• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.2
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• pp.83-92
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• 2008

This study is about architectural design for rural housing block redevelopment for districts with existing residents considering sustainable development. The study suggests development direction focusing on preserving the regional characteristics, and presentation of suburban-style housing complex reflecting on the future tenant's individuality and demand. The preexisting development approach for suburban-style housing complex which was planned by the developer, failed to recognize taste of the future tenants. Profitability being the priority, it also resulted in a serious environmental disruption. In this development however, through a systematic direction for site development and site analysis, conducting surveys through future tenants, attempted for a continuous growth of the community. The study is presented covering the following areas; site's pathway system, nature conservation plan, lot plan, land use, arrangement plan, housing plan and community facility.

• Journal of architectural history
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• v.30 no.3
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• pp.21-31
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• 2021

This paper studied the Pingzuo(平坐) platform structure of the two story building covered with one roof during the early period of Tang dynasty, based on wall paintings, stone pagodas, brick buildings and wooden buildings might be influenced by the Tang style. Instead of Chazhuzao(叉柱造), the typical column linkage in the Song, Liao and Jin buildings, it put the boundary column just behind the wall of a bracket set. Otherwise, the column root might be seen from outside, because its bracket set was still using Touxinzao(偸心造) which did not have a lateral arm on it. And its flooring structure was also different from the Song style, it used cantilever beams instead of lateral beams supported by bracket sets.

• Journal of architectural history
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• v.31 no.3
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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.

• Architectural research
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• v.18 no.4
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• pp.171-178
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• 2016

Architectural utility in Richard Neutra's early twentieth century modern school design was paramount in progressively shaping salience of academic institutions, in part to move beyond neoclassical traditions in style based design. The intention being to address school and community through modern architectural solutions. Expanding on Neutra's practice, the planning and design of new public schools in Los Angeles, are advocating the integration of institutional and public spaces. This research will document through qualitative analysis of institutional design within transitioning neighborhoods, a utilitarian approach that has become foundational for positive urban change. The focus of this research will reflect upon contemporary schools designed by DalyGenik Architecture, Coop Himmelblau and Michael Maltzen Architecture. Comparing with Neutra's early modernist approach, the selected case studies will address material and spatial applications having redefined functional relationships of interior space, architectural envelope and an interconnected public realm. A dynamic peripheral condition in new school design has emerged with the elimination of decorative adornment, clarifying utilitarian intentions of institutional service to and the rejuvenation of public realms and community spaces.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.3-10
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• 2000

In a word, Behnischs architecture can be said to be the architecture of humanism based on an interpretation of the human being. The architecture of Behnisch in which it is not space but people that becomes the subject in architecture is newness or novelty, which is proceeding to position itself as one architectural style representing the times. He refrain from the environment that is defensive and oppressive, and destructive and disruptive in composing his architecture and instead is directed towards the continuos, creative and open environment. With such an architectural language, he is pursuing a minimum of the best rather than quantity based on trust and respecting for man and nature as his unchanged theme. That is, he is seeking for the purpose of architecture that does not disregard individuality such as consumers wants and needs. As can be seen from it, his architectural work has aroused freshness and stimulus to the architectural environment that can not be boring, allowed us to look back on the architectural world and triggered our interest. His architecture has the human energy that moves us.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.205-215
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• 2010

The professional alliance between disciplines of architecture and furniture design in the interwar years as displayed in the prominent architectural exhibitions of the era is interesting in the context of professionalization of American architecture. The way furniture design gradually became part of the architectural shows not only reflected but provided the practical field in which the architectural institution sought, under the new social order since the mid 1910s, a new professional cast-departing from the former milieu in the realm of high-art by the Beaux-Arts Movement. Exhibitions held by the Architectural League of New York in the 1920s revealed that the early impetus for reformation toward efficiency had been subsumed by the system of Beaux-Arts. By contrast, "The Architect and the Industrial Arts" show of the Metropolitan Museum of Art, in which the most prominent architects of the era exercised their professional expertise in the design of "Moderne Style" interior furnishings, clearly shows how architects, in the milieu of expanding commercial market, sought to align their profession as industrial designers.

• Journal of Navigation and Port Research
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• v.31 no.1 s.117
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• pp.71-79
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• 2007

This study is intended to investigate the superyacht exterior design style from the viewpoint of marine architectural design. Especially it is focused on the exterior profile design of superyachts. Superyachts are passenger vessels whose hull exceeds 24m. They are a kind of luxurious leisure ships. Marine architectural designer can contribute in the field of exterior and interior design of superyachts. In this study we analyze outboard profile of 32 superyachts and extract key design elements of exterior profiles. Those are sheer line, stem line, bow line, house line and windows.

• Journal of architectural history
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• v.27 no.5
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• pp.17-26
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• 2018

In 1961, the Republic of Korea's first newly-constructed government building was completed. The government building, as ROK office, was erected as a twin with the USOM office in Sejong-ro. The reason why the ROK office and the USOM office were erected as a twin building is that the two offices were part of Foreign Operation Administration's Seoul Buildings Project in 1954. Within the project, the FOA office and the ROK office were rarely separated, and naturally, the ROK office was built according to the US standards. The planning, design, and construction phases which led by the US government were involved in the US architecture, engineering-construction companies. Because those AEC companies were familiar with the US technology and standards. In the phase of construction, Korean companies took part in the process under the supervise of Vinnell Corporation. The US expected to transfer its 'modern' and 'developed' technology through this process. The completed ROK office was widely known as the 'modern style (hyundae-sik)' building, which was body forth as glasses and new facilities. These factors were what the US emphasized for exporting architecture. The modifier, 'modern style (hyundae-sik)', given to the ROK office in the 1950s was a synonym for any new feeling that had never been seen hitherto. The newness of the ROK office, the 'modern style (hyundae-sik)' building, was specified as materials and facilities that indicates modern technology while in the absence of adequate knowledge.

• Journal of architectural history
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• v.18 no.6
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• pp.127-144
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• 2009

This thesis aims to analyze the architectural form for the restoration of noogak(樓閣), Boje-roo(普濟樓) which was constructed at the central court of Beomeo-sa(梵魚寺). The results are as follow; 1. Boje-roo was established in 1700. By the constructional records and poetic essays of the times, the architectural of the establishment building was consisted fo two stories structure. The passage system for the approach to the court was the nuha-jinip(樓下進入), that is to say, one might walk between the columns of lower story of the building. And one could ascent the upper stairs and approach to the upper level, inner court. 2. By the remodelling in 1812, the building was varied to one story structure. Therefore the passage system for the approach to the inner court transformed from the nuha-jinip to the ugak-jinip(隅角進入), that is to say, one might ascent the atairs of the podium and could approach the inner court through the both sides of the building. 3. Under the Japanese imperialistic rule, the structure of it's roof and walls of Boje-roo were altered to the Japanese style. In 1965, the wooden columns were shifted to the concreted column, and the wooden wall-panels were shifted to the brick wall attached stone slates. 4. Conclusively speaking, for the restoration of Boje-roo, the establishment form in 1700 is the more proper than the remodelling form in 1812.

• Journal of architectural history
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• v.17 no.2
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• pp.7-25
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• 2008

This study aims to clarify the architectural characteristics of three houses of Choseon Exhibition. Exposition/exhibitions were thought to be a model for the world. It shows the real status of the development, and thinking with visions at that times; therefore, exhibited house models would be a good source for what to be considered for the ideal houses of that times. Through the study, we could find out as belows. 1. The houses exhibited conserved the sitting-on-floor living style, otherwise the most proposals for house improvement suggested a chair-and-table style because of its hygienic quality and integration of the life at home and at work(school, too). 2. The spacial scheme for-family prior over for-guest was emphasized, but models at the exhibition were structured with Japanese traditional spacial program, such as Jashiki(座敷), Kyakunoma(客の間) or Tsuginoma(次の間), which were all Tatami-floored. 3. Through this exhibition, it is clarified that the architectural society in colonial Korea also tried to improve the modern housings, not only direct reception of the developed proposals. These houses was planned with the acceptance of the locality, such like Ondol, a floor heating facility which the Japanese engineer improve the efficiency. 4. Also these exhibited houses became a start to recognize a house as a product, and spurred on commercialization. As the result, we could find out that these exhibited houses accepted the modern housing proposals selectively, and that even if the exhibitions shows the advance in usual these houses were planned with the very conservative notions.