• 건축역사연구
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• 제15권2호
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• pp.171-184
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• 2006

• 건축역사연구
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• 제24권1호
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• pp.51-60
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• 2015

This study aims to examine the brief statement about the historiography of architecture by the French philosopher Michel Foucault and the possibility of a historical description according to his method. His historiographic proposition, "the history of architecture back in (the) general history of techne," is a novel idea not only for his contemporaries but also for us. To grasp the meaning of Foucault's proposition, we begin by considering his position with regard to architecture or architectural space in certain discussions till then. We then compare his standpoint on historical recognition with other viewpoints about historical narratives that can be found in books written since 1930. Finally, we interpret the concept of "techne" in the sense of "relation," whose objectivation is for him his concern on architecture and examine possible aspects and their limits.

• 건축역사연구
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• 제26권1호
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• pp.71-82
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• 2017

Pavilions, follies, and installations provide a place with a new experience beyond that of simple garden architecture. From this point of view, this study tried to analyze the constructs in the Glass House site, which Philip Johnson has built for 50 years. After Chapter 1 Introduction, which summarized the background of the study, Chapter 2 investigated the design background of the landscape and the types of the constructs there. It also, studying literature on pavilions, follies, and installations, defined the basic meanings of them. Chapter 3 identified the features of each construct through the case studies of it, analyzing Johnson's intentions on it. These features are such as the applications of classical follies, the quotations of architectural history, fusion with art, architectural experiments, and the monuments of personal history. In conclusion, this study, finding the site specificity as a common feature of pavilions, follies, and installations, referred to two aspects of this, which are not only physical placeness but also cultural media.

• 건축역사연구
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• 제16권5호
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• pp.41-54
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• 2007

The Fagus Factory at Alfeld on the Leine in Germany, which was built in 1911 and 1914, is a well-known and very important object in the history of modern architecture. Alan Colquhoun mentioned that it is "prophetic of the 'objective' (sachlich) Modern Movement of the 1920s". Vittrio M. Lampugnani evaluated it as "a Pioneer building of the architectural Realism". Most of historian of architecture explain that these achievements were accomplished mainly by the master architect Walter Gropius and sometimes by his co-worker Adolf Meyer. Through investigating the background in the planning stage and the process of design it is to try to find out what is truly happened during the project time. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; who or which elements have influence on the Fagus Factory? and what kind of problems can be caused by the digested architectural history?

• 건축역사연구
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• 제6권1호
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• pp.81-90
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• 1997

The 1960s is a transitional era in the history of architecture. The Byker housing redevelopment project well reflects this situation, and is a good example of materialization of social pluralism and expressional needs of a community. Therefore it was investigated in order to see its meanings in the history of mass housing in the Western countries. The conclusions are as follows: It is the first large-scale project where the concept of user participation was sucessfully realized; It suggested various tools of desirable design methodology; It made a paradigmatic change from modernism to post-modernism in the history of contemporary mass housing projects.

• 건축역사연구
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• 제29권5호
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• 건축역사연구
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• 제2권2호
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• pp.9-25
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• 1993

The storehouse for ice was an installation to use the ice during summer season. Even though it shows various versions of styles according to the different periods and regions, it consistently developed through the history with structural characteristics. In this study, first, the management of the icehouse system through the history is examined; second, seven existing icehouses in Korea are investigated in terms of their size, material, history, structure ; and finally, the structural patterns of the ice houses are examined.

• 건축역사연구
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• 제2권2호
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• pp.119-130
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• 1993

Berlage's importance in the history of the Modern Movements of Architecture lies in his effort to combine several sets of contradictory dual aspects of architectural values. Tradition and modernity are one of the contradictory dual aspects. For Berlage, tradtion and modernity were not tow opposing, but reconciliatory concepts. In this sense, Berlage thought that modernity did not mean a total rejection, but a reinterpretion of tradition. Berlage's concern with his contemporaty architectural situstion was how to revive the stagnant repetion of past styles in Historicism and, at same time, how to prevent an extreme rejection of tradition by the Avant-Gardists. Berlage's architectural belief that neither stagnant imitation of past styles nor extreme revolution can be an ideal model for his era, lies in a traditional art theory of 'style evolution' and the interpertation of Nature's lessons for it. This study is to understand Berlage's concept of 'style evolution' and the meaning of tradition and modernity in the early Modern Movements of Architecture.

• 건축역사연구
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• 제8권2호
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• pp.109-118
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• 1999

The purpose of this paper is to apply Stephen C. Pepper's contextualism to architecture: to interpret the former in the light of architectural theory, and ultimately to liberate architecture from the Western 'Idea' and return it to its context. The major concepts of Pepper used in the paper are quality, texture, spread, change, fusion, strand and context. Pepper's contextualism makes us realize that architecture cannot be separated from its context where human beings, history, neighborhood, and nature are all interpenetrating, and create a quality. Contextualism thus teaches us to make an effort to understand the region where we belong, and to create an architectural device that interrelates form and function of an architecture with its space-time environment, or its strand, texture and context.

• 건축역사연구
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• 제24권4호
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• pp.45-54
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• 2015

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire, on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.