hanji window

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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,*

, Yeon Sook Lee1,*

, Jeong Tai Kim2,*

1Department of Housing and Interior Design ,Yonsei University, Seoul,Korea

2Department 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 Eastand 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

SHB2012 - 8th International Symposium on Sustainable Healthy Buildings, Seoul, Korea19 September 2012

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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 ordisconnects 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 thanby 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 ofusing 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 theChosun 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 studyinvestigated 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 Items

Lighting Method

Kinds of light flowing into the inside

Glazing objects

Phenomena of light

Semantic Characteristics

Symbols of light

Religions based

Characteristics of light

Pursuit

Functional Characteristics

Functions

Functionality

External openness


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Relation with the door

Formative Characteristics

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 toarchitecture. 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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gives a thought to a lighting of direct sunlight, a statue of the Buddha in Korean temples usesa 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.CheongsachorongAs 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 awindow. 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 spacewith 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 Koreanhouses, 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 athome. Like this, the window and door in Korean traditional architecture have a nature

satisfying practicality and artistry simultaneously. (Figure6)

ByungsanseoneChangdukoong(Naks

ungjae)

ChungyeochangGo

teakHadongGoteak 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

RectangularShape

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 chestnuttrees 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 theoriginal 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 alsofinishing 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 thehighest 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 mostoriginal 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 instained 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 theadjustment 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 orreduced 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 thatsymbolize 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 mysteriouschanges 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 thicknessof 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 thanfor 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 byhaving a clear contrast between light and dark, darkness in space and the state of being closed

were emphasized in expressing light.

CathedraleNotre-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 dyeinside 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 areused 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 possibleso that the indoor space of the temple was like a heaven. Stainless glass was used for thewindows, 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 anddelicate, showing different themes and color compositions depending on the intensity and

location of light. The stained glass windows typically had geometrical patterns, and picturesthat 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, whichare 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 storyFigure9.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 comein 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 thelighting 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 forstained glass windows, colored glass is the light transmission body. For Hanji windows, dueto 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 ofdirect light and then gets refracted.

Section Hanji window Stained glass window

Lightingmethod

Kinds of light

flowing into theinside

Indirect light Direct light

Transmittionbody

Hanji Stained glass

Phenomena

of lightFiltration, Diffusion 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 theysaw 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.


Semanticcharacteristic

s

Symbols oflight

A part of the naturean object to be followed.

God, Wisdom, Life, Salvation

Religionsbased

Buddhism, Confucianism Christianity


Delicate, Comfortable,Simple, Soft

sacred, Splendid

Pursuit Beauty of moderation 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, throughopening and shutting, appropriation and flexible use of space. Therefore, practicality and

artistic value were both considered important, and space could be varied with the coexistenceof 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.


Functionalcharacteristics

Functions Variable use of a space Decoration of a space

FunctionalityFocused on

practicality and artistryFocused on artistry

External

openness

Well used function of opening andclosing

Variable production with coexistence of

Hardly used function of opening andclosing

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 patternsrepresented 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 variousshapes and sizes depending on the direction and intensity of light, and height of the ceiling,

etc.


Formative

characterristics

Pattern anddecoration

-Repetition of simple geometricpatterns.

-Transformative patterns of Chinese -Characters or flora and fauna.-Different meaning for each pattern.

-Descriptive pictures.-Geometric patterns.

-Contents of the Bible included.

Materials

andcoloring

-Natural materials not processed used -Humble and tranquil colors.

-The same colors and materials are usedas the external appearance of a building.

-Process materials used.-Various and showy colors.

-Different materials and colors from theexternal appearance of a building are used.

Form andsize of

windowframes

-Rectangle-No big difference in size

Various shapes and sizes according to thesituations of the light and a space


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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 theircharacteristics 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 theHanji 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 ofand 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, spatialdistinction 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 glassmainly 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 thesame 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, whilestained 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 suchcharacteristics. Hence, with various experiments and creative innovations, both stained glass

and Hanji window are proving their infinite possibilities as inherent architectural arts, not assimple 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 fundedby 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, Transportand Maritime Affairs of Korean government.

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[6] Kim R: A study of direction on lighting design at external space of apartment house based onKorean emotion of light;Hongik University 2007

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[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

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[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 womensUniversity 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;HongikUniversity 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: [email protected]

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 ofthe 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 Faade, Style and Expression

Window as Opening

Window as Inside and Outside Relationship

Window as a source of Light and Air

Component of Window

Window

Style

Light

Color

Material


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Color represents cultural identity.

Style

Style

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

Character

Chung()

Pattern of Chines

Characte Gui()

Pattern of

Turtles back


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Style

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

Saint Jesus and his disciples 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 S1050-Y S 1060-Y S 1070-Y S 2002-Y S 2010-Y S 2020-Y S2030-Y S 2040-Y S 0804-Y10R S 1505-Y10R S 1010-Y20RS 1 51 5- Y 10 R S 1 00 5- Y 20 R

S 1020-Y 20R S 1030-Y20R S 1040-Y20R S 4005-Y20R S 4020-Y20R S 3010-Y30R S 3020-Y30R S 3030-Y30 R 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 2005-Y 40RS 1 04 0- Y 40 R S 1 05 0- Y 40 R

S 2010-Y40R S 2020-Y40R S 2030-Y40R S 2040-Y40R S 2050-Y40R S 3010-Y 40R S 0505-Y50R S 0510-Y50R S 0515-Y50R S 0520-Y50R S 0530-Y50R S 2005-Y60R S 2010-Y60 R S 2020-Y60R S 4020-Y60R S 2005-Y70R S 2010-Y70R

S2040-Y70R

S2020-Y70R

S 2030-Y 70 R S 4010-Y 70 R S 4020-Y 70 R S 1005-Y 80 R S 1010-Y 80 R S 1015-Y 80 R S 1020-Y 80 R S 1030-Y 80 R S 1040-Y 80 R S 1050-Y 80 R S 1060-Y 80 R S 2002-Y 80 R S 2010-Y 80 R S 2020-Y 80 R S 2030-Y 80 R S 2040-Y 80 R S 2050-Y 80 R S 1005-Y 90 R

S1030-Y90R

S1010-Y90R

S 1020-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 S0505-R S 0510-R S 0515-R S 0520-R S 0530-R S 0540-R S 0550-R S 1005-R10B

S1010-R10B S 1030-R10BS 1015-R1 0B S 1020-R1 0B S 1040-R1 0B S 1050-R1 0B S 1060-R1 0B S 0505-R2 0B S 0510-R 20B S 0515-R 20B S 0520-R2 0B S 0530-R2 0B S 1005-R2 0B S 1010-R2 0B S 1015-R2 0B S 1020-R2 0B S 1030-R 20B S 1040-R2 0B S 1050-R2 0B S 2005-R2 0B

S 2010-R20B S 6005-R20BS 2020-R2 0B S 2030-R2 0B S 1005-R3 0B S 1010-R3 0B S 1020-R3 0B S 1030-R3 0B S 1040-R3 0B S 1050-R3 0B S 3010-R3 0B S 3020-R 30B S 3030-R3 0B S 3040-R3 0B S 4010-R3 0B S 4020-R 30B S 4030-R3 0B S 4040-R3 0B S 2005-R 40B S 2010-R4 0B

S 2020-R40B S 2050-R40BS 2030-R40B S 2040-R40B S 5020-R40B S 5030-R40B 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-R6 0B

S 2020-R60B S 2030-R60B S2040-R60B S 3020-R60BS 2050-R6 0B S 3010-R6 0B S 3030-R 60B S 3040-R6 0B S 3050-R6 0B S 4020-R6 0B S 4030-R6 0B S 4040-R6 0B S 0804-R7 0B S 1010-R7 0B S 1020-R7 0B S 1030-R7 0B S 1040-R7 0B S 1550-R7 0B S 2005-R7 0B S 2010-R7 0B

S 2020-R70B S 2040-B70B S 2050-R70B S 3030-R70BS 3010-R7 0B S 3020-R7 0B S 3040-R7 0B S 3050-R7 0B S 2005-R8 0B S 2010-R8 0B S 2020-R8 0B S 2030-R8 0B S 2040-R 80B S 2050-R 80B S 4005-R8 0B S 4020-R8 0B S 4030-R8 0B S 5005-R8 0B S 5020-R8 0B S 1005-R9 0B

S 1010-R90B S 1015-R90B S 1020-R90B S 1510-R90BS 1030-R90B S 1040-R90B S 1515-R90B S 1560-R90B S 6010-R90B S 2002-B S2010-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 2020-B60G S 2030-B60G S 1010-B70G S 1020-B70G S 4020-B70GS 1030-B7 0G S 4010-B7 0G S 4030-B7 0G S 2005-B8 0G S 2040-B8 0G S 2050-B8 0G S 2010-B9 0G S 2020-B9 0G S 2030-B 90G S 2040-B9 0G S 2050-B9 0G S 4010-B9 0G S 4020-B9 0G S 1002-G

S 1005-G10Y S 1010-G10Y S 1020-G10Y S 1030-G10Y S 1040-G10Y S 2005-G20YS 1050-G 10Y S 1060-G 10Y S 2010-G 20Y S 2020-G 20Y S 2030-G 20Y S 2040-G 20Y S 2050-G 20Y S 3005-G 20Y S 3010-G 20Y S 3020-G 20Y S 3030-G 20Y S 3040-G 20Y S 2005-G 30Y

S 1 00 2- Y 50 R S 2 00 2- Y5 0 R

S 1002-R S 2002-R

S 1 00 2- R5 0 B S 2 00 2- R5 0B

S1002-B

S2002-B50G

S2002-G


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Material

, . .

Material

, . .


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View

Utilization of Variable Space through Opening and Closing of Windows

Haksajae Kimdongsoo Goteak

Yoonjoo Goteak Hyangdan


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Detail

Cross-cultural Comparative Analysis


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Characteristic Classification of Windows

Section Items

Lighting Method

Kinds of light flowing into the inside

Glazing objects

Phenomena of light

Semantic Characteristics

Symbols of light

Religions based


Pursuit

Functional Characteristics

Functions

Functionality

External opennessRelation with the door

Formative Characteristics

Pattern and decoration

Materials and coloring

Form and size of window frames


Lighting

method

Kinds of light flowing

into the insideIndirect light Direct light

Transmittion

bodyHanji Stained glass

Phenomena

of light Filtration, Diffusion Filtration, Refraction

Image

Comparison of lighting method between Hanji window and stained glass window


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Semantic

characteri

stics

Symbols of lightA part of the nature

an object to be followed

God, Wisdom, Life,

Salvation

Religions based Buddhism, Confucianism Christianity

Characteristics of lightDelicate, Comfortable,

Simple, Softsacred, Splendid

Pursuit Beauty of moderationSplendid and ornamental

beauty

Image

Comparison of semantic characteristics between Hanji window and stained glass window


Function

alcharacter

istics

Functions Variable use of a space Decoration of a space

FunctionalityFocused on

practicality and artistryFocused on artistry

External

openness

Well used function of opening

and closingVariable production with

coexistence of openness and

closure

Hardly used function of

opening and closing

Stage effect of light in

dark space

Relation with the

doorFrequent mix Distinct division

Image

Comparison of functional characteristics between Hanji window and stained glass window


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Formati

ve

character

ristics

Pattern and

decoration

-Repetition of simple geometric

patterns.

-Transformative patterns of Chinese

-Characters or flora and fauna.

-Different meaning for each pattern.

-Descriptive pictures.

-Geometric patterns.

-Contents of the Bible included.

Materials and

coloring

-Natural materials not processed

used -Humble and tranquil colors.

-The same colors and materials are

used as the external appearance of a

building.

-Process materials used.

-Various and showy colors.

-Different materials and colors

from the external appearance of

a building are used.

Form and size of

window frames

-Rectangle

-No big difference in size

Various shapes and sizes

according to the situations of the

light and a space

Image

Comparison ofFormative characteristics between Hanji window and stained glass window


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hanji window

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