• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.101-110
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• 2006

Many architects in the second machine age experiment on the movement in architectural design. They consider a movement as a flow of information and vector as well as the real motion. They express the movement in architectural design as nomad architecture, network city, rhizome, mutual transformation among building, environment and visitors, and form generation as the actualization of the virtual. It is partly the result of the philosophy of Deleuze and Bergson that a movement is just a duration as a difference of quality. It is because Deleuze explains that the realization of the virtual as a becoming is also the kind of movement. This study analyzes the method of expression of movement in architectural design in the second machine age. As a result, the movement in architectural design in the second machine age was expressed in two ways. One method is a territorialized movement that moves in the fixed trajectory and the other is a deterritorialized movement that moves in the random indeterminate trajectory.

• Journal of the Korean housing association
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• v.16 no.2
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• pp.55-65
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• 2005

'Movement System' is made of the interaction of user and architectural spaces related to each other in order. 'Movement' meant in movement system is possible only in the status of user and architectural space together. Movement created and disappeared by the user is not subordinated to the existing architectural space but becomes the main element of formating movement system. It is required that movement conception applied to architecture should be derived from the essence of movement and this study presents the movement system. To explain the formating process of movement system, A. N. Whitehead's process philosophy theory is at the basis and transformed in architectural aspects. On basis of these theoretical backgrounds, the process of making movement system can be explained. There are unit movement, unit object, and elements for movement process as the basic requirements for movement system, each unit is apprehended by individual operation and the nexus is composed by associative operation of apprehended units. This nexus becomes the object of a new subject and forms multiple nexus. Relation of unit movement and unit object and nexus are apprehended as the continuation and extensive continuum is made. At that time, movement with multiple phases set inbetween systems and extended multiplied. Through above study, movement system is applied to Korean traditional houses.

• Journal of architectural history
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• v.8 no.4 s.21
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• pp.129-146
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• 1999

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art $Sacr\'{e}$ Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art $Sacr\'{e}$ Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.206-214
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• 2011

The premise of this study is that an ultimate objective in planning an exhibition space is visitors' experiences created by a result of their first-hand experiences and responses within an exhibition space, and this result can be recognized in the visitors' movement. Thus, the exhibition layout that can directly affects viewers' main line of flow and movement patterns was examined vis--vis a mutually complementary relation in a triangular composition with the structure of exhibition space and the exhibition contents. This study, with the subjects of standing exhibit halls of Gwacheon National Science Museum, Daejeon National Science Museum, and Tokyo National Museum of Emerging Science and Innovation, analyzed 'the correlation between the configuration of the exhibition area and the visitors' movement. The targeted subjects were analyzed from the perspectives of type of architectural space and organization of the exhibition method, and the purpose of this study was to find a spatial evidence to predict the spectator movement formed within the exhibition halls of science museums. The main indicators used are: Based on the investigation/analysis as described above, the following conclusion could be drawn. Diversity of exhibition environment and spectator movement: besides the two big categories of the types of architectural space and types of exhibition method, the construction of vertical circulation and size and shape of the exhibition space, distribution characteristics of exhibition medium, organization of symbolic space and such other diverse organizations and combinations of exhibition environment are implied to have the capability to alter the scope and degree of predicting spectator movement. As an example, the types of architectural space comprising the wide-area viewing circulation was found to be able to change the system of planar circulation according to the composition of vertical circulation. Along with this, it was implied that the format of architectural space influences the form of the exhibition space, and may also act as a factor directly influencing the diversity and arrangement of the exhibition methods. That is, the spatial elements comprising the exhibition environment acts inter-complexly, and exhibits characteristics of limiting or controlling spectator movement.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.11
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• pp.125-134
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• 2018

This study examines Dalibor Vesely's theoretical proposition of communicative space and tries to develop it through a review of the contemporary architectural case. Vesely poses a critical question about communication: how do the situational conditions of our everyday life and the spatial characteristics of the natural world in which we live communicate through representation. He emphasizes the spatial and situational conditions and the role of representation in communication, arguing that architecture should create the formation of communicative space to restore its primary role as the corporeal foundation of culture. This study thus focuses on one of the critical concepts of his theory: "the communicative movement," which is, according to him, ontological and situational because it animates and transforms human circumstances as a whole. Further, it pursues some practical knowledge of creating the communicative space, by examining the design theory and practice of Zaha Hadid, who thematizes communication and movement in her architectural approach. This study analyses the different levels of representation and modes of movement in her architectural space to reveal the possibilities and limits of its communicative roles. We will find that the representation of Hadid's architectural space is not the formal representation of reality, but a mathematical and projective representation of abstract concepts. Despite its apparent aesthetic consistency, the inward and self-referential relation between the individual elements of the architectural space reveals its limit for the communicative space.

• Journal of architectural history
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• v.32 no.1
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• pp.21-34
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• 2023

The purpose of this research is to investigate Korean architects' perception of the Modern Movement in architecture in the West during the Japanese colonial period, by analyzing two Korean publications in the 1930s: Park Dongjin's 'Present Architectural Tendency' (Dong-A Ilbo, March 1931) and Hong Yunsick's 'Trend in the Thought of Moderne Baukunst' (Chogwang, September 1937). As a result of the investigation, it is confirmed that the two men welcomely accepted the universal modernity, regarding the rational and functional - rather than subjective expressions of the individual - as the key to modern architecture. Although their perception of the Modern Movement in Western architecture was inevitably superficial due to the limited condition of the Japanese colonial period in Korea, there was an obvious advancement in the latter's perception from the former's, reflecting the progress in knowledge of it over the six and a half years between the two. Therefore, it is argued that their 1930s' writings are meaningful as the first Korean publications that illustrate how Korean architectural circles perceived the contemporary architectural movement in the West.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.27-34
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• 2009

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday's behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body's and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper's discussion are as follows; First, Tschumi's movement concept Is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it Is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi's movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• International Journal of High-Rise Buildings
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• v.6 no.1
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• pp.11-19
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• 2017

High-rise buildings move during construction due to time-dependent material properties of concrete (creep and shrinkage), construction sequences, and structural shapes. The building movements, including vertical and horizontal displacements, result from the sum of axial and lateral deformation of vertical members at each level. In addition to the vertical shortenings, the lateral movement induced by differential shortening can have adverse effects on the construction tolerance and serviceability of non-structural elements such as elevators and curtain walls. In this study a construction stage analysis method is developed to predict lateral movement induced by shortening, including the effect of creep and shrinkage. The algorithm of construction stage analysis is combined with the FE analysis program. It is then applied to predict lateral movement of a 58-story reinforced concrete building that was constructed in Kuala Lumpur, Malaysia. Gravity induced lateral movement of this building is predicted by the construction stage analysis. A field three-dimensional laser scanning survey is carried out to verify the prediction results, and satisfactory agreement is obtained.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.5
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• pp.107-116
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• 2019

Non-geometric shapes in contemporary architecture was explained from the transcendental schema of Deleuze with his abstraction theory. In this explanation, the intensity, the movement and change and the sublime were suggested as the expressional elements of the transcendental abstraction related with the artistic sensation of architecture. First, the intensity as a power of sensation which acts to the body before the recognition of brain is mainly expressed with the movement of curved lines of architectural space. Second, the movement of change is expressed as the de-centralized and de-formalized nomadic curve as the line in architectural 'smooth space' which has unrestrained orientations. Third, the sublime is expressed in the hugeness, enormousness or sometimes uncanny in void space, which could be contradictively mixed with senses of displeasure and pleasure. The sublime feelings in architecture can be emerging by rationally overcoming the unpleasant senses of contradictive spaces in architecture or urban fabric. This study has explained those expressional elements with the architectural works of Steven Holl, Frank Gehry and Zaha Hadid.