• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.35-42
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• 2016

The purpose of this study is the analyze the spatial structure and housing component of the prairie style house of Frank Lloyd Wright during the Prairie Era which is between 1893-1910. The research results can be summarized as follows 1) In spite of European style influences which were fashionable at the time, Wright tried to attempt altering the space and form of his works (houses) from his unique architectural style. 2) All solid walls which are usually inside the square prairie and the cross floor plans were removed for interaction between the outside and inside spaces in a house creating an organic space. So the inside space of the house feels wider than the original space because of the available natural light. 3) Frank Lloyd Wright's early works were similar to the homes built at that time. However, as time passed, he remembered and was influenced by the Frobel's educational system blocks he played with as a child as well as the surrounding Midwestern USA prairies where he grew up. 4) The early prairie floor plan was square divided into nine equal parts which is classic floor planning. Wright, however, created his new unique architectural style. His style has developed into the prairie style and various floor plans. 5) Wright introduced a 3-dimensional architectural form of composition (cantilever, long eaves, etc.) to express symmetry and horizontal lines of the house. 6) Rather than emphasizing vertical lines in his works, Wright began emphasizing more horizontal lines like the horizontal lines of the actual prairies. This meant the surrounding environment of a house is always in nature.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.109-116
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• 2018

Prairie style houses in first stages of Frank Lloyd Wright's architecture activity pay a leading role in the process of house modernization as reflecting social and economic circumstances of the time based on traditional house style of the States. Wright's first work after retiring from L. Sullivan's office, Winslow house in 1983 is pioneering work predicting prairie house. This is because this house has only one modern architecture language of Wright and follow no style prevailing of the time. So, a researcher analyse Winslow house within the framework of functional thinking and new formative value creation in the modernization process of western house. Through this, The goal of this study is to find out modern characteristics and the meaning of Winslow house in modernization process prior to the 1900s. Firstly, the followings are modern characteristics of Winslow house. First, Winslow house has original planning breaking from custom based on modern functional and reasonable thoughts, and has practical space reflecting resident's inner demand. Second, Winslow house has modern new plastic value through original exterior breaking from custom and integrated shape of inner-outer space and structure. Secondly, the followings are the meaning of Winslow house in modernization process prior to the 1900s. First, Wright intend to suggest directions of residence modernization through Winslow house before designing Prairie style houses in earnest. Second, mixing of modern vocabulary and eclecticism show a sign of residence modernization process on the time. Third, inner-outer flowing space, opening space concept of Winslow house has innovative meanings predicting spacial characteristics of modern architecture.

• Korean Institute of Interior Design Journal
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• v.25 no.2
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• pp.163-174
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• 2016

The purpose of this study is to reveal the space composition of fireplace and common features of both Prairie and Usonian House found within Wingspread House. This house is the last and largest Prairie house and zoned house built in a Usonian period. However, this house is not an independent work, but rather Wright's evolutionary experiments of fireplace from his early works and his pursuit of Usonian ideal. This paper can be summarized as follows: 1) Living room has been transformed to allow spatial continuity towards exterior view and access and between neighboring rooms by removing doors and inglenook. At the Wingspread house Wright has introduced a freestanding fireplace in a living room with higher and prominent roof structure, therefore the space became a focal point as well as the central space of the entire house. 2) Wingspread and Coonley house have gallery space in common, but they have different settings in the living room composition. Also the living room and gallery space of Wingspread and Usonian houses have prospect and refuge principle by expansion and compression. 3) Wingspread house is a successful combination of Prairie and Usonian style to meet client's requirements in space composition and Wright's technology and economical experiments. This study is intended to reevaluate the significance of this house bridging his two great residential periods.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.45-52
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• 1995

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

• Journal of the Korean Institute of Rural Architecture
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• v.16 no.4
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• pp.83-90
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• 2014

The aim of this study is to find out the ways of community landscape design in American garden city, Logan in Northern Utah. I had been surveyed historic homes and single units to take a dig how to keep and develope a good community landscape of the city in both the Historic District and residential area, researching of documents. City of Logan surveyed contains a remarkable landscape views of various historical house styles and contemporary single units based on traditional house styles out of central street. For they have been controled by Center Street National Historic District Design Standards and Logan Land Development Code with Logan General Plan. Logan community shows today a particular identity and harmonious landscape of residential area in a view point of old and new buildings. There are three results of the study as follows: First, the types of homes in Historic District are focused on Victorian style with Prairie homes which are unique American style, the Craftman that is revised as American home style, and vernacular style. Second, the historical houses have been controled by HPC since 1978 in order to keep the original buildings and landscape architecture, and the general single units by building code of the city in General Plan. Third, it must be citizen participation design to build up a beautiful landscape that Logan has maintained a safety garden city people hope to live in.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.163-174
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• 2009

The first Chinese film maker from Korean ethnicity, Jang Ryul is also the first Korean director from Chinese background. As a diaspora himself, he crosses over two countries, trying to look through diaspora viewpoint at diaspora phenomena widely scattered in Northeast Asia. This paper is written in an effort to closely consider his story and style through 3 films, , , and . The main character in is a Korean Chinese woman, Choi Sun Hee, who sells Kimchi in outskirt of a city. is the story about the relationship between Hangai, a Mongolian man who plants trees in deserted prairie and North Korean mother and son in defection from North Korea. treats a group of characters floating around in Iri, the city that was vanished by the explosion 30 years ago. The first thing of the style of Jang Ryul building the diaspora viewpoint is time, crossing the floating space. The second one is the inversion of on-screen space and off-screen space or center and periphery. The third one is the absence of language. Given the fact that discourses about the identity of East Asia flourish these days, his movies, as the fruit of consistent attempt to search for East Asian identity within the filmmaking process, deserve more attentions.

• Lingua Humanitatis
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• v.1 no.1
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• pp.255-274
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• 2001

This paper examines the history of Korean names, focusing on the structural characteristics and the literal meanings of those for kings and ordinary people. Roughly speaking, the Korean surname system traces its source to China. Historical records show that the Chinese were already using their family names around 1000 B.C. After a millennium or so, the Korean began to follow suit. Initially, however, surnames were in regular use among kings and their kin only: it was not until the late Shilla dynasty, around A.D. 800, that the commoners began to have Heir surnames. And yet, surnames still tended to be limited to men of noble birth, until around A.D. 1000. Though the Korean surname system may be said to have its origin in Chinese, there are no lack of native surnames that have as long a history, e.g., Hae, Bak, Sok, Sol, Ul, and Ol. Typical surnames of Chinese origin that are found during the late Shilla dynasty, around A.D. 900, include Jang (as in Jang Bogo) and Choi (as in Choi Chiwon). Unlike those of Chinese origin, typical Korean names during the age of Three Nations tended to allude to nature or natural phenomena, as can be witnessed in Bit 'light,' Balgum 'bright,' Nuri 'world,' and Soidori where soi means 'steel' and dol 'stone,' Other surnames abound that have to do with river, stream, field, prairie, and so on. King Muryong's original name was Sama, a variant of som 'island,' indicating where he was born. A person skilled in archery was called Jumong or Hwalbo. Baembo was so called because he 'crawls like a snake, baem,' In these last two examples, bo, as well as its variant bu, functions as a suffix, and is also found in Cochilbu, Isabu, Babo, Nolbu, Hungbu, etc. The tradition of using this kind of native Korean names has gradually disappeared, giving place to the names of Chinese style-although very recently we see an on-going movement toward using native names.