• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.22-32
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• 2014

Development of digital technology, which is individualizing and differentiating the world, makes time and space facilitate multi-layering in the contemporary society. It gives a large influence on the contemporary architecture that inducing the visual and spatial experience. Also, It generates new images through the skin of architecture, which implies the contingent and fluid characteristics. These phenomenon show that various parameters are working on the architectural skin simultaneously. Such complexity make the structure of open space and diversity that are homogenized and synchronized. Like this, the architectural skin implies 'multiplicity': qualitative difference which is enable to change and create new images. This characteristic generates instant images changing variously and semantics constantly by the function of skin as a filter. Also, the architectural skin integrates or relocates of relationships between the various information and elements appearing in contemporary society in order to escape the customary relationship between internal and external. Furthermore, the inside and outside of the mixture as a collection of sense has been recognized as one image. This image of mixture consists of one unified continuous integration and extend the meaning of a fluid interface not just surface of the building. The skin of the contemporary architecture is very technical, so its meaning and role is expanded as a complex that exchange interaction. This means that the skin itself has functional elements of the integrated multiple skin to assist. Also it can form a multi-layered relationship and act as a wide range of interfaces depending on the perception of the observer. Therefore the multiplicity of the architectural skin indicates the importance as a boundary that generate images of new life through the sensory perception and implicit force. And it shows potential as the intermediary to try to communicate.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• Journal of architectural history
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• v.9 no.2 s.23
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• pp.85-100
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• 2000

This paper is a study of the Beaux-Arts discipline of architecture, as it was established during the late nineteenth century in America. It focuses on trio particular modes of vision and representation that were at the heart of the discipline. The paper argues that Beaux Arts vision was centered on what may be called 'planar vision'; a mode of seeing through which the multiple aspects of the architectural design imbedded in the plan were read and re-interpreted. Similarly Beaux-Arts training in drawing required its student to draw within the multiple layers of historical traces; the new design being in effect a new layer placed on often unseen traces of monumental precedent. The theoretical basis of this practice was not based on history but on the concept of composition. Composition, in the French tradition was regarded more a matter of practice than theory. The Anglo-American discourse on composition, on the other hand, formed a body of theoretical literature based on formalist assumptions. There was, however, a fundamental gap between these formalist theories of composition and the 'layered' modes of vision and drawing involved in the design process. This practice leaned more on the modern romantic notion of 'intuition' for its theoretical basis, once again forming an immanent conflict with the mimetic practice of classical and historical architecture. The paper draws a picture of a discipline centered on a 'theory of the plan,' a potentially modern discipline integrated with classical forms and details. It was clearly effective as a practice. However, structured by conflicts between theory and practice, history and form, mimesis and intuition, the Beaux-Arts was unable to defend itself at the philosophical and theoretical level the modernists engaged their attacks on this system. At the same time, the paper poses the question of how different modern architecture is from this system. Is not the 'theory of plan,' in its many transformations and guises, still the central discipline of twentieth century modern architecture, and is it not structured by basically the same kind of conflicts and paradox that were immanent to the Beaux-Arts system.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.95-102
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• 2012

The purpose of this study is to analyze characteristics of residential architecture designed by Gwathmey Siegel in terms of their way of composing spaces and forms. Charles Gwathmey, one of the founders of Gwathmey Siegel, is a worldly famous architect who actively developed Neo-Modernistic architecture in his career. For this study, 15 major houses designed by Gwathmey Siegel were selected and analyzed in terms of their approaches on how to compose various spaces and forms, and how these approaches evolved as time passed. The analysis was mainly based on the drawings and photos of the houses published. The main characteristics found in this study can be summarized as follows: elevated LDK level, split-level composition, use of framing structure, layered space, and linear galleries as a spine of circulation with collaged volumes attached. It turned out these characteristics appeared, faded away, or evolved affecting each other. In early days, Gwathmey often elevated LDK level from ground level for providing privacy, views, and also for separating private rooms. Soon they composed spaces by splitting levels. It not only helped provide privacy where needed effectively, but made space composition more interesting. As sizes of the houses they designed grew, Gwathmey came up with the framing idea for expressing his original architectural language in larger scale. With the split-level composition, the framing method represented Gwathmey's in 70's. This framing introduced layers of interior spaces, and the layers started to break down the monumental framing into individual volumes by bringing in linear spine of circulation. These characteristics helped Gwathmey Siegel develop their own architectural language.

• Journal of Forest and Environmental Science
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• v.28 no.1
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• pp.56-62
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• 2012

There is little information about appropriate greenspace structures to satisfy aesthetic function in Korea. The purpose of this study was to analyze Korean's aesthetic preferences for greenspace structures concerned with urban tree plantings of an areal type to explore desirable greenspace landscapes. The study considered 5 structural variables of greenspace which were species composition, tree density, tree size, vertical and horizontal structure, and tree layout pattern. A photo-questionnaire was prepared through color simulations of different landscape types for each structural variable. Preference responses of an interval-scale rating from 214 respondents were statistically analyzed between landscape types and between respondent groups. Respondents preferred greenspace landscapes with diverse tree species to single species, higher tree density to lower density, larger trees to many smaller trees, multilayered and grouped plantings to single-layered and sparse plantings, and informal pattern to formal pattern. These preferences tended to be relatively higher for educated specialist and student groups than for other generalist group. Thus, multilayered and dense plantings in natural pattern including larger trees of diverse species, which are similar to ecological plantings, are recommended to increase aesthetic function of greenspace.

• Journal of Advanced Research in Ocean Engineering
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• v.1 no.4
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• pp.211-226
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• 2015

Membrane type Mark III cargo containment system (CCS) is considered in this study to investigate its strength capability under applied loads due to liquefied natural gas (LNG) cargo. A rectangular plated structure supported by inner hull structure is exemplified from Mark III CCS according to classification society's guidance and it is assumed as multi-layered structure by stacking plywood, triplex, reinforced polyurethane (PU) foam and series of mastic upon inner hull structure. Commercially available general purpose finite element analysis package is used to have reliable FE models of Mark III CCS plate. The FE models and anisotropic failure criteria such as maximum stress, Hoffman, Hill, Tsai-Wu and Hashin taking into account the direction dependent material properties of Mark III CCS plate components and their material properties considering a wide variation of temperature due to the nature of LNG together form the strength analysis procedure of Mark III CCS plate. Strength capability of Mark III CCS plate is understood by its initial failure and post-initial failure states. Results are represented in terms of failure loads and locations when initial failure and post-initial failures are occurred respectively. From the results the basic design information of Mark III CCS plate is given.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.21 no.5
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• pp.97-110
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• 2018

The purpose of this study is to provide basic data and evidence for the habitat improvement of wild birds in urban stream by analyzing changes in habitat characteristics of wild birds by riparian forest construction in Yangjae stream in Seoul. In Gangnam-gu, the multi layered riparian forest consisting of landscape trees and shrubs was formed on the slope. In Seocho-gu, the vertical vegetation structure of woody and herbaceous wetland plants was good. In Gangnam-gu, the vegetation area of the slope increased and the vertical stratification structure affected the species diversity of the forest birds. The number of species and individuals of plovers, sandpipers and wagtails decreased due to the impact of bicycle roads and trails. The poor forests on the levee slope in Seocho-gu affected the habitat selection and migration of the forest birds. The willows and amur silver-grasses formed in the riverside have been developed into the riparian forest, thus stabilizing the habitat of water birds by blocking disturbances from the influence of the trails.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.95-104
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• 1999

The Landscape Drawing is the main medium for constructing better environment which provides human beings with a place for dwelling well, even though it has some limitations. To provide places for people's daily lives, by what measure do we design\ulcorner, by what measure do we give dimension\ulcorner, and how can we appropriately measure the place with drawing\ulcorner On any given site, of course, much has already happened, i.e, there is history. Any adequate interpretation of such a site should poetically take into account the present effects of its absent past. The findings to reveal the meaning and methodology of landscape drawings in the environmental design with a case study are as follows: (1) The value of landscape drawings is the poetic, artistic interpretation which we sense and bodily experience through the simultaneous exposure of the site's temporal, spatial, and tactile conditions. (2) The landscape drawing should represent the invisible (imaginary) world as well as the visible (physical) world. (3) There can be classified as two methods in representing the rich experience of a place: expression and notation. Expression is the abstract representation and do not have a direct relationship to construction due to its ambiguous and connotative structure. But notation is constructional due to it's purely objective symbol system which is obviously denotative structure. (4) Collage is a medium of specific act that can represent the complex layered phenomena and the rich experience of given site. (5) The landscape drawings represent not only topographical space which can be measured objectively, but also topic which can be cognized culturally.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2007.06a
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• pp.240-241
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• 2007

In general, high temperature superconducting coated conductors have intermediary buffers layer consisting of seed, diffusion barrier and cap layers. Simplification of the oxide materials buffer architecture in the fabrication of high temperature superconducting coated conductors is required because the deposition of multi-layers buffer architecture leads to a longer manufacturing time and a higher cost process of coated conductors. Thus, single buffer layer deposition seems to be important for practical coated conductor manufacturing process. In this study, a single gradient layered buffer deposition process of YZO for low cost coated conductors has been tried using DC reactive sputtering technique. About several thick YZO gradient single buffer layers deposited by DC co-sputtering process were found to act as a diffusion layer.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.20-29
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• 2006

The concept of a 'place' in contemporary cities has been fundamentally challenged by the social, economical changes as well as the global digital network. The complex and multi-layered contemporary everyday life blur the boundaries of the existing architectural programs. In contemporary architecture, various proposals have attempted to overcome the physical limitations. 'Activity Diagram' is one of them. Activity diagram is a diagrammatized design process In which the given program is analyzed into individual activities, then it is re-organized and finally spatialized based on the analysis. In many projects by Manuel Gausa, Ben Van Berkel and Vicente Guallart, the activity diagram is applied in various forms and they are explained with theoretical backgrounds. Based on how the given program is re-organized into assembly of activities and how diagram is applied, five analytical elements were selected to critically analyze three chosen architects' case projects. In this study, it is found that architects attempt to construct an open networked world where diverse activities are freely interconnected in spite of some fundamental limitations of activity diagrams.