• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.89-99
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• 2013

The comtemporary architecture has not an discourse on form and representative style, but a new architectural concept of the generative process through the various relationship of the urban context, the continuity of the time and the experience of the people. This architectureal concepts make new and various architectural attempts to have a virtuality. The viruality is a reality to coexist with the present in contemporary philosophy. Daniel libeskind makes various arhcitectural experimentative attempts to reveal his virtuality through his memory as the Jews and his unconscious virtuality. The 'line' has the connotation of architectural reality and virtuality. Every line drawn becomes architectural form for example, walls, windows and makes spaces, and reveal a boundary as a connection. Architecture's visibility understates and structures its invisible aspect, so that the visible and the invisible make the architecture together. Daniel libeskind maks the virtual lines having the invisible of unconsious, time, and place. He no longer divide the form of architecture, its spatiality from all the implications which it adresses beyond its own particular built time and place and public unconsious mind. He demands the 'virtual line' that remembers distress and the past and reveal the virtuality of time and place. The virtual line is the sentimental communication of architecture.

• Korean Institute of Interior Design Journal
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• no.6
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• pp.15-20
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• 1995

In this paper, a strategy for utilizing the Korean tradi-tional spaces and interior design elements in inner space in order to express Korean-style interior design has been studied. Characteristics of Korean tradition was gathered from literatures in two categories; space and el-ements. Space again has been studied in detail in the area of split, continuity, hierarchy, elasticity, dynamics. And study of elements includes floor, wall, ceiling, dan-chung, lattice, laytiles on a roof, rafter, extended eaves, the line of eaves. 30 Korean restaurants were selected, analysed and compared with literature review. Based on the compari-son, a strategy for proper expression and utilization of Korean tradition is suggested. In the process of compari-son, current status of implementation and problems were found. Traditional elements are used in about 50% of Korean restaurants located in hotels, and 25% of those located in department stores. With the survey and other professional's opinions, an implementation plan is suggest-ed as follows; 1. Succession design method of tradition should use main-ly amelioration method and use copy and partly abstraction method. 2. Expression of tradition has to include all of space, ele-ments, and decoration. In space structure, Korean tra-dition space structure must be applied. 3. In order to design with feeling of Korean tradition, various different Korean elements have to be used. 4. In order to express high quality design, high-quality elements has to be used.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.4
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• pp.25-32
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• 2016

Historical and cultural heritage provides a clue to reflect on the life of the era. Views of traditional village are the thing which can show us the life style and value of our ancestors and must be conserved as the values and traditional culture. Traditional village that has the historical value and descended to this day by adapting to environmental and social changes with the strong continuity is a part of the value of the residents' life and should be conserved with the physical environment, community and quality of the inhabitants' life. Therefore, this study is to analysis the difference of perception and the cause regarding conservation of the historical landscape and how the landscape influences on the residents and visitors. Based on those things, this study is to ultimately introspect importance of the residents' participation and meaning of the difference of perception about conservation of the historical landscape.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.363-373
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• 2018

In today's diversified society, it is hard to know which building style represents the architectural style of the time. The simplicity found in monolithic-style buildings forms a symmetrical point with fairly complex structure, and its value can be acknowledged. This study analyzes buildings made of insulating lightweight aggregate concrete in the early 21st century, defines the concept of monolithic expression, and examines how these characteristics are expressed in the space, forms, and structural methods in construction. Unlike a multi-layered exterior wall system, which features multiple layers composed of a variety of materials, the exterior walls built with insulating lightweight aggregate concrete comes in a lump form with a mold form that is tightly filled with concrete as a single material and is monolithic. This is attributed to the creation of spaces characterized by the homogeneity of inner and outer spaces with the use of the same material, continuity of the surface as solidity, spatial characteristics of the stereotomic construction, expression of materiality with the use of exposed concrete, and the contrast of the lump and the space. This not only reveals formal characteristics that expose a discourse about monolithic architecture in contemporary architecture but also provide an opportunity to extend the range of discussion to structures and materials and even to their effects on space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• Journal of the Korean Society of Costume
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• v.38
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.36-43
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• 2006

Architecture is the product of a way of thinking. If the problems of architecture are to be traced to their roots, then attention needs to be focused on the thinking and considerations that inform its production. Adolf Loos occupies a truly exceptional place in the history of architecture. Adolf Loos's ideas and attitudes disagree with the notion that modernity is possible to develop a harmonious culture within the bounds of a modernizing society. Loos chronologically precedes the modern movement, but his ideas contain the seeds of what will be worked out later as a complex critique of the movement's notions about architecture and modernity. Loos holds the view that modernity provokes an inevitable rupture with tradition that has as a consequence the disintegration of one's experience of life. This evolution, he think, obliges architecture to display a number of languages corresponding to a multitude of different experiences. Through the discussion of Loos's opinions on dwelling and architecture, it explores the true features of position of Loos in modern architecture. Loos thinks that the rejection of the deliberate creation of a new style was a correct response to the diagnosis of life as being rootless and fragmented. Ornament is that which people use to attempt to relate different aspects of life and to join inner and outer worlds in a coherent whole. By getting rid of ornament the illusion is destroyed that a harmonious unity of this sort is still possible. One can only remain true to tradition if one acknowledges that its continuity is not an unbroken one. Dwelling can only be saved by separating it from other aspects of life.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.3 no.1
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• pp.80-90
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• 2000

This study was carried out to introduce current status and development strategy for an environmental restoration of stream side in Japan, and to consider a methodology which could be effectively applied for the environmental restoration of stream side in Korea. Since the end of 20th century, the native ecology and landscape of Japan remained only a limited areas such as stream side, water side and forest areas. Therefore, recently the works of forest conservation and erosion control of environmental restoration on stream side tended to increased. The strategic prospects of environmental restoration in Japan were summarized as follows : 1. From the ecological point of view, we have to develop a certain method and technology in construction of forest conservation and erosion control to prevent environmental problem from erosion control works. 2. We have to restore not only a continuity of stream side forest from a primitive area to an estuary but also the stream side forest to preserve and restore a stream side vegetation on a primitive watershed areas. 3. We have to improve a method of construction or removal of a structure which were constructed in the stream to restore a water side environment and an interaction system for an integration on a forest land, stream, and erosion control. Additionally, we have to establish an integrated evaluation method and an enforcement system after investigation of influences on natural environment, stream, and forest etc. 4. We have to conduct an integrated research to investigate the ecosystem of stream side, and construct environmentally friendly water park and erosion control park which considered natural environment and its landscape. Additionally, we need to introduce and adopt a natural style stream construction method to restore a water side areas.

• Journal of architectural history
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• v.20 no.1
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.