Introduction:
In the recent academic study of architecture, "spatial composition theory" has achieved a certain result for comprehension of various architectural forms. The theory allows a cross-sectoral analysis beyond building types by extracting an arrangement of abstract volumes without finishes and scale. On the other hand, along with the practice of new materials which are continuously developed, many contemporary architectural works based on "Critical regionalism" are appearing that utilize existential information on conventionalized materials. Under these circumstances, we think that analyzing the complementary relationship between the compositional character related to the spatial forms and the superficial character related to finishes of materials will give practical insight for designing and comprehending contemporary architecture. Therefore, this study aims to clarify the spatial integration design through superimposing the compositional character by rooms and the superficial character by the finishes targeting to contemporary art museums that deploy rooms with various functions sequentially.
Methods:
Firstly, we extract rooms which are the unit space from museum and analyze its function, arrangement and continuity; then we regard the relationship among rooms obtained as "Rooms Layout" and situate the compositional character of spatial integration. Secondly, we extract finishes on the spatial component faces and analyze its classification, arrangement and continuity; then we regard the relationship among finishes obtained as "Finishes Layout" and situate the superficial character of spatial integration. Subsequently, we elicit types of the space integration design in contemporary art museums by superimposing these compositional and superficial characters of spatial integration. In addition, we compare each type and organize the relationships among the types.
Results:
The result of superposing and examining compositional and superficial characters of spatial integration in contemporary art museums elicited 11 major types of spatial integration design. Considering the three types that match the integration scope of both "Rooms Layout" and "Finishes Layout" derive the remaining eight types, it is possible to regard that the gap of the integration scope by the composition and the superficies creates the diversity of contemporary art museums. In addition, because there is no case that "no integration" in "Finishes Layout", it is possible to consider that finish is used as a means for integrating spaces potentially in contemporary art museum. In this way, we clarified that the spatial integration in contemporary art museums is characterized by variously combining the relationships such as dependence on the function, whole and part, interior and exterior, at different aspects of compositional and superficial means.
Conclusion:
Since the study that systematically considering the spatial integration of architecture from the relationship between spatial composition and superficial finish has never been seen, this study is useful as a document to comprehend the design method of the contemporary architecture which has a stronger relationship that space form and material as well as art museum.
