Wall-embedded ventilators, which are commonly used for ventilation of buildings, greatly damage the aesthetics of the building due to pollutants such as dust and grease sticking to the fan and gaps of the ventilator as the period of use increases. For this aesthetic reason, it is often installed in a place that is not easily visible to people, and if the ventilation fan is not properly arranged and installed, it is difficult to maintain indoor air in an optimal state. In this study, the effect of the arrangement of ventilators on indoor ventilation performance was investigated. Comparisons were made between the case where three ventilators were concentrated and the case where they were spaced apart at regular intervals. It was found that the ventilation performance was different depending on the location where the ventilators were installed.

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.