SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Cross-cultural Comparative Analysis on the Notion of Traditional Windows of the East and the West
Hyunsoo Lee1,*, Hee-Joo Son1,*, Yeon Sook Lee1,*, Jeong Tai Kim2,*
1 2

Department of Housing and Interior Design ,Yonsei University, Seoul,Korea

Department of Architectural Engineering, Kyung Hee University, Yongin 446-701,Korea

Abstract Heterogeneous fusion has had a very important role in the progressive evolution of design. It has evolved and developed through the history of mankind and exchange between the East and the West. This is not an exception in the development of architectural culture and heterogeneous stimulation is needed in order to acquire new designs or new direction. This type of thought can be seen by observing the fusion approach that is accepted by many scholars. In this manner, the blending of Eastern and Western architecture is important for imagination and the development of design culture. Since the development of design culture is an issue that is directly correlated to the quality of human life, it has been the subject of interest of many architects but it is a fact that studies on the blending of the East and the West have been lacking. There can be a variety of approaches towards the development of architectural culture; nevertheless, the motivation behind this study was the premise that, among many approaches, the approach through a comparison of Eastern and Western architecture possessed much potential. The ultimate goal of this research is to bring about a sustained boost in cultural exchange to achieve development in architectural culture. From this outlook, this study provides a starting point in which an implementation of different cultures can lead towards a progressive direction through comparative analysis of the windows, which can be referred to as the core elements of architecture, of the East and the West as a pilot project.

Keywords: traditionalwindow, Hanjiwindow, stained glass, notion of window, architectural light

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1. Introduction
1.1. Research Purpose and Significance A window is a symbolic and functional medium that connects the outside to the inside or disconnects the inside from the outside. Windows determine the space around them : a space in front and a space behind, a zone inside and a zone outside, different in nature by more than by climatic factors only. [1] And a window is one of the most important architecture elements determining the external features of a building by having functions of ventilation and lighting. Also its an element in the interior space. The space on the inside, near the window is a very particular place: the natural light, the contact with the outside, with nature, with life, with people and moving object, all these make the place a meaningful spot for many.[2]Since a window undergoes the process of change as time passes by, it symbolizes culture. In other words, every country and every region has a different window form and a different way of using a window. However, with the advent of modern architecture, window forms tend to be uniformed or standardized all over the world, which means that windows showing cultural characteristics are being extinct. It is important to secure a cultural identity in architecture. In this light, the ultimate purpose of this study is to develop the architecture culture through the cultural fusion between the eastern and western windows. 1.2. Research Method and Scope To comparatively analyze the traditional and typical windows of the east and the west, this study selected the Hanji (traditional Korean paper handmade from mulberry trees) window from Korea and the stained glass window from France, while limiting its range to the Chosun Dynasty period and the Medieval Ages respectively. To begin with, this study provided a analysis framework as a research criterion to concretize its goals and directivity based on understanding and facts about the Hanji window and the stainless glass window through a literary review. While mainly using the characteristic classification standard introduced in Hursthesis[3], this study referred to and reconstructed other research theses on the characteristics of architectural decorative designs (Ryu 2008[4], Park 2000[5] and Kim 2001[6]). Besides, this study completed the analysis framework by adding analysis criteria considering the characteristics of windows differentiated from other architectural elements. By supplementing the results of the literature review and case research, this study arranged lighting methods and semantic, functional and formative characteristics of the Hanji window and the stainless glass window. Based on the analysis framework provided, this study investigated differences and similarities of traditional windows of the east and the west, further suggesting notions how to apply this result to the modern architecture.
Section
Lighting Method

Items
Kinds of light flowing into the inside Glazing objects Phenomena of light Symbols of light Religions based Characteristics of light Pursuit Functions Functionality External openness

Semantic Characteristics

Functional Characteristics

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Formative Characteristics

Relation with the door Pattern and decoration Materials and coloring Form and size of window frames

Table 1.Characteristic Classification of Windows

2. Characteristics of Hanji window

2.1. Lighting method of Hanji window Hanji window is a Korean traditional window that is made by attaching Hanji which is a paper made by Korean genuine technique to wooden window frame and is an important design element constituting the elevation of Korean traditional architecture. The light induced into indoor space passing through Hanji is delicate and soft indirect light, and the light can be diffused naturally and uniformly into the inside of the room by papering most inside of the room with white Hanji. The uniformed diffusion of light provides the strong contrast of light and shade and relieves the fatigue of eyes due to the difference of brightness of the side, and tranquil and stable sentiment by attenuating psychological impact.[6]

Figure 1.Light of Hanji window

2.2. Semantic characteristic of Hanji window The light is the most important and indispensable environmental factor for human to sustain ones life, and we perceive not only the existence of an object and give shape to a form and colors of an object through light, but also seek psychological stability and safety and expect its role as an aesthetic element of social environment.[8] This is the same case to architecture. The light is a very crucial design element in architecture and the light has a physical function that makes human perceive space in the change of time and simultaneously defines the space. Besides, it has a metaphysical and psychological effect on the perception of human through visual experience.[9] Like this, it is essential to contemplate the concept of the light of the East and the West in understanding of the concept of a window which is the most related architectural element to the light. If the structure of Korean traditional houses which is related to Korean living environment is analyzed, it could be found out that Koreans have the sentiment preferable to delicate and soft light, not dazzling direct sunlight. Under the glaring sunlight, while the westerners enjoy sunbath, Koreans use a parasol, and if a western sculpture that is installed outside a building

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

gives a thought to a lighting of direct sunlight, a statue of the Buddha in Korean temples uses a sculptural technique being aware of reflected rays.[10]

Chartres Cathedral, Paris[11]The Four Devas, Bomunsa(temple), Seoul

Figure 2.External Figure Sculptures of the East and the West

Besides, ifchurma, the eaves of Korean traditionalhouses(figure3) and Hanji window that can be seen in all Korean traditional architecture are looked into, the eaves of Korean houses have a structure blocking direct sunlight coming into the inside, and the Hanji window using Hanji brings the light to the inside by filtering it delicately. In addition, if a cheongsachorong which is a Korean traditional lantern(figure4) is looked into, it has a structure that the light shines towards ones feet and that covers four sides and wraps the light not to spread a light source rather than diffusing the light strongly. It doesnt make the light stronger by using any transparent or reflecting material, but makes a material or a shape and a structure against the effect.

Figure3.ChurmaFigure4.Cheongsachorong

As a result, Koreans accept and utilize delicate light with an indirect lighting method that produces delicate atmosphere rather than direct sunlight and conform to darkness as well like adapting themselves to brightness of the sun. Koreans have the sentiment following the light of nature. 2.3. Functional characteristics of Hanji window Hanji window can be called as a Hanji window and door in the aspect of a function. In the western traditional architecture, a window and a door is strictly distinct from each other but there are many cases that a window and a door in the architecture of Chosun Dynasty that were formed on the basis of living in idleness are not distinct in terms of functionality. In

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other words, there are many cases that Hanji window has a function of a door as well as a window. Since the space of Korean traditional architecture is a flexible space possible for many activities in one space, one space can be used for various natures by dividing the space with variable productions of other windows in the multi-use of the space or by transforming it into a shape that is free to expand. It is possible to create a variable space that easily separates or integrates the inside and the inside, the inside and the outside through opening and closing of the window and the door according to the necessity.[12] In other words, the constricted space can be variably and compositely used by two spaces or more spaces than that being easily integrated into one space as well as being easily separated. The same goes for an external space.(Figure5)
Haksajae KimdongsooGoteak YoonjooGoteak Hyangdan

Figure5.Utilization of Variable Space through Opening and Closing of Windows and Doors[13]

Besides, what one looks at outside view with opening a window is called as Chagyung, which means to lend a view. Korean traditional architecture considered a window as a frame to put a view. Thats why there are particularly many windows and doors in Korean houses, and the ancestors enjoyed a play making views that were changed variously and innumerably whenever opening and closing windows and doors while they were sitting at home. Like this, the window and door in Korean traditional architecture have a nature satisfying practicality and artistry simultaneously. (Figure6)
Byungsanseone Changdukoong(Naks ungjae) ChungyeochangGo teak HadongGoteak DohwariGoga Changdukoong(Ye onkyungdang)

Figure6.Chagyung[13]

2.4. Formative characteristics of Hanji window The decoration and patterns of Hanji window are mainly shown in bars and simple and congenial patterns such as Yongjasal, Tisal, Azasal and Wanjasal were mainly used and ponderous patterns such as Jeongjasal and Bitsal for the palace and various bar patterns including Kotsal for temples were used. The bars of Hanji window are characterized by names by shapes and different composition and usage as shown in Table 2, and they can be divided into 3 kinds that consist of a window and a door by a side, bars and one mixed with those. At the moment, constituting a window with bars is to make a door olgeomi and make bars within and many kinds of windows and doors can be made by forming various bar

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patterns according to the system of bars.[3]

Tisal Yongjasal Wanjasal Azasal Chungjasal Guijasal Guigapsal

Width, Height Rectangular Shape

Pattern of Chines Character Yong()

Pattern of Chines Character Man()

Pattern of Chines Character Ah()

Pattern of Chines CharacterChung()

Pattern of Chines CharacteGui()

Pattern of Turtles back

Table 2.Types of bars of Hanjiwindow[14]

Like this, the decoration and patterns of Hanji window simply transform and iterate Chinese characters or show the beauty of happy medium that is emphasized by Buddhism and seek the harmony between practicality and artistry based on humanism. The main materials of Hanji window are a wood constituting bars and Hanji attached to bars. The Hanji is made of the paper mulberry as a material through many processes with Koreans indigenous method. In particular, it shows excellent performance in lighting and ventilation so it is excellent in moisture adjustment and possible to adjust lighting according to the number of layers of Hanji.[15]The wood used for bars are broad-leaved trees that are used for furniture and industrial arts in addition to conifers that are used for architectural structure materials such as pine trees, Korean white pines, the white birches and chestnut trees etc. Korean traditional windows and doors utilize the original shape and colors of tress as they are without coloring, and the Hanji that has a bright and delicate color also uses the original genuine color as it is without dying so they have overall humble and tranquil color. As the wood and Hanji used for Hanji window are not only for windows and doors but also finishing materials used for architectural finishing materials of other parts, the Hanji window gives a visual effect that makes a building itself to be seen as a structure, not as a decorative structure separated from a building. With natural features of Korea, the colors having the highest brightness and the saturation with medium level were used most.[3]
HankyusulDaegamga Namchondaek Guichonjongtaek Hyangdan

Figure7.Color and material of Hanjiwindow[13]

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3. Characteristics of stained glass window

3.1. Lighting method of stained glass window Stained glass window is an architectural art developed as part of Gothic art, the most original style of architecture formed from theological interpretations of light during the Middle Ages in Europe. Using glass as the medium, light and colors are put together in stained glass. Its expressive effects are completely reliant on sunlight from nature. Different from most visual arts where reflected light is used for the delivery, for stained glass the adjustment is done by the intensity of the strong, penetrating sunlight. As the light that comes inside gets tinged by the colored glass, the painterly expressive effects are multiplied or reduced by light. The effects also constantly change as transmitted light changes due to changes in the location of the window, the weather, and changes in time; the indoor space gets filled with sacred light, creating a religious space at the mental level.[16] 3.2. Semantic characteristic of stained glass window Light has long been connected with spiritual aspects of life and with the forces that symbolize the sacred and the divine.[17]In the West light was seen to be sacred from the ancient times. Especially in religious architecture, light had an important symbolic significance as an intermediary that gave life, going to and from material and mental dimensions, because of its nonphysical characteristics [18].In ancient Egypt, slits were used on the ceiling or on the walls in temple architecture, which played the role of a type of a window that can draw sunlight further inside the building.Light that flowed inside the building through the windows contained a symbolic meaning: it lighted up holy statues, revived the temple and gave vitality to God. Also, in light holes, yet another lighting method, the lighting on the ceiling portrayed the Sun God and different grades could be expressed in space by controlling the amount of light that came in.[19] With the start of the Middle Ages, a transcendental and symbolic meaning that was regarded to be the same as divinity was given to light.In other words, a Christian meaning was given to it. Light is the most significant among the symbols that are used in the Bible, and it also symbolizes the existence of God and his role. Therefore, light is a concept that is opposite to darkness. It is a form of God; it symbolizes goodness, wisdom, life, and salvation.The stained glass window, which made its appearance during the Middle Ages, was used as the most effective tool in visualizing images on the ceiling by drawing inside light, which contained Christian meanings, and in creating a spiritual space. 3.3. Functional characteristics of stained glass window Stained glass window, which was used as the windows of a building, shows mysterious changes depending on the visual changes of light in the indoor space, i.e. the intensity of light and its direction. Also, the light transmitted varies widely depending on the size and thickness of the colored glass. Stainless glass window, which is among the most representative architectural art of the West, was used primarily for decorative or artistic purposes rather than for practical purposes because within the sacred space of a church, its role as one of the elements that makes up the space was more important than it functioning as a window. The purpose was not opening or shutting an opening in the wall, which is the ordinary function of

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a window. Instead, because there could be even greater effects for stained glass windows by having a clear contrast between light and dark, darkness in space and the state of being closed were emphasized in expressing light.
Cathedrale Notre-Dame

Sainte-Chapelle

Chartres Cathedral

Cologne Cathedral

Figure8.Light of stained glass window in dark and closed space

3.4. Formative characteristics of stained glass window Stained glass windows are made by cutting colored glass - either made by putting dye inside or by applying color on the surface - into a geometrical or decorative shape, or into a painterly design, and then welding ribbons made of lead. Various metallic compounds are used for coloring, such as copper, iron, and manganese. For detailed design work, enamel glaze in brown color is used.[20] During the Gothic age, architects tried to make the size of the windows as large as possible so that the indoor space of the temple was like a heaven. Stainless glass was used for the windows, based on the basic colors and using arrangements of strongly contrasting colors, and it gave an enchanting feel.[21] The composition of the display was complicated and delicate, showing different themes and color compositions depending on the intensity and location of light. The stained glass windows typically had geometrical patterns, and pictures that are decorative or depicting reality, such as showing passages from the Bible or having adult or doctrinal contents. The typical themes are the Blessed Virgin and Apocalypse, which are two of the themes of Christianity.[22]
Chartres Cathedral Sainte-Chapelle Bern Mnster

The virgin Mary and her son

Holy Family with the young Saint John

Bible story

Cathedrale Notre-Dame

Canterbury Cathedral

Cologne Cathedral

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Saint

Jesus and his disciples

Bible story

Figure9.Stained glass describing the contents related to the Bible

Stained glass windows have a highly decorative feel, as opposed to Hanji windows, because they use finishes having various and gorgeous colors, which are completely different from other construction materials used for the indoor space. Furthermore, the windows come in various shapes and sizes depending on the size of the space.

4. Comparison of Hanji window and stained glass window

There were differences between Hanji window and stained glass window in terms of the lighting method, semantic characteristics, functional characteristics, and Structuralcharacteristics. First when it comes to the lighting method, the two types of windows both have light transmission bodies. For Hanji windows, Hanji is the light transmission body, whereas for stained glass windows, colored glass is the light transmission body. For Hanji windows, due to characteristics of Hanji, light comes inside in the form of indirect light and then spreads. For stained glass windows, due to characteristics of glass, light comes inside in the form of direct light and then gets refracted.
Section
Kinds of light flowing into the inside Lighting method Transmittion body Phenomena of light

Hanji window
Indirect light

Stained glass window

Direct light

Hanji Filtration, Diffusion

Stained glass Filtration, Refraction

Image

Table3.Comparison of lighting methodbetween Hanji window and stained glass window

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When it comes to the semantic comparison, there were emotional differences between the East and the West. Korean people claimed to support adapting themselves to nature, and they saw light as something to adapt to, as it is part of nature.Due to the influence of Buddhism, they sought simple and gentle, middle-path beauty. As a result, they preferred light that was delicate, comfortable, simple and soft. In the case of the Middle Ages, due to the influence of Christianity, the people considered light sacred. To them light represented God, wisdom, life, and salvation. As a result, light that came into the indoor space of a temple was considered holy.
Section
Symbols of light Semantic characteristic s Religions based Characteristic s of light Pursuit

Hanji window
A part of the nature an object to be followed. Buddhism, Confucianism Delicate, Comfortable, Simple, Soft Beauty of moderation

Stained glass window

God, Wisdom, Life, Salvation Christianity sacred, Splendid Splendid and ornamental beauty

Image

Table4.Comparison of semanticcharacteristics between Hanji window and stained glass window

When it comes to the functional comparison, Hanji windows made possible, through opening and shutting, appropriation and flexible use of space. Therefore, practicality and artistic value were both considered important, and space could be varied with the coexistence of openness and closeness. Also, Hanji windows not only had functions of ventilation, lighting, and appropriation, but were also used as the entrance/exit. Stained glass windows in contrast were primarily for creating a sacred and beautiful space as one of the major decorative elements of a building. Therefore, artistic value was emphasized over functionality, and closeness was maximized in order for effective expressions using light.
Section
Functions Functional characteristics Functionality External openness

Hanji window
Variable use of a space Focused on practicality and artistry Well used function of opening and closing Variable production with coexistence of

Stained glass window

Decoration of a space Focused on artistry Hardly used function of opening and closing Stage effect of light in dark space

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openness and closure Relation with the door Frequent mix Distinct division

Image

Table5.Comparison of functionalcharacteristicsbetween Hanji window and stained glass window

Lastly, looking at the characteristics regarding shape, for Hanji windows the patterns represented by the bars were simplified modifications of Chinese characters or shape of animals or plants, and the patterns had many different meanings. In contrast, stained glass windows had pictures containing biblical messages or geometrical patterns. When it comes to the materials used, for Hanji windows natural materials were used such as Hanji and wood, and as a result simple and serene coloring was used primarily, and because the same finish as that used for the exterior of the building was used, the intention was that the building itself was seen as a single structure.In contrast, stainless glass windows had diverse and gorgeous coloring by contrasting steel with colorful colored glasses. Also, they were used as a decorative element by using materials and colors that were in contrast with the exterior of the building. Another difference is that for Hanji windows, there is not too much difference in the shape of the frame and the size, while stained glass window come in extremely various shapes and sizes depending on the direction and intensity of light, and height of the ceiling, etc.
Section
Pattern and decoration

Hanji window
-Repetition of simple geometricpatterns. -Transformative patterns of Chinese Characters or flora and fauna. -Different meaning for each pattern. -Natural materials not processed used Humble and tranquil colors. -The same colors and materials are used as the external appearance of a building. -Rectangle -No big difference in size

Stained glass window

-Descriptive pictures. -Geometric patterns. -Contents of the Bible included. -Process materials used. -Various and showy colors. -Different materials and colors from the external appearance of a building are used. Various shapes and sizes according to the situations of the light and a space

Formative characterristics

Materials and coloring Form and size of window frames

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Image

Table6.Comparison of Formativecharacteristicsbetween Hanji window and stained glass window

5. Conclusion This thesis conducted comparative research between the Korean traditional window, Hanji window, and the French traditional window, stained glass window, by deriving their characteristics from theoretical investigation and case analysis. Based on the consequence of comparative analysis, the relative characteristics of those Eastern and Western traditional windows are comprehensively summarized as follows: First, Hanji window and stained glass window have in common that attracts and diffuses light into the interior through the glazing systems of Hanji(Korean paper) and colored glass. Their difference is in the kind of light penetrated to the interior by the physical properties of glazing: the stained glass window refracts the penetrated light as a form of direct light and the Hanji window diffuses it as a form of indirect light. Second, the soft light from Hanji window which is based on Buddhism, one of the representative Eastern religions, has an indistinct, simple, and comfortable quality as a part of and adapting to nature, with the window pursuing the beauty of moderation, simple and mild. In contrast, the light from stained glass window based on Christianity is produced with sacredness identifying with god, wisdom, life, and salvation, with the window pursuing splendid and ornamental beauty. Third, in terms of functional characteristics, Hanji window centers upon practical functions for flexible spatial use such as frequent openings, appropriative landscaping, spatial distinction and expansion, while stained glass window focuses on artistic functions as a building ornamentation, producing light that maximizes the sense of closure. Fourth, in terms of window figures, Hanji window utilizes repetitive forms of simple geometrical patterns transformed from Chinese letters or plants/animals, while stained glass mainly carries Biblical messages in the figure described. Also, in terms of material and color, Hanji window of the East visualizes a building as a simple and calm construction with the same natural materials as the building exterior, while stained glass window of the West is utilized as an element of building ornamentation with steel frames and colored glasses, variegated and splendid, different from the building exterior. In terms of the shape and scale of frames, Hanji window takes rectangular shapes with no large variation by types, while stained glass has very diverse shapes by the forms and sizes of buildings. Having almost forgotten recently, the stained glass is being newly highlighted today even in the East, not to say the West including Europe. Conflated with medieval tradition and contemporary painting in application to contemporary architecture, it is newly blooming as an unreligious style. Also, Hanji window of the East is today in the limelight for its nature-

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friendliness and functional superiority, thus leading to various attempts to utilize such characteristics. Hence, with various experiments and creative innovations, both stained glass and Hanji window are proving their infinite possibilities as inherent architectural arts, not as simple decorations or objects. Beyond the basic character of architectural arts, the heterogeneous combination or recreation of Eastern and Western windows in functional and design aspects seems to have many possibilities that can successively develop contemporary architecture. It is possible to create space that can give various emotions with the transmitted light when clearly understanding the physical characteristics of glazing systems and the effects of light as well as making various attempts about them.This paper can contribute to change and extend the concept and functionality of window.It provides a starting pointfor creating dynamic space with various lights produced even in a space through condensation anddistribution of light.

Acknowledgements This work was supported by the National Research Foundation of Korea (NRF) grant funded by the Korea government (MEST)(No. 2012-0000609) and by a grant(10 High tech Urban B01) from High tech Urban Development Program funded by Ministry of Land, Transport and Maritime Affairs of Korean government.

References
[1] Heidegger M.(1958) Essais et conferences, Paris: Gallimard;183 [2]Ben F, Hentie L: Companion to contemporary architectural thought;Routledge;362-367 [3]Hur Y: A comparative study of fitting appreaing in the traditional dwelling between Korea and China;Kookmin University 2010 [4] Ryu C: A Comparative Research on the Characteristics of Korean and Chinese Furniture Designs between the 15th Century and the 19th Century;Kookmin University 2009 [5] Park S: A study on the traditional characteristics in modern Korean residential-furniture;Yonsei University 2000 [6] Kim R: A study of direction on lighting design at external space of apartment house based on Korean emotion of light;Hongik University 2007 [7] Kim S: A study on the characteristics of modern Korean-furniture design;Yonsei University 2001 [8] Yang Y: Fundamental Reasons for Light and Space;Ehwa womens University 2006;4 [9] Lim S: A Study on the Utilization of Light in Architecture;Hanyang University 1986;78 [10] Shin Y: Our Han-Ok; Hyunamsa 2000;23 [11] E.H.Gombrich: The story of Art;Phaodon 2007 [12] Kim D: House Built of Wisdom, Korean Architecture, Korean Architecture;Hyunamsa 2011;295327 [13] Lim S: I Enjoy Landscape Pastime in Hanok (Traditional Korean-style House);Hangilsa 2011 [14] Joo N: Korean Gate and Windows;Daewonsa 2001; 94 [15] Cho J: Han-Ok, From tradition to modern;Housing Culture CO., LTD 2008

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[16] Lawrence L: Stained glass;Mitchell Beazley Publishers Limited 1976 [17] Marietta S. Millet: Light revealing architecture 1996; 148-149 v [18] Umberto E: Art and Beauty in the middle ages; Yale University 1986;47 [19] Cheong S: A Study on the Stained Glass of Korean Church Architecture;Sookmyung womens University 2008;8 [20] Doosan Encyclopedia: http://www.doopedia.co.kr [21] Oh Y: Catholic Church Architecture based on the Effect of Stained Glass on Architecture;Hongik University 2008 [22] Rolf T: The Art of Gothic;Konemann 1990;468-483

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Author biography

Hyunsoo Lee Ph.D. Architecture, University of Sydney, Professor at the Department of Housing and Interior Design, Yonsei University Email: hyunsl@yonsei.ac.kr

Profile
Professor Lee received the B.S. degree in Architectural engineering from Yonsei University in 1981, Ph.D. in Architecture, University of Sydney. After his postdoctoral work, Referee of Korea Institute of Construction & Transportation Technology Evaluation and Planning in 2001, Architectural Planning Design Consultant of Korea National Housing Corporation in 2003, Academic Director of The Korean Housing Association in 2004, Design Consultant of SH Corporation in 2005. He joined as Assistant Dean of College of Human Ecology, Yonsei University where he is currently Professor of the Department of Housing and Interior Design in 2007-09, Geumcheon-gu MP of Seoul Design Street in 2007-08, President of Society of Design Convergence in 2008 and Seodaemun-gu MP of Seoul Design Street in 2008-09. Also, in 2007, he directed interior design of Yonsei University Songdo Campus. He acts as Vice-President of Korea Institute of Ecological Architecture and Environment, and President of Korean Society Modern Hanok. His research interests have spanned various areas of Housing and Interior Design including Healthy House, Modern Hanok, Behavior-based Elderly Housing, Space Marketing, Enviromental Color Design and Mixed-Use Building. Lately he has started research work in The Continued Maintenance Technology of The Healthy Housing. Prof. Lee has been developing advanced maintenance system processing methods, management items according to residents needs and machine learning methods. He has published 3 books; Urban Colorscape(2006), Cultural space in Seoul(2008), Key Urban Housing of the Twentieth Century(2010) and more than 30 selected publications; A Study on the Customer Satisfaction and Preference of the Serviced Space in Large-scale Discount Store, The Architectural Institute of Korea, 2009.11, A spatial convergence model of the community space in the mixed-use high-rise residential building reflecting micro-trend life style, The Info Design Issue, 2009.11.

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Cross-cultural Comparative Analysis on the Notion of Traditional Windows of the East and the West
Hyunsoo Lee1,*, Hee-Joo Son1,*, YeonSookLee1,* Jeong Tai Kim2

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Window
Thought about window

Window as Window as Window as Window as

Faade, Style and Expression Opening Inside and Outside Relationship a source of Light and Air

Component of Window
Style

Material

Window

Light

Color

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Style

Color represents cultural identity.

Style

Tisal
Width, Height Rectangular Shape

Yongjasal
Pattern of Chines Character Yong()

Wanjasal
Pattern of Chines Character Man()

Azasal
Pattern of Chines Character Ah()

Chungjasal
Pattern of Chines Character Chung()

Guijasal
Pattern of Chines Characte Gui()

Guigapsal
Pattern of Turtles back

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Style
Chartres Cathedral
The virgin Mary and her son

Sainte-Chapelle
Holy Family with the young Saint John

Bern Mnster
Bible story

Cathedrale Notre-Dame
Saint

Canterbury Cathedral
Jesus and his disciples

Cologne Cathedral
Bible story

Light

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Light

Color
S 1002-Y S 1005-Y S 1010-Y S 1015-Y S 1020-Y S 1030-Y S 1040-Y S 1050-Y S 1060-Y S 1070-Y S 2002-Y S 2010-Y S 2020-Y S 2030-Y S 2040-Y S 0804-Y10R S 1505-Y10R S 1515-Y10R S 1005-Y20R S 1010-Y20R

S 1020-Y20R

S 1030-Y20R

S 1040-Y20R

S 4005-Y20R

S 4020-Y20R

S 3010-Y30R

S 3020-Y30R

S 3030-Y30R

S 0505-Y40R

S 0510-Y40R

S 0520-Y40R

S 0530-Y40R

S 0540-Y40R

S 1005-Y40R

S 1010-Y40R

S 1020-Y40R

S 1030-Y40R

S 1040-Y40R

S 1050-Y40R

S 2005-Y40R

S 2010-Y40R

S 2020-Y40R

S 2030-Y40R

S 2040-Y40R

S 2050-Y40R

S 3010-Y40R

S 0505-Y50R

S 0510-Y50R

S 0515-Y50R

S 0520-Y50R

S 0530-Y50R

S 1002-Y50R

S 2002-Y50R

S 2005-Y60R

S 2010-Y60R

S 2020-Y60R

S 4020-Y60R

S 2005-Y70R

S 2010-Y70R

S 2020-Y70R

S 2030-Y70R

S 2040-Y70R

S 4010-Y70R

S 4020-Y70R

S 1005-Y80R

S 1010-Y80R

S 1015-Y80R

S 1020-Y80R

S 1030-Y80R

S 1040-Y80R

S 1050-Y80R

S 1060-Y80R

S 2002-Y80R

S 2010-Y80R

S 2020-Y80R

S 2030-Y80R

S 2040-Y80R

S 2050-Y80R

S 1005-Y90R

S 1010-Y90R

S 1020-Y90R

S 1030-Y90R

S 3010-Y90R

S 3020-Y90R

S 3030-Y90R

S 3040-Y90R

S 3050-Y90R

S 5010-Y90R

S 5020-Y90R

S 6010-Y90R

S 0505-R

S 0510-R

S 0515-R

S 0520-R

S 0530-R

S 0540-R

S 0550-R

S 1002-R

S 2002-R

S 1005-R10B

S 1010-R10B

S 1015-R10B

S 1020-R10B

S 1030-R10B

S 1040-R10B

S 1050-R10B

S 1060-R10B

S 0505-R20B

S 0510-R20B

S 0515-R20B

S 0520-R20B

S 0530-R20B

S 1005-R20B

S 1010-R20B

S 1015-R20B

S 1020-R20B

S 1030-R20B

S 1040-R20B

S 1050-R20B

S 2005-R20B

S 2010-R20B

S 2020-R20B

S 2030-R20B

S 6005-R20B

S 1005-R30B

S 1010-R30B

S 1020-R30B

S 1030-R30B

S 1040-R30B

S 1050-R30B

S 3010-R30B

S 3020-R30B

S 3030-R30B

S 3040-R30B

S 4010-R30B

S 4020-R30B

S 4030-R30B

S 4040-R30B

S 2005-R40B

S 2010-R40B

S 2020-R40B

S 2030-R40B

S 2040-R40B

S 2050-R40B

S 5020-R40B

S 5030-R40B

S 1002-R50B

S 2002-R50B

S 3005-R50B

S 3010-R50B

S 3020-R50B

S 4005-R50B

S 4010-R50B

S 4020-R50B

S 4030-R50B

S 5005-R50B

S 5010-R50B

S 5020-R50B

S 2005-R60B

S 2010-R60B

S 2020-R60B

S 2030-R60B

S 2040-R60B

S 2050-R60B

S 3010-R60B

S 3020-R60B

S 3030-R60B

S 3040-R60B

S 3050-R60B

S 4020-R60B

S 4030-R60B

S 4040-R60B

S 0804-R70B

S 1010-R70B

S 1020-R70B

S 1030-R70B

S 1040-R70B

S 1550-R70B

S 2005-R70B

S 2010-R70B

S 2020-R70B

S 2040-B70B

S 2050-R70B

S 3010-R70B

S 3020-R70B

S 3030-R70B

S 3040-R70B

S 3050-R70B

S 2005-R80B

S 2010-R80B

S 2020-R80B

S 2030-R80B

S 2040-R80B

S 2050-R80B

S 4005-R80B

S 4020-R80B

S 4030-R80B

S 5005-R80B

S 5020-R80B

S 1005-R90B

S 1010-R90B

S 1015-R90B

S 1020-R90B

S 1030-R90B

S 1040-R90B

S 1510-R90B

S 1515-R90B

S 1560-R90B

S 6010-R90B

S 1002-B

S 2002-B

S 2010-B

S 2020-B

S 2030-B

S 2040-B

S 1002-B50G

S 1005-B50G

S 1010-B50G

S 1015-B50G

S 1020-B50G

S 2002-B50G

S 2020-B60G

S 2030-B60G

S 1010-B70G

S 1020-B70G

S 1030-B70G

S 4010-B70G

S 4020-B70G

S 4030-B70G

S 2005-B80G

S 2040-B80G

S 2050-B80G

S 2010-B90G

S 2020-B90G

S 2030-B90G

S 2040-B90G

S 2050-B90G

S 4010-B90G

S 4020-B90G

S 1002-G

S 2002-G

S 1005-G10Y

S 1010-G10Y

S 1020-G10Y

S 1030-G10Y

S 1040-G10Y

S 1050-G10Y

S 1060-G10Y

S 2005-G20Y

S 2010-G20Y

S 2020-G20Y

S 2030-G20Y

S 2040-G20Y

S 2050-G20Y

S 3005-G20Y

S 3010-G20Y

S 3020-G20Y

S 3030-G20Y

S 3040-G20Y

S 2005-G30Y

59

SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Material

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Material

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

View

Utilization of Variable Space through Opening and Closing of Windows

Haksajae Kimdongsoo Goteak

Yoonjoo Goteak

Hyangdan

61

SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Detail

Cross-cultural Comparative Analysis

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Characteristic Classification of Windows

Section Lighting Method

Items Kinds of light flowing into the inside Glazing objects Phenomena of light Symbols of light Religions based Characteristics of light Pursuit Functions Functionality External openness Relation with the door Pattern and decoration Materials and coloring Form and size of window frames

Semantic Characteristics

Functional Characteristics

Formative Characteristics

Comparison of lighting method between Hanji window and stained glass window

Section
Kinds of light flowing into the inside Lighting method Transmittion body Phenomena of light

Hanji window Indirect light Hanji Filtration, Diffusion

Stained glass window Direct light Stained glass Filtration, Refraction

Image

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Comparison of semantic characteristics between Hanji window and stained glass window

Section
Symbols of light Semantic characteri stics Religions based Characteristics of light Pursuit

Hanji window
A part of the nature an object to be followed Buddhism, Confucianism Delicate, Comfortable, Simple, Soft Beauty of moderation

Stained glass window

God, Wisdom, Life, Salvation Christianity sacred, Splendid Splendid and ornamental beauty

Image

Comparison of functional characteristics between Hanji window and stained glass window

Section Functions Functionality Function al character istics

Hanji window Variable use of a space Focused on practicality and artistry Well used function of opening and closing Variable production with coexistence of openness and closure Frequent mix

Stained glass window Decoration of a space Focused on artistry Hardly used function of opening and closing Stage effect of light in dark space Distinct division

External openness Relation with the door

Image

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

Comparison of Formative characteristics between Hanji window and stained glass window

Section Pattern and decoration Formati ve character ristics

Hanji window
-Repetition of simple geometric patterns. -Transformative patterns of Chinese -Characters or flora and fauna. -Different meaning for each pattern. -Natural materials not processed used -Humble and tranquil colors. -The same colors and materials are used as the external appearance of a building. -Rectangle -No big difference in size

Stained glass window

-Descriptive pictures. -Geometric patterns. -Contents of the Bible included. -Process materials used. -Various and showy colors. -Different materials and colors from the external appearance of a building are used. Various shapes and sizes according to the situations of the light and a space

Materials and coloring

Form and size of window frames

Image

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SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea 19 September 2012

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