• 건축역사연구
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• 제26권6호
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• pp.41-54
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• 2017

One of the reasons why Louis I. Kahn is regarded as a pioneer of Post-Modern Architecture is that his works are interpreted as Structuralism and Post-structuralism in architecture. A. $L{\ddot{u}}chinger^{\prime}s$ interpretation of Structuralism and M. Benedikt's interpretation of Post-structuralism; especially Deconstruction Theory, in Kahn's architecture must be proper cases for understanding this context. However, when we precisely analyze their insistence, several fallacies can be found with their incomplete grasp of Kahn's architectural thinking. The most problematic thing is that they maximize fallibility with focusing only on the analysis of superficial phenomenon, such as formal composition, disposition of space, decorative features, and so on. Therefore, the meaning of architectural essence toward Post-Modern Architecture which Kahn had pursued during his lifetime is sometimes misinterpreted. For this reason, this paper attempt to reanalyze Kahn's philosophy of architecture deeply with the view of aesthetics which has a key role in both overcoming their fallacies and illuminating the potentiality of Kahn's architecture.

• 의료ㆍ복지 건축 : 한국의료복지건축학회 논문집
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• 제15권4호
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• pp.13-21
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• 2009

Healthcare design is always challenged to come up with the rapid changes in healthcare system and industry as well as complicated planning requirements. This thesis aims to grab good instructions from Louis I Kahn who designed more than 15 healthcare projects during his entire life, from the winning project of the student competition in 1920 to Ayub hospital in Dhaka, Bangladesh after his death. His many hospital projects are deeply related to his famous projects such as Yale Art gallery, Philips Exeter Library, and Sher-E-Bangla Nagar national capital of assembly hall. But, it is not easy to find the researches about his hospital projects among many books and theses about him. Thus, this thesis investigates them and their contextual and historical relationships in order to find the way to apply his knowledge and philosophy about healthcare design to the modern hospital projects. We expect that it will promote more following researches for his healthcare projects.

• 한국실내디자인학회논문집
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• 제21권6호
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• pp.168-176
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• 2012

The aim of this study is to review the meaning of technologies in the works of Louis I. Kahn. Kahn's main architectural thoughts of 'what it wants to be' and 'how it was done' are important in this research because these statements represent the ontology of his architecture and tectonic characteristics. These divisions also can be effective in studying relationship between technology and his architecture. 'What it wants to be' means the essence and existence of architecture and 'how it was done' shows the tectonic of architecture and construction process to enhance its presence. Kahn used technology as solutions for partial problems in his early years but later he changed its role as media to realize his concept ideally. He considered technology as enhancing building's existence rather than its functional and economical efficiency. Kahn also visualize the usage of technology through detail and construction process. He developed his technology in 'application-modification-complement' process as he executed projects over again. As a result, technology itself cannot drive Kahn's architectural thoughts in a certain way but Kahn emphasized technology as media to enhance the presence of his architecture and to present visualization and realization of his concepts.

• 한국실내디자인학회논문집
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• 제37호
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• pp.39-47
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• 2003

The purpose of this paper was to analyze and to compare the creativity of Nam-June Paik and Louis 1. Kahn to understand the characteristics of creative people. Both of them got strong supports from their family and close people. As they were not originally from the U.S., political and city environments where they settled in the U.S. for the first time strongly influenced their creative activity. The difference in the creative contexts of Paik and Kahn is that Paik had more visual cues in his childhood due to the rich environments. The various visual cues influenced his wide interests in video arts. In creative process, even though both of them more focused on the beginning stage of creative process, there were differences in creative problem solving styles. Kahn considered the imaging and perception as the most Important working process. For him, intuition(gestalt view) and ideation(generator) are more important than intellectual skill. On the other hand, Paik thought the symbolization(conceptualizer) based on his own experience and philosophy(associationism) was the most important.

• 건축역사연구
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• 제18권2호
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• pp.85-105
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• 2009

This study set out to compare and analyze the influences Kabbalah, which was Louis I. Kahn's faith as a Jew, on his architecture based on Freud's psychoanalysis that had many exchanges with modernism and contemporary architecture and theories. The specific goals of the study were to shed light to Kahn's presence in contemporary architecture anew and establish the methodology of using psychoanalysis in building new theories of architectural planning. When the theories of psychoanalysis were introduced for comparison and analysis purposes, Kahn tried to differentiate his buildings by placing a function or symbolic central space at the heart of a building even though he did adopt a characteristic of modernism architecture, which was placing a core at the centre of plan, for a while. Such a tendency of his was based on Jung's opinions rather than Freud's and affected by Ecole des Beaux-Art. The analysis results also indicate that he conceived "Served Space & Servant Space," "architecture of connection" and "silence and light" that made up the essence of his architectural theory from the relationships between Ayin-Sof, Kabbalah's absolute god, and Sefiroth. It's also very likely that his often use of triangles and circles in his architecture was affected by the Tree of Sefiroth diagram of Kabbalah. His tendency is well reflected in Salk Institute and Philips Exeter Academy Library, where he placed a laboratory or courtyard at the center where a core was supposed to be, created a corridor or courtyard space between those central spaces and the core, and connected them one another with to perceive the being of Ayin-Sof into an architectural space, which is well proven with Mikveh Israel Synagogue where he directly applied the Tree of Sefiroth diagram. The synagogue also contained a hollow column that served as an important concept in his late architecture. The hollow column was also the result of him applying the concept of Sefiroth of the place where Ayin-Sof Was reduced in Kabbalah.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.114-121
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• 2005

Louis 1. Kahn was a wise architect who learned from history. He developed his own unique architecture by combining his creative sense with design principles and vocabularies that can be found in historical architecture. When restricting a space, he surrounded the space with thick walls as it had been done in historical buildings. The interior space encompassed by this method became a center-oriented and stable space. The objective of this study is to find the characteristics of Kahn's interior spaces by analyzing his projects in terms of space, form, daylight and materials. For this purpose, five works that are considered to have significance from the aspect of interior design were selected and analyzed. The characteristics realized through this study are as follows. A) Spatial features: 1) Generally speaking, each required space has been arranged symmetrically. 2) Being clearly defined as the main space, the subsidiary space, or the service space, each space also was placed very functionally. 3) The space encompassed by thick walls became a center-oriented, stable space. And in most case, it was characterized as a dark space. B) Formative features: 4) The space was defined as a basic solid such as a cylinder, a hexahedron, and an octagonal box, and was developed into a complex shape by the recessed windows. 5) Historical vocabularies such as an arch, a vault, and a dome were reinterpreted in new ways by kahn's own eyes. 6) Haying diverse shapes, the skylights enrich the space in terms of form. C) Daylight feature: 7) The vertical light entering through the skylights creates a solemn and mysterious atmosphere. 8) Given the shadows from the windows that change according to time, the interior space becomes a very vivid space. D) Material feature: 9) Harmonized with cold and smooth materials such as exposed concrete, metal, and glass, the interior space provides a modern atmosphere. 10) Warm appearing wood was used for furniture and part of walls or floors. The effective use of wood takes on a role that is quite complementary to the cold ambience of the smooth and cold materials. 11) With flexibility In building shapes, the concrete becomes the form-endowing materials.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.171-180
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• 2012

The purposes of this study were to compare Louis I. Kahn and Rem Koolhaas, both of whom established their architectural theories and granted rationality to them by applying the theory of psychoanalysis, and examine common and different characteristics in the inner space composition of a building between them. The study also set out to confirm a basic premise based on which to develop a metaphysical design concept by applying the theory of psychoanalysis in the inner space composition of contemporary architecture in future from the more developed and integrated perspective of modern psychoanalysis. As a result, Kahn sought after a metaphysical design concept through the combinations of inner unit spaces including servant and served space, which are comparable to the confrontation between consciousness and unconsciousness from the perspective of psychoanalysis. Unlike him, Koolhaas applied the concept of folding to his architectural plans based on the theory of post-structuralism and created a metaphysical design concept by more focusing on connections between unit spaces rather than their combinations. While Kahn worked on his designs with much interest in the combinations of inner unit spaces in horizontal circulation by separating it from vertical circulation, Koolhaas created a new design concept beyond the limitations of Kahn, who had a confronting, dichotomous view of the world between the phenomenal world and the metaphysical world, by making use of inclined slabs to connect upper slabs with lower ones. The findings show that there can be various metaphysical design concepts depending on how to connect and combine two confronting concepts when applying the theory of psychoanalysis to architectural design.

• 대한건축학회논문집:계획계
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• 제36권4호
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• pp.3-11
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• 2020

The fireplace has been inseparable from the wall. Therefore, the fireplace, which is independently revealed in the living room, is unusual and exceptional. According to the concept of "Served-Servant space" by Louis Kahn, "Servant space" is conceived as an inhabited thick wall and completely separated from "Served space." The fireplace is an apparent servant element, but in Fisher house, it is considered as the single, remarkable and major element composing the house. Paradoxically, this scene of the living room is in conflict with Kahn's ideas on "Servant space." This study sheds new light on the independent fireplace in the conflicting relationship and suggests the similarities with the contemporary cases-Le Corbusier & Philip Johnson-in terms of the stand-alone "Servant element." In the end, the independent fireplace of the Fisher house has transformed into an essential element of the house, as Kahn said that "I feel it[fireplace] represents the presence of a man and therefore is of home."

• 건축역사연구
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• 제18권4호
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• pp.25-41
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• 2009

Louis I. Kahn is cleary one of 20th century great architects. The character of his philosophy of architecture can be condensed as simple words; Architectural Essence, because the very nature of his work based on historicity is so fundamental. Some contemporary architects and architectural critics regard it as a symbol of Post-Modern Architecture era expressing relative multiplicity or an expression of Heideggerian existentialism, but others do as the attribute of fundamentalist like absolute Plato's Idea. Comparing the former, studies of the latter theme have been executed superficially and somewhat biasedly for last decades. In the context, this paper attempt to reanalyze Kahn's idea of 'Architectural Essence' with the deep view of Platonist focused on the concept of binary opposition and causality.

• 건축사
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• 3호통권383호
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• pp.92-99
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• 2001

96년 미국과 멕시코로 루이스 칸과 바라간 등의 건축 답사를 다녀온 후로, 우리 전통 문화유산을 두루 보러 다녔다. 그동안 가까이 있는 것은 언제건 보겠거니 하고 미뤄 온 터라, 우리 것을 너무 도외시해 온 것 같은 자책감이 생겼기 때문이다. 그리고 건축관에 변화가 있는건 아니지만, 답사하면서 이따금 좋은 느낌을 만나 반가웠다. 솔직히 말해서 다 그런 것은 아니고 손꼽아 말할 수 있었다. 그러면서 필자는 건축적 가치의 획득이 고전과 현대 또는 양식의 차이에 의해서가 아니고, 자체의 성공 여부에 있다는 것을 확신하게 되었다. 건축의 본질은 변함없으며, 건축에 반영된 시대 상황이 다를 따름이라 생각한다. 우리는 훌륭한 문화유산을 많이 갖고 있다. 하지만 국가나 개인의 살림이 넉넉해서 그렇게 되어졌다고 생각지는 않는다. 종묘가 만들어진 것은 정신적 힘에 의해 이룩됐을 것이다. 그렇게 해서 지금 우리에게 위대한 모습으로 남겨 있는 것이 감사하다. 전통건축은 현대 사유 체계로는 추구될 수 없는 이상적인 모습을 띠고 있다. 그리고 오늘날 건축의 자본주의 행태와 대조되는 교훈도 느낀다. 도대체 우리 선조들에게는 구도하듯 짓는 어떤 전통이 있었기에 그렇게 훌륭한 건축이 남겨질 수 있었을까? 그 흔적을 나름대로 찾아보고자 한다.