• 건축역사연구
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• 제23권4호
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• pp.7-17
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• 2014

This paper aims at researching the cave concept of the Japanese architect Terunobu Fujimori and the result could be summarised as follows. First, a cave is Fujimori's only theme related to the interior space. He set some design guidelines for practice concerning openings of the wall and finishing materials of the interior, following the two major characteristics of a cave: 'comfortability' and 'homogeneity in material'. And 'fire' was also the premise in the cave as a 'spirit' of the space. Second, Fujimori applied the concrete guidelines to Tanpopo House (1994~95), which had in fact borne the ideas. Yakisugi House (2005~07) that took the cave as its design theme showed the transition of his cave concept, from closedness to openness. Third, though his cave concept might deserve the criticism that it is inclined to 'image' rather than 'essence', it illustrates that he seeks after an archetype of human dwelling before the purity of the original space was tarnished with rationality and abstraction. And the cave idea allows the seemingly contradictory 'sachlich' and 'surrealistic' features to coexist. Summing up, Fujimori's cave concept proves that his architecture is a rejection of the Cartesian modernist ideal and the contemporary architects' desire for dematerialisation. In a fundamental level, however, it is a result of his strategic choice induced by his own primary principle that his building must not be similar to any styles in history or any other architects' works in the world.

• Earthquakes and Structures
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• 제10권2호
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• pp.409-428
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• 2016

To realise the full benefits of a self-centering seismic resilient system, the designer must ensure that the entire structure does indeed re-center following an earthquake. The idealised flag-shaped hysteresis response that is often used to define the cyclic behaviour of self-centering concrete systems seldom exists and the residual drift of a building subjected to an earthquake is dependent on the realistic cyclic hysteresis response as well as the dynamic loading history. Current methods that are used to ensure that re-centering is achieved during the design of self-centering concrete systems are presented, and a series of cyclic analyses are used to demonstrate the flaws in these current procedures, even when idealised hysteresis models were used. Furthermore, results are presented for 350 time-history analyses that were performed to investigate the expected residual drift of an example self-centering concrete wall system during an earthquake. Based upon the results of these time-history analyses it was concluded that due to dynamic shake-down the residual drifts at the conclusion of the ground motion were significantly less than the maximum possible residual drifts that were observed from the cyclic hysteresis response, and were below acceptable residual drift performance limits established for seismic resilient structures. To estimate the effect of the dynamic shakedown, a residual drift ratio was defined that can be implemented during the design process to ensure that residual drift performance targets are achieved for self-centering concrete wall systems.

• 한국의상디자인학회지
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• 제5권2호
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• pp.17-29
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• 2003

This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

• International Journal of Human Ecology
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• 제9권1호
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• pp.29-40
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• 2008

This study clarified the classifications of Vietnamese traditional patterns and analyzed the symbolic meanings that reflect the emotional and cultural background of the Vietnamese. The type and symbolism of Vietnamese traditional patterns were analyzed through research on the history of Vietnamese costumes, the history of Vietnamese arts, the history of Vietnamese traditional culture, and a Vietnamese museum survey. The results of this study were as follows: 1. Animal patterns are diverse and include dragons, unicorns, tortoises, phoenixes, cranes, lions, bats, tigers, and buffalo patterns. 2. Dragon patterns are the most utilized pattern for practical purposes. They are often used in royal costumes, Vietnamese traditional dresses, mandarin boots, bamboo fans, silk, satin, ceramics, and other detailed decorations. 3. The patterns symbolized fortune that meant good luck and longevity so people can live long and happy. Then the symbolic meanings of patterns were followed by prosperity, nobleness, apotropism, prolificacy, and wealth. 4. Since the most of animal patterns have symbolic meanings of fortune and longevity, animal patterns can be utilized as the source of traditional patterns of design inspiration for the development of Vietnamese modern patterns and the application on Vietnamese fashion products.

• 복식
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• 제56권6호
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.

• 한국실내디자인학회논문집
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• 제18권3호
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• pp.3-10
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• 2009

This study looks into the change of the concept of museum and the programs as well from sociocultural point of view Since the very beginning in history, the museum has been a place to educate people with diverse evidences regarding on the human history by preserving legacies of the past. Throughout the long history, the concept of museum and its programs have been revised in accordance with social changes. Consequently, these changes brought the transformation of museums' roles nowadays. The reason is the public in diverse society are so accustomed to stimulus and dynamic cultural changes has induced those change in some senses. The study points that the variation of museum programs are to be developed and museum marketing strategies including global management of art museums should seriously be considered. It also brings new form of museum architecture. The concept of revitalizing museum can expand the band of public and provide them opportunities a place for various cultural activities which can lead a new trend in this society.

• 건축역사연구
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• 제17권2호
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• pp.67-81
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• 2008

Aldo Rossi explained Roman Forum as a significant urban artifact, because Roman Forum analogically showed not only an image of Roman Empire but also a figure of primitive design for its region. Thus the comparison and analysis between characteristics of Aldo Rossi's architectural works which are based on the theory of 'Analogical city' and the forums, the urban artifacts, was proceeded in this study. Consequently, it was discovered that Aldo Rossi had used his analogical thinking from the forum for his architectural languages such as gable roofs, square windows with depth, columns and so on. His analogical use of organizing spaces, such as courtyard type and pillar corridor type, has also shown that their types came from forum spaces. His analogical aspects of the forum: a space where urban images are analogically formed; were expressed in the 'Theater of Science' with the urban architecture form as the actor and the Theatre as the stage for analogical urban performances. Nevertheless, the expression of primitive design which divides the Roman Forum from other forums was actualized in 'the Theater of the World'. He not only analogically used types from Roman Forum in architectural design but also used boat in Water space, which decided the lifestyle and culture of Venice even before the civilization, to express the primitive design of Venice. Consequently, Aldo Rossi, by aiming the severance from the tradition, provided the possibility of explaining the newest modem type within the historical meaning by forming type which finds its continuance in history through 'the Theater of the World' and through analogical thinking along with the level of modern culture, to our urban architectural atmosphere that has lost its historical meanings.

• 건축역사연구
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• 제18권5호
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• pp.41-58
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• 2009

The purpose of this study is to investigate the symbolic meaning of pattern designs attached on the main building of Chungcheongnam-do Provincial Government (CPG). While most of researches mainly focused on the value and evaulation of the CPG building in terms of architectural history, relatively little insight has been gained on the symbolic meaning and mature of the pattern designs. What king of connections are related between the emblem of Governor-General of Chosun(Korea) and those of CPG? What symbolic meanings are engraved on the pattern designs? The researcher then took up the task of elucidating symbolic meanings of patterns and their relation to the building. The existing pattern of the outer wall of the CPG building consists of the symbol of sun(太陽輪), mums(菊花輪), and angle of stairs(雁大角). According to the Japanese Studies of emblems, these visual elements symbolize 'the sun of Japan'((日の丸) or 'the emperor', 'the royal family', and 'rays of the sun'. Based on these preliminary findings, the researcher considered the following in-depth connections: (1) relations with the emblem of Governor-General of Chosun, (2) relations with the emblems of local autonomous entity, Kyoungsung in Chosun. (3) relations with the emblem designs of the local provinces in Japan etc. In conclusion, patterns of the main building were not just an architectural decoration, but they had significant meanings utilizing design elements and methods adopted by local autonomous entities in Japan, The patterns found at the ceilling and floor of hall in the CPG building were associated with the emblem of Governor-General of Chosun. Therefore, all the patterns of the CPG building are powerful symbols that have meanings for the colonial rule by using the shape and method of city identities that Japanese local provinces had enacted. That is, it came out into the open that they were designed for special meanings that Korean and Japanese are united as a single body(內鮮一體) for a subject of the Emperor of Japan(皇國臣民).

• 한국지진공학회:학술대회논문집
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• 한국지진공학회 2001년도 춘계학술대회 논문집
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• pp.144-151
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• 2001

The development history of seismic design and analysis methods considering seismic force in soil-structure dynamic interaction are presented. Determination of seismic intensity in static analysis of both seismic and modifided seismic methods is discussed and preferable method in future seismic design is proposed.

• Steel and Composite Structures
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• 제20권4호
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• pp.749-776
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• 2016

In this paper, a Performance Based Design (PBD) approach is validated for multi-storey concentrically braced frame (CBF) systems. Direct Displacement Based Design (DDBD) procedure is used and validated by designing 4- and 12-storey CBF buildings. Nonlinear time history analysis (NLTHA) is used to check the performance of the design methodology by employing different accelerograms having displacement spectra matching the design displacement spectrum. Displacements and drifts obtained from NLTHA are found to fall within the design displacement limits used in the DDBD procedure. In NLTHA, both tension and compression members are found to be resisting the base shear, $F_b$, not only the tension members as assumed in the design methodology and suggested by Eurocode 8. This is the reason that the total $F_b$ in NLTHA is found to be greater than the design shear forces. Furthermore, it is found that the average of the maximum ductility values recorded from the time history analyses for the 4-and 12-storey buildings are close to the design ductility obtained from the DDBD methodology and ductility expressions established by several researchers. Moreover, the DDBD is compared to the Forced Based Design (FBD) methodology for CBFs. The comparison is carried out by designing 4 and 12-storey CBF buildings using both DDBD and FBD methodologies. The performance for both methodologies is verified using NLTHA. It is found that the $F_b$ from FBD is larger than $F_b$ obtained from DDBD. This leads to the use of larger sections for the structure designed by FBD to resist the lateral forces.