• 한국실내디자인학회논문집
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• 제14권4호
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• pp.35-44
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• 2005

Light is the essential and symbolical entity In architecture. But the meaning of light has been changed as time has passed, and today it has plural meaning and more sophisticated role. Since 1960's 'Light and Space Art' has accomplished many successful experiments through light and space as artistic media, and they have changed the understanding of light from the electrical source to the phenomenological energy and sensual medium. And also the role of space in their works takes the more human-oriented field constituted from the coherent relationship of internal parts including human being. Light could be 'an object' and 'material' under 'Light and Space Art' artists' persistent efforts. They revealed another realm of spatial experiences such as extension-the metaphysical space, heterogeneous relationship-the complex space, and dematerialization-the illusionary space. The secondary and inclusive effects by 'Light and Space Art' can be found In the phenomenological architecture, the post-modern architecture, and the immaterial tendency of contemporary architecture. However, the more close connections between 'Light and Space Art' and the specific architectures are still left as a portion aside for the further research.

• 자연과학논문집
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• 제13권1호
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• pp.7-14
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• 2003

The Golden Ratio has played a significant role in many parts of geometry, architecture, music, art, and philosophy. This number has been the subject of numerous experiments in psychology. It also appears in the newer domains of technology and fractals, In this paper, we investigate and analyze the golden ratio which appears in art, music, and architecture.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.19-26
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• 2006

This subject is about the research of Shanghai Art Deco in the aspect of architectural decoration and seek to offers an examination and analysis of the characteristics related to the Art Deco design, which appeared and dominated the field of design from 1910s to 1904s in Shanghai. Study method is a theoretical consideration of reference and gathering data through field trip. In order to carry out this subject, this study will research following factors. First, factors related to Art Deco such as the period of origin, background, spirit, aesthetics, design characteristics. This is followed by the influence of Art Deco movement begun in 1925. Second, the background of Shanghai Art Deco architecture style was studied. Third, the case studies of Shanghai Art Deco Architecture and interior decoration were researched by the expressive factors which were divided by style, form, material and color. As a result early style had compradore style about 1900, later reactionism prevailed of 1920 affected by European Art Deco. Skyscraper style was built and architecture developed with racial characteristics. It has vertical and streamline form of typical Art Deco and strengthen geometrical motive in architectural expression. It appeared naturally and has the contrast of different material in material expression. It has effect on strong color as using highborn and brilliant color in color expression. They appeared chinese national spirit by using 'ot painting' in western oriented furniture. The purpose of such an examination is to classify, understand and validate Shanghai artistic and socio-cultural heritage in order to better appreciate the life philosophy of Shanghai and re-discover their basic roots. Though it began as a Western cultural movement, it is the purpose of this study to discover the inherent orientalism in its basic formative spirit.

• Architectural research
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• 제21권4호
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• pp.99-109
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• 2019

'Superflat' is a hugely influential contemporary art movement founded by Takashi Murakami. The concept of Superflat art is based on the notion that there exists in contemporary Japanese culture an inherent inclination for two-dimensionality devoid of perspective and hierarchy with all elements existing equally and simultaneously. The theory is defined in broad terms and asserts that this inclination for flat aesthetic has its roots in the traditional Japanese art and the development of post-war Japanese subculture. As such, Superflat as a theory possesses a capacity to engage and explain wide-ranging conditions in contemporary Japan. Taro Igarashi has made such a point and argues that the generations of leading Japanese architects practicing today possess Superflat 'tendency' for flat aesthetics and are inclined to focus on the expressive possibilities of the building's skin. While such sensibility could simply be interpreted as a stylistic trend that has emerged over the years, when examined against the characteristics of the art movement, there exist unmistakable similarities in terms of the design sensibility and techniques applied. Furthermore, the theory has become a force in how Japanese architecture is defined and understood internationally in the past decade.

• 대한조선학회논문집
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• 제52권2호
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• pp.135-142
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• 2015

The Anti-Rolling Tank(ART) has an advantage over the other roll stabilizing devices, when ship is staying and working at one site of sea. An important design point of ART is the tank tuning, that is, matching the tank natural period to the ship's roll natural period. Since the load condition and consequently the roll natural period of ship is to be changed widely, the natural period of ART also has to be changed widely. In case of the existing U-tube type ART with a single layer duct, the tank natural period can be changed in a relatively narrow range. This paper suggests a new U-tube type ART system using a double layer duct to enable wide change of ART natural period. Through the roll experiments performed in regular beam waves for a box-type model ship, it is shown that the double layer duct ART has about two times wider period range and a better reducing effect of roll magnitude than the single layer duct ART.

• 한국주거학회논문집
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• 제12권3호
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• pp.61-73
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• 2001

This study is to examine and classify the phasic characteristics of organic thoughts in modern architecture. Organic architects have applied organic thoughts to solutions for the problems of each period in architecture since modern times. As results of this study, the architecture of organic thoughts from 1850s to 1940s could be divided into two phases. The phasic characteristics of the first phase from 1850s to 1910s was physical resemblance in real or fantastic appearance that the work of art and architecture should imitate organic forms from the view of solid empiricism. The phasic characteristics of the second phase from 1920s to 1940s was organic growth that the form appropriate to a work of art and architecture should grow from the nature of the problem itself as a system in nature grows from the view of pragmatism and was organic unity that the form and function or the form and content of a work of art should be inseparably integrated as the form in nature should grow out of the inner nature of the thing and be an expression of that inner nature from the view of expressive theory.

• 교육시설
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• 제14권1호
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• pp.5-13
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• 2007

An architectural practice cannot help involving a social art as its own concept. Especially school buildings are subjected to the influence of not only the educational philosophy and the national curriculum, but also the sociocultural context with the change of the times. This study aims to explore the contemporary trends of school architecture and give new inspiration to the school design practice. After it establishes the 'contemporary' school architecture as school buildings built from the second half of the 1980's to the present time, this paper classifies them into 4 categories : popularist trend, traditional and regional tendency, revival of classicism and the pursuit of art for art's sake.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.81-88
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• 2013

Foundation Beyeler museum located near Basel, Switzerland is one of the most-visited art museum of the world. Although the entire volume of the museum is not huge, its art collection as well as the well-known museum building designed by Renzo Piano deserve to attract many visitors. The initial design was started in 1991 when the city of Basel decided to fund and support the project. Through a couple of design stages, the museum was finally opened to public in 1997. There have been various research papers dealt with general design issues of Beyeler museum such as composition of exhibition spaces, and natural lighting. However, this paper aims to study the design methods and relationship between art, architecture and nature. Although the museum building is located on the site quietly, there are various specific design solutions to create unique spatial experience of art and nature at each parts. This study focuses on 4 parts of the museum that are located on the main circulation. How art, architecture and nature are integrated together is the main target of the analysis. The analysis is based on visual-perceptual experience and spatial configuration. In chapter 2, general background of the project was studied. In chapter 3, characteristics of the site's natural environment and Piano's design concept's were examined. In chapter 4, each parts were analyzed in detail with diagrams. In chapter 5 & 6, the spatial characteristics were compared together and the fundamental role of the museum architecture was concluded.

• 대한건축학회논문집:계획계
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• 제34권2호
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• pp.95-106
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• 2018

This study aimed at revaluating Frank Gehry's freeform constructions. To this end, the study analyzed the way the space composition and circulation system of general constructions are connected with newly extended parts in the Art Gallery of Ontario and, based on this, comparatively analyzed freeform constructions before and after the art gallery, finding out what changes were made in the exterior and interior spaces of freeform constructions built after the art gallery. The results of the study are as follows. First, starting from extending the Art Gallery of Ontario, Gehry came to use glass instead of metal as main material of freeform constructions. In order to create the circulation connecting the existing building and the extended mass, Gehry applied continuing circulation for the first time to the gallery. Third, in addition to design motives, such as the woodblock print depicting a carp by Hiroshige, still life depicting a glass bottle by Morandi and the crease of the shawl in Vermeer's paintings, which Gehry applied to freeform constructions, the design motif which was recently acquired from Pyrenees rock was added. Fourth, the trend of mall construction appeared before and after the Art Gallery of Ontario. Finally, Gary used the shape of fish as a design motif for his work at an important turning point in his Freeform Architecture.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.155-162
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• 2007

The purpose of this comparative study is to analyze the characteristics of art museums of Louis I. Kahn. Kahn's main architectural thoughts of 'what it wants to be' and 'how it was done' act as a basis for this research. 'What it wants to be' means the existence of architecture and relates to the concept of 'room'. 'How it was done' shows the tectonic aspects of architecture and construction process to enhance its presence. Detailed items from these two thoughts applied to clarify the order in dynamics, the visualization of construction process, and the relationship between structure and light in the space of Kahn's art museums. Yale university art gallery was the first major project of Kahn and he showed tectonic characters through tetrahedral concrete slab. The unity of structure, space and light can be found in the Kimbell art museum through the vaulted structural unit. Yale center for British art is the best example of the concept of 'room' and 'tectonic' because it clearly shows the unity of spatial and structural system, and their relation to light. As a result, this study tries to find out that Kahn had consistently developed his thoughts of'room' and 'tectonic', and tried to keep them in his art museum designs.