Resor House can be considered significant since it provides a meaningful clue to understanding the changes in Mies' conception of architectural space, particularly the relationship between the interior and the exterior spaces. In this light, this paper focuses on the following characteristics of the living room of Resor House. Firstly, in terms of spatial characteristics, the paper discusses the idea that there is an enhanced relationship between the interior and the exterior spaces of Resor House. This is achieved by minimizing the use of fixed elements other than the ceiling and floor in the living room space, and through the emphasis of its objet-like characteristic, resulting in a homogeneous, continuous, and hierarchical composition for the overall living room space. Secondly, the paper examines the idea that a building can act as a visual frame that forms a single integrated visual whole between the inside and the outside, while maintaining the inherent properties of the interior and exterior spaces. This aspect can explain the fact that after Resor House, the role of architecture as a device to create the relationship between spaces, especially of those between the interior and exterior, becomes more emphasized in Mies' architecture. In addition, Resor House is also significant in that concrete solutions to the country house idea, which appeared conceptually during Mies' German era, particularly as a precise study on its interior space, are actively suggested through this project. In so doing, Resor House exemplifies Mies' concrete experiments on the possibility of integrating the interior space into the exterior environment on a site that has abundant natural features.

The concept of a spectacle as an element of urban landscape is demonstrated by the relationship between the idea of sensible urban experiences and the surface of architecture. The face of architecture can go beyond visual experiences and create surfaces that communicate images by expressing a spectacle. In other words, the installations and surface finishes of architecture make it possible for us to use architecture as a tool for experiential marketing. This study was conducted in order to understand the spectacle phenomenologically as a means of expression in urban consumer space that constantly changes according to the development of the media in urban consumer spaces, and according to the changes of visual perception. In addition, the spectacle is seen as a surface element of architecture that creates urban landscapes. The purpose of this study is to examine how rhetorical expressions of spectacles are used as strategic tools to merchandize architecture as a component of urban landscapes. In conclusion, the authors discuss what roles spectacles play in consumer spaces in order to determine the representative characteristics of surfaces in an attempt to understand architectural surfaces of contemporary urban landscapes as a phenomenon of perceptive communication.

Contemporary architectural surfaces created by various pattern and image formations have become possible with the advancement of computer simulation technology and through fabrication that allows the effective production of repetitive and variable materials. These architectural surfaces are perceptively stimulating and individualized in urban settings. Digital technology generates architectural surfaces with simulated images that reflect today's consumer-oriented society. This research represents an attempt to demonstrate the appropriateness of digital technology as a tool for the active creation of simulated surface effects in urban environments. This connection establishes the association between images of superficiality and the human sensory experience in architectural surfaces. Contemporary architectural surfaces overcome the "old school" formula that links reality with its representation. With the utilization of digital fabrication technology to produce simulacra, modern day architects have reconfigured the perceptions about architectural surfaces, thereby enhancing their performance in urban settings.

Hubbe House, designed by Mies van der Rohe in 1935, although not actually built, is significant in that it marks the first application of his theoretical idea of a court to an actual site. In the Hubbe House, Mies's concept of a court, which he presented theoretically for educational purposes, was applied to build a practical and complex structure with consideration of site conditions and architectural ideas he had long sought to use. This paper interprets his idea concerning court in the following ways. First, as for its relationship with the interior space, the court has significance and effect as a method to make the relationship between the interior and exterior spaces more active. Second, the court prevents the view from extending beyond the site by means of intentionally devised obstructions. As a result, "quiet seclusion" is created in the court by blocking out the often hectic confusions of the outside world. Third, the court is designed to have both open natural scenery and closed artificial scenery, which are in contrast to each other, creating a harmonized composition of the building as a whole.

This study aims at analyzing the evolution and spatial characteristics of specific walls that dinstinguish Mies van der Rohe's buildings, by introducing the concept of "the wall as objet" for an analysis tool. The wall as objet signifies that the wall has characteristics as a visual and plastic object. In Mies's works, the wall as objet evolved gradually throughout his architectural career. In its early stage, the wall as objet becomes a visual object, while it functions as an independent element in self-complete form. However, it gradually changes to become a component of the whole rather than a self-complete element. As for its physical properties, while the earlier wall keeps its identity through materiality of the wall itself, characteristics of the objet as a pure image gradually increase, and eventually exclude materiality. This evolution process of dematerialization of the wall as objet is also accompanied by the gradual changes in its spatial characteristics which as a continuous and empty background.