 한국에는 문화적인 단절이 있었던 반면, 일본은 비교적 온전한 문화 계승이 이루어졌다는 점에서 차이가 나타난 것으로 볼 수 있다. 둘째, 근대 시기 이전의 일본의 정원문화는 문화적인 단절 없이 일본 전역의 각기 각층에 보급되고 지속해서 발전해왔다. 근대 시기 메이지 정부는 문명개화 정책을 추진해 유럽과 미국의 선진문명 도입을 주도하여 서양식 건축법이 유행하게 되었다. 급속한 서양문화의 도입은 전통적인 일본문화가 잊히는 결과를 초래했다. 영국의 건축가 조시 콘더(Josiah Condor)는 일본인 건축가를 지도(1879)하고 정원의 화실, 일본정원의 전통적 디자인 등을 설계에 도입하였다. 메이지부터 다이쇼 시대에 교토지역에서 활동했던 오가와 지헤에(小川 治兵衛)의 정원양식은 일본의 전통문화를 지키고자 했던 정·재계 유력자들에게 받아들여졌고 각종 법령의 마련 등으로 보호 제도도 갖춰졌다. 셋째, 일본 근대정원의 정원가, 일본적인 구성요소, 재료, 요소와 일본풍을 중심으로 분석한 결과, 야마가타 아리토모(山縣 有朋), 오가와 지헤에(小川 治兵衛), 시게모리 미레에(重森 三玲) 등이 일본풍을 정원에 계승한 대표적 정원가이며, 공간구성의 특징으로 대지천(大池泉) 정원조성과 자연주의적 차경 수법의 도입, 물의 흐름을 도입하는 것이 특징적으로 나타났다. 일본풍 정원 구성요소의 특징은 잔디 활용, 곡선의 원로, 자연스러운 향토적 식재수종으로의 변화라고 할 수 있다. 넷째, 사례 대상지의 일본풍 인자를 분석한 결과, 공간구성의 개별 요소별로 특히 유수(흐름)의 활용이 47.06%의 비율로 가장 높게 나타났으며, 대지천과 자연주의적 차경도 확인되었다. 잔디의 식재와 곡선 원로의 도입은 각각 65.88%, 78.82% 비율로 나타났다. 수종 변화는 28.24%로 잔디의 식재나 곡선 원로의 적용보다는 비교적 적은 건수가 확인되었다. 다섯째, 우리는 근대 시기의 정원들을 확대 발굴하여 정원의 조성자나 소유주, 공간의 구성, 공간의 구성요소, 재료 등을 세부적으로 기록하고 우리나라 정원의 정체성을 찾는 데도 유용하게 활용해야 한다. 본 연구는 일본의 근대 시기 일본풍의 확립과정을 인물과 사례 정원을 통해 분석한 결과를 토대로 연구를 진행하였으나 보다 다수의 사례와 구체적인 기법의 분류 등 세부적인 연구를 진행하지 못한 것을 연구의 한계로 두고 차후 과제로 삼고자 한다.

• 한국융합학회논문지
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• 제8권4호
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• pp.159-165
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• 2017

본 연구의 목적은 1930 40년대의 한국영상자료에 대한 분석을 통하여 당시의 도시풍경을 고찰하는 것이다. 이는 시각 매체인 영화가 당대의 도시 경관과 인간 행위를 필연적으로 반영한다는 점을 전제로 진행되었다. 분석을 위해 1934년부터 1944년까지에 해당하는 8편의 조선 영상작품들이 선정되었으며, 영화 속에서 도시의 풍경은 크게 2가지의 특징으로 나타났다. 첫째, 근대적 건축물과 속도감의 교통수단으로 이루어진 거리 경관이 의도적으로 비추어졌는데, 이는 근대화의 빠른 물결 속에 놓인 경성을 시각적으로 표현한 것이다. 둘째, 도시의 아파트, 양옥, 백화점, 카페, 호텔 등 서구적인 분위기의 건축 공간들이 조명되었는데, 이는 소수 상류층의 생활상과 새로운 서구문화를 간접적으로나마 경험하고자 했던 대중들의 호기심을 충족시키기 위한 영화적 해결책이었다.

• 건축역사연구
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• 제20권1호
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• 조형예술학연구
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• 제7권
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.74-82
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• 2004

Urbanization created by modernization and industrialization has brought tremendous growth of hotel demand with city ' development such as population’s centralization, living environment changes, consumption emphasis, and internationalization. Moreover, the hotel industry has been developed in two ways. First, it has been diversified and popularized by hotel culture. Second, the hotel industry has been upgraded form focusing oh its specific targets. In the view of Hotel design, Hotel was shown as a social and cultural value. Customer can experience the space, not normal big sizes, but being new and reflecting trends regardless of any purposes or locations. The hotels that were resulted in development of American economy and construction since the 1980 had new design concepts. These hotels were one of the examples showing pluralism requiring on modern society. In the case of Korea, Korean Architect Company have built in copying or repacked western hotel without considering Korean local conditions. Korean company just tried to make large scales, high-story buildings, and chain hotels. Nevertheless, it is the current trend to understand the customer's sensitivity and viewpoint by introducing a new style of hotel management that requires variety and different characteristics of hotel design. Therefore, the purpose of this study presents a direction of the future hotel architecture by analyzing design characters of domestic and international hotels, by collecting various consumer's requests.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.109-114
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• 2006

The world has become one united world so that it is worthless to divide it into two; the East and West. In the 20th century, eastern perspectives proliferated in western science involving theology, philosophy and psychotherapy. In this time of various trends of ideas emerged minimalism, artistic and cultural current seeking simplicity and conciseness. This current of idea appeared about the time of World War II in visual art, and then expanded to other fields like music, architecture, fashion and philosophy in diverse forms. Minimalism is also presented in interior space with extreme form of simplicity and detail, revealing parts of the space as delicate and pure style with emphasis on purity of the space itself. In this research, demonstrate clear features of eastern view of space appeared in minimalism of interior design mainly in America. The reason the scope of study is limited to America is that America is the origin of minimal art and has been hub of modern design since the 1930s. The research, first, finds out the origin and conceptual idea of minimalism and features of eastern view of space. Based on this understanding, further study has been carried to discover relation of minimalistic interior space to eastern view of space and to analyze eastern characteristic expressed in minimalistic space by examination of cases pertaining to commercial space.