• Journal of architectural history
• /
• v.16 no.3
• /
• pp.75-94
• /
• 2007

There were many researches on marine transportation and granaries, most of which focused on the historical establishment and organization of the marine transportation. However, a few researches were conducted on the architectural aspects. Hence the purposes of this study are to investigate the following matters: first, documents and relics concerning the tribute granary castle at Cape Gongse in Asan, a typical granary during the Joseon Dynasty, were investigated to academically understand the castle's establishment and historical background; second, the dispositional characteristics of the granary and the castle, including its adjacent facilities, were investigated to review its archaeological value; finally, basic materials were provided for systematical preservation and management these relics. As for the research method, the author referred to and analyzed sundry records and old maps, and ascertained in detail historical evidence through residential testimonies and the on-the-spot surveys. In addition, the author investigated the dispositional characteristics of the tribute granary castle at Cape Gongse by analyzing its exact size and shape, based on the old documents and an actual survey of the castle remains. The characteristics of the tribute granary castle at Cape Gongse may be summarized as follows. First, tribute granary at cape Gongse is a only tribute granary which has a granary and castle. second, the tribute granary castle at Cape Gongse has a curvilinear shape, like a gourd dipper; a large circle surrounding the village and a small circle surrounding the area of Mt. Shinpoong both meet up with it. Third, the construction type of the tribute granary castle at Cape Gongse is in a style similar to a town castle or a battle camp castle located in the coastal regions. As for its locational conditions, however, the east gate, presumably an incoming and outgoing route to the granary for vessels, was a feature unique to the marine granary castle. Fourth, the tribute granary at Cape Gongse had a granary of eighty kan in 1523 and, in addition, there were also Bongsang-cheong, Sa-chang, Joseon-sobakcheo, Chimhae-dang, and more, not to mention many privates houses in the castle. The granary is located in the center of the tribute granary castle, where Gongse Nonghyub is currently located. The location of the government offices seemed to be on the northern ridge. Fifth, the tribute granary castle at Cape Gongse is a valuable relic that offers insight into marine transportation, tribute granaries, and tribute granary castles during the Joseon Dynasty. It has special archaeological value because it was one of only a few tribute granary castles that served to protect the tribute granaries.

• Journal of architectural history
• /
• v.15 no.4
• /
• pp.37-56
• /
• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of architectural history
• /
• v.16 no.6
• /
• pp.67-86
• /
• 2007

Choseon Dynasty, from many aspects, saw the institutional establishment of its royal palaces in the 17th and 18th century, with 'donggwol (east palace)' as the most representative form in the era. In that period, palaces were managed in the best way that fits the royal etiquette and order to maintain the Confucian framework of the times. While the royal palace was the place for the king to conduct state affairs, it was also a compound for the royal family to lead a life in. Since the royal family was also based on the Confucian system, women in the royal palace seldom revealed their existence to outside world. Yet daebi,(a Queen Mother) who was often called 'dongjo,' enjoyed the highest level of honor not only as a member of the royal family but in the hierarchical order of the dynasty. As they often engaged themselves in political affairs, daebi raised their reputation through rites and rituals. So, in the 16th century, they largely used Changgyeong-gung palace in the eastern part of the royal compound since they sometimes had to go out of the royal residence. While it was called 'dongjo' because it was seated in the eastern part, it was also used as a word symbolizing daebi. And, therefore, it has become a general principle of royal palaces to build the palace for daebi in the eastern wing of the compound. However, the residence for daebi was not always built in the eastern part in the 17th and 18th century and, instead, edifices for daebi were sometimes erected in several points within the royal compound. Beside, daebi's residence in this period had additional spaces for ceremonies since they had a number of official events there. Construction of daebi's residences in this era was not confined to the symbolic institutions and they became the peculiar palaces with specific characteristics for official ceremonies of the queen mothers. Consequently, it could be said that the architectural style of dongjo, which was the place of the supreme female in the hierarchical order, stemmed from donggwol where daebi spent the longest time of the royal life.

• Journal of architectural history
• /
• v.24 no.3
• /
• pp.43-56
• /
• 2015

Researches on the pit dwellings in the Joseon Dynasty era have been constantly conducted in the archeology field since the beginning of the 2000s. Most of the related researches in the past have been on the classification and chronological record of dwelling types in archeology, but architectural researches on the dwelling history that is connected from the prehistoric age to the Joseon Dynasty era are insufficient. There are no big differences between the excavated pit dwellings of the Joseon Dynasty era and those of the prehistoric age, so pit dwellings were considered to have been used as dwellings for common people until the Joseon dynasty era. This fact is confirmed by the frequency and density of pit dwellings. In this research, what space composition of the pit dwellings that are equipped with the Korean floor heating system is shown according to the plan types was examined and the development and transition process from pit dwellings to Folk houses were analyzed and their correlations with the Folk houses of the Joseon Dynasty era were examined. The Folk house form did not start with the form of the house on the ground but originate from the introduction of Ondol, the Korean floor heating system, to pit dwellings. As the Korean floor heating system is used, the room and kitchen space are composed in the pit dwelling, and the kitchen is expanded to the one that separates the fireplace for cooking to avoid heating that is unnecessary for the summer season. As the size of the dwelling was getting bigger, the division of the space is made by the pillars that support the interior space. Also, the dwelling is expanded into a single row house and a double row house according to the progress direction of Ondol. In other words, the pit dwellings in the Joseon Dynasty era develops with making up diverse floors through the combination and expansion of Ondol and kitchen according to the dweller's convenience and life style and surrounding environment. This research is significant in the sense that it helps understand the formation and development process of our traditional Folk houses and fills the gap between the pit dwellings, which have been dealt with inadequately, and traditional Folk houses in the Korean dwelling history.

• Journal of the Korean housing association
• /
• v.16 no.4
• /
• pp.121-129
• /
• 2005

The major goal of this study is drawing design plan factors considering residents' life cycle and life style when remodeling design is needed. By drawing such design factors, the study will propose an alternative remodeling design plan. Such design method was defined as Multi-Dimensional module design method. And constructing data-system based on Multi-Dimensional module was secondary goal in this study. The details are as follows: Based on analysis of Residents' demand for remodeling and features of emotion-design applied to remodeling, the system which is suitable for application in remodeling design method was conducted. Based on the type of construction materials, the level value was set up according to emotion-factor application. Also, by conducting coding operation according to the distinction of construction materials, this study seeks the unit drawing method of information for constructing emotion-information system.

• Proceeding of Spring/Autumn Annual Conference of KHA
• /
• 2011.04a
• /
• pp.193-196
• /
• 2011

The purpose of this study was to clarify the distinct working areas of Certified Housing Environment Professional(CHEP) through the job analysis, to prepare the basic documentation required for a national official approval, and to provide the information of the curriculum organization for collegiate education on housing environment-related majors. Two previous reports, the qualifying system and performed in 2005 and 2009 by the qualification management committee under the Korean Housing Association, were foundation of this study. Two advisory council meetings were held, which are composed of 5 housing professionals and 11 professors working in housing environment-related departments. The results of the study were summarized as follows. The main jobs of CHEP were classified into six categories; the analysis, planning, service, residents' evaluation, social evaluation, and physical evaluation of the housing environment. CHEP can participate in the planning stage of architectural or interior design through the investigation of residents' perception and behaviors, and the analysis of socio-economic and life style trends. They also can play an important role in living supporting services of housing management area through the community program development, management and evaluation, which may bring about community vitalizations and social integrations. This study might need to finalize based on the affluent input of colleague.

• Journal of the Korea Furniture Society
• /
• v.18 no.4
• /
• pp.324-336
• /
• 2007

Throughout the twentieth century, American furniture was subject to a number of influences-both domestic and foreign. Especially, in the first half of the twentieth century, there were strong foreign influences compare to the later half of the century. Therefore, this study aimed for discussing foreign influences and for addressing issues such as attitudes toward materials, ornamentation, and technology. As a result, this study suggests how American furniture becomes instinctive moving away from strong foreign influences from the second half of the century. The twentieth century was a period of rapid and dynamic change for American furniture design. In many ways, the designs throughout the century were reflective of the social, political, and economic culture of the time. With the birth of the modern movement in Europe and a strong influx of foreign immigrants, American design in the first half of the century was characterized by a reliance on European and foreign influences. However, after the two world wars, strong domestic influences came into play. The two world wars provided the essential catalysts for change: new materials, developing technology, and changes in life style and consumer values. A historical examination of design trends and individual designers illustrates how American furniture design evolved during this period.

• Journal of Korean Society of Rural Planning
• /
• v.2 no.1
• /
• pp.57-68
• /
• 1996

Village Renewal(Dorferneuerung) Policy Program in Germany, directly originated from Rural Beutification Movement between mid 18C and mid 19C, has several characteristics as follows. First, we can find out the planned approach in land use and settlement reorganization of Pillage Renewal Program. There are three ways to designate the planning area of the village rearrangement project in countryside. One is to designate the detailed B-plan district by urban plan for the village over some size defined legally. Another is to have a living space of settlement be contained in land allotment project area. In this case, residential areas of several villages related to agricultural land consolidation should be simultaneously designated as the project area. The last is only for the built environment focused on the living space. Second, the emphasis in German village encouragement program can be made on the integral approach through which sets of policy programs of the land allotment, the living environment improvement, the physical landscape management and the cultural resources conservation are intensively implemented together. Third, the bottom-up and community participation approach can be greatly stressed on the planning and implementation process, Community participation, subsidy application to local government by residents themselves, community consensus on architectural style and outdoor spatial form, etc. have been recognized as an effective strategy to accomplish the task of village activity promotion.

• Korean Institute of Interior Design Journal
• /
• v.16 no.2 s.61
• /
• pp.209-216
• /
• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• Korean Institute of Interior Design Journal
• /
• v.24 no.6
• /
• pp.87-95
• /
• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.