• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.2
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• pp.93-104
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• 2019

Minimal art, which began to flourish in the mid-1960s, explores perceptual situations caused by the involvement of objects in given site contexts. This has led to the mentions of minimal art as a site-specific art, but its limitations have also been pointed out. This study specifically addresses the limitations of minimal art as a site-specific art with two perceptual points of view. First, according to Michael Fried, situations described as 'now here' focus largely on the bodily experiences of a place. However, they do not rooted in specific time and space of a certain place. Second, the unique characteristics of a certain place are excluded from the perception of the body which occupies the passage of time. Self-sufficient algorithm, which is far from site-specific conditions, is the autonomous system creating the period in the way of arrangement of objects. In addition, Minimal art regards a body only as the objectivity excluding the subjectivity which is essential creating meaning in a place. In the latter part of the article, these features are dealt with through Donald Judd's works. This study on site-specificity also provides a new perspective on the discussion of Minimal architecture and Minimal landscape.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.1-8
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• 2009

The study performed literature survey and research on the actual condition of cultural facilities for planning a reasonal architectural plan of being prearranged Gwangcheon cultural art center erection at the old central district of Gwangcheon-Eup(town) in Hongseong-Gun(County), Chuncheongnam-Do(province). It was verified that the law and regulations related with cultural art facilities did not make clear statement of the concept of cultural art center and classified it as a public performing place of a kind of performance facilities. The types of cultual facilities could be classified as performance facilities, libraries, regional cultural welfare facilities, cultural promotion and instruction facilities and they were studied respectively. The main functions of cultural art center was studied with art enjoyment function and art creation function. Through the research on the actual condition of cultural facilities, it was found that there were 12 cultural welfare facilities in Hongseong-Gun(county) however there was no cultural facilities in Gwangcheon-Eup(town) except 1 libraries. So the building of Gwangchoen cultural art center is needed. The location Propriety analysis is conducted and proved appropriated. On the basis of the above studies, the direction of planning, conception of Plan and facilities program were conceived and finally the architectural plans were proposed.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.3 s.110
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• pp.43-55
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• 2005

Since 1990s, increasing number of public arts have been installed in housing projects in Korea. Most of them were made of granite, bronze and stainless steel and were sculptures as well. Then it resulted in monotony. New technology and community need various Dials in material and genre of Public art. The author wonders if people really want granite sculpture, so started the study of public arts in housing projects. Unfortunately most of people related public art wanted granite sculpture. But there were some hope in survey. They wanted the other genre and material like ceramic wall, art fountain and landmark tower. This means that they care about real world like vandalism and Product Liability, but also want more fantastic and beautiful world in the second step. Recently, the facades of apartments are changing rapidly as more diverse materials in their forms, textures, and colors. And landscape designs are changing their clothes in every second as well. According to these flows public arts in apartments needs more diversified trial within genres and materials to avoid monotonous outdoor.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.52-59
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• 2006

The study is intended to clarify the ideologies and principles applied to the formative expression of church architecture which is contained both the God and human. Iconography as the relation between described target and the meaning as meaning analysis especially emphasized since the religious reason in religious art. Iconography is the area of discussing rules and habits and involved in the pieces of transition from the piece of experience obtained by sensing to the one of the ethical structure. N. L. Prak who apply meaning theory of E. Panofsky who distinguish between iconography and iconology clear relation of mental foundation which characteristics of shape of art and its concretion in architecture categorized the shape of meaning in three steps. Among them, conscious symbol and unconscious symbol correspond to iconography and iconology of Panofsky respectively. The symbol is mainly showed in religious architecture and is not related to simple practical architecture. Such symbol system can be important discussion objects in modern church architecture and necessary expressional system for expressional characteristics.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.121-129
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• 1998

It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.128-135
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• 2012

The purpose of this study is to investigate and analyze the compositional elements of plan of art museums by selecting architectural works, which have strong symbolic meaning when evaluating value, from architectural works by Louis Kahn. First, the centrality of artworks, which are being displayed at the Yale Art Gallery, is complex. It includes three patterns of Void (spatial) Centrality+Symbolic Centrality+Functional Centrality among the five patterns suggested in this study. Second, the ratio system of interior space, which is expressed in the extension of the Yale Art Gallery, can be classified into the floor and walls. The floor used the square 1:1 ratio system. The ceiling used the grid patterns of equilateral triangles (regular tetrahedrons). It was applying a geometric ratio system when creating forms by using one side as a beam and the other sides as decorations of the ceiling. Third, the contours of interior space, which were expressed in Kahn's works, used the method of forming separate space according to the contouring rule (structural unit) defined by columns, and they were used in constructing the entire space through the integration of separate spaces. Fourth, according to the characteristics that were expressed by artworks displayed within the Yale Art Gallery Extension, the concept of accessibility was not as clear as that of residential buildings, because an approach of respecting existing architecture and context was used, rather than the starting point of interior space, or differentiated circulation, which has the function of a determined position.

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.70-73
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• 1995