• 건축역사연구
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• 제1권2호
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• pp.149-158
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• 1992

Andrea Palladio created many architectural languages based on the authority of existing Renaissance architecture. This paper aims at understanding the architectural design methodology of Andrea Palladio and the organization of his architecture through its plans and elevations. For this purpose, the principles to which he applied are studied. His architectural principles, derived from his treaties, 'Four Books of Architecture' are analysed. Based on his principles, elevations of villas are analysed and villas are categorized according to organization of elements.

• 한국디지털건축인테리어학회논문집
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• 제12권4호
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• pp.77-85
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• 2012

The works of Vicenzo Scamozzi, the successor of Andrea Palladio are able to be comparable with Palladio's works in various ways. When comparing Villa Pisani of Scamozzi with Villa Rotonda of Palladio, their difference is evident. Both Villa Pisani and Rotonda are vacation villas located on low hills and have the magnificent beauty that overpowers their surrounding rural sceneries. However, Scamozzi doesn't show an obsession about Palladio's proportion. Palladio expressed the symbolic meaning of the villa as the center of surrounding rural scenery by having same porticos for all four facades of a square. On the contrary, Scamozzi built a portico only for one facade and constructed open loggias with serliana motif for other three facades. These loggias help lighting and ventilation of rooms located behind of loggias. Geometric innocence that is pursued by Palladio's villa can be understood as the archeological classism based on the nature interpretation from a classical viewpoint. On the contrary, Scamozzi pursued his own architectural characters that apply buildings to fit to their environment.

• 한국실내디자인학회논문집
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• 제21호
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• pp.76-88
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• 1999

The purpose of this study is to research the Andrea Palladio's villa design, theory and its application influenced on the early frank Lloyd Wright's houses. the results of this study are as follows: (1) The early Frank Loyod Wright's houses composed nine division composition as well as three division compositiov. (2) According to the cross axis masses projected into the right and left. Although houses composed largely three division composition, they came to two extremes composition with two centers. As a result the early houses developed Prairie Houses that the fireplace was placed on the center of space and the symmetrical space arranged around the cross type.

• Architectural research
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• 제18권1호
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• pp.1-12
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• 2016

This thesis explores Vitruvius and his impact upon other Renaissance architects who compare a city to a building or a building to a city, who match the city and the building into a human body, and who develop their own works. The objective of this study is to furnish an interpretation of their theory and practice through their literature and designs. In this point of view, this article takes notice of Vitruvius's six concepts coined from venustas and divides them into two parts: i.e. aesthetic quality (ordinatio, dispositio, and distributio) and technical activity (eurythmia, symmetria, and $d{\acute{e}}cor$) each. This thesis indicates that Vitruvius's successive impacts from the concepts bring about concrete design principles through proportional measurements, placing together, and hierarchic values for the former, as well as appropriate use through beautiful look, symmetrical harmony, and appropriate uses for the latter, tracking notions between a city as a house and vice versa, and either the ideas of the house or the city in the synthesis of the human body, which follows the perfect number and module based on the human body. The thesis shows that the representations of architecture and the city take place with the form of a circle and a square that express the religious belief and the cosmos, substantiating the connection between the proportions of the human body and numbers, and ultimately satisfying a concept of centrality, which is slowly extended to the enclosed plaza at the urban level from chambers, atrium, and corridors at the residence level.

• 한국산학기술학회:학술대회논문집
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• 한국산학기술학회 2011년도 추계학술논문집 2부
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• pp.457-460
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• 2011

안드레아 팔라디오는 후기 르네상스 시대의 대표적인 건축가로서 서양 건축사에 있어서 가장 유명한건축가의 한 사람이다. 그가 세상을 떠난 1580년 이후 그의 작품은 여러 번에 걸쳐 부활되었다. 팔라디오의 건축 작품과 저서는 서양 건축의 흐름에 영향을 끼쳐서 현재까지 이르고 있다. 오늘날 팔라디오가 인기를 모으고 있는 이유는 이탈리아 북부 지방에 남아 있는 그의 작품들을 직접 가서 보기 쉽다는 점에 기인한다. 여기에 더해서 팔라디오의 건축 작품이 놓여 있는 자연환경이나 도시적 상황이 우수하다는 점도 중요한 요인이다. 팔라디오의 빌라나 팔라초, 교회 그리고 기타 공공 건물 등 많은 작품을 남김으로써 그의 훌륭함을 찬양할 수 있을 것이다. 그러나 이보다도 그의 작품은 양보다는 질에 있어서 고전 부활 양식 이라는 독특한 건축 접근 방식에 대한 가장 훌륭한 예가 될 것이다. 무엇이 팔라디오의 작품을 먼 이국의 땅에 유행시켰나 하는 문제는 그의 건축의 우수성에 우선 기인하겠지만 또 다른 원인이 있음을 발견할 수 있었다. 르네상스 후기의 인문학 발전과 더불어 팔라디오의 작품에 세계성을 부여한 요소를 미디어의 발전과 연결하여 분석하여 보았다.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.