• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.59-68
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• 2020

The purpose of this study was to measure and observe Memes of people in Korean modern architectural discourse. After extracting Memes from the text of 'SPACE' magazines, network analysis was used with the Memes which were obtained. The results of this study were as follows; 1. Korean modern architectural discourse field was influenced by people in order of American, French and Korean. 2. Korean modern architectural discourse field was influenced by people in order of Le Corbuiser, Mies Van der Rohe, Louis Kahn, Kim Soogeun and Gilles Deleuze.

• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Korean Institute of Interior Design Journal
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• v.18 no.3
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• pp.47-56
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• 2009

This research aims to analyze the characteristics of the architectural space of Rem Koolhaas based on the spatial discourse of Gilles Deleuze, a philosopher of post-structuralism which comprehends pluralism accepting even contingency and uncertainty beyond deterministic attitudes of structuralism that has led the western discourses since the 19th century. First of all, this research will reflect on Deleuze's spatial concept through literatures and extract the characteristics related to architectural spaces. Then, on the basis of these characteristics, it will analyze the characteristics which were applied to the interior space of the recent architectural works of Rem Koolhaas to find out how Deleuze's spatial dicourse was embodied. Among Deleuze's speculations, the characteristics which falls under the spatial discourse were classified into three categories; degree between the striated space and the smooth one, the space of events and singularity, and the space of the multiple sense. These analysis words are used to look into the correlations among the specific practicing methods embodied in the architecture of Kookhaas. In conclusion, in the architectural space of Rem Koolhaas, it was found that the characteristics of Gilles Deleuze's spatial discourse of post-structuralism were embodied by the methods such as (1) Space of continuous transition, (2) Space of the $multiplicit{\acute{e}}$ accepting contingent events, (3) Space of the multiple sense, and (4) Space of movement.

• Journal of architectural history
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• v.33 no.2
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• pp.29-39
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• 2024

In contemporary architectural discourse, the concept of space is ubiquitous, yet its historical genesis and theoretical underpinnings in Gottfried Semper's seminal theoretical work remain under explored. This study investigates the reception and integration of Semper's architectural theory into modern discourse, tracing its trajectory from August Schmarsow, to Nikolaus Pevsner, to Sigfried Giedion. While Semper's "cladding theory" had initially been understood in terms of both its relation to physical properties and structural and functional values, leading to an expansion of cladding as a new genre of art, i.e. arts and crafts, Semper's "architectural theory" instead explained cladding theory in terms of space. In disseminating Semper's theoretical work, Schmarsow was especially important as he himself played an increasingly prominent role in expanding the boundaries of modernist architectural theory and practice from the beginning of the 20th century on.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.11-22
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• 2020

It is the juristocracy in architecture to judge the architectural plagiarism by copyright law. The architectural plagiarism should judge by architectural criticism. From the point of the criticism to discuss architectural plagiarism, the study on artistic imitation should be preceding. The current discussion on architectural plagiarism doesn't consider artistic imitation. Therefore, the result of the discussion only focused on whether the building is plagiarizing or not. From the point of architectural criticism, there should be three considerations, which are creation, imitation, and plagiarism. In the study of Aesthetics, it theorized artistic imitation as the appropriation. With the understanding of the appropriation, contemporary art is developing the discourse on plagiarism beyond the boundary of plagiarism fundamentalism. The purpose of this study is to apply the appropriation to the discussion of architectural plagiarism. The study introduces the discourse on architectural plagiarism rather than judging it with copyright law. There so the study categorized the aesthetics standard of appropriation art, then apply it to the architecture cases. The architecture cases subjects of analysis are the glasshouse by Philip Johnson, National Museum of Australia by Howard Raggatt, and the Meiquan 22nd Century in China. At the point of the appropriation theory, the glasshouse is the only architectural appropriation, and others need to apply the evaluation criteria of plagiarism.

• Journal of architectural history
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• v.12 no.3
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• pp.65-86
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• 2003

After 1960s, a radical change was taken place in the modern urban theories which were developped by many architects and planners like Ebenezer Howard, Tony Garnier, Le Corbusier, Ludwig Hiberseimer, and Patrick Abercrombie. Many contemporary architects like Kevin Lynch, Aldo Rossi, Christopher Alexander, Colin Rowe, Rem Koolhaas, and Bernard Tschumi have a view that modern urban theories lost their abilities to organize and control new realities so that new urban theories was needed in order to cope with urban problems in the 1960s. In this study, we are to examine contemporary urban theories in comparison with modern urban theories and to clarify the role of discourse of language in its emergence. In consequence we can detect four main themes in the process of transformation from modern urban theories to contemporary urban theories : from functionalism to formalism, from historicism to archeology, from space to placeness, and from hierarchical organization to network. And we can prove that such themes basically depend on the discourse of language.

• Journal of architectural history
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• v.24 no.4
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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.

• Journal of architectural history
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• v.30 no.6
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• pp.59-70
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• 2021

Compared with other philosophers and writers who were engaged in architecture Georges Bataille was extraordinary. Because he produced anti-architectural discourse. This paper studied the Bataille's thinking with relation to architecture that used as a fundamental and privileged metaphor. Philosophy regarded as the foundation of all academic discipline needed architecture in order to show its system was durable, synthetic and hierarchical. The will to build a solid system of reasoning made philosophy to call architecture to pretend that it is structurally stable. Metaphor and representation is inevitable in philosophy. Then architectural image that supported by discourse of philosophy became a representation of sociocultural system. According to Bataille architectural representation justified existing power and belief system. With architecture Identity always represented the true and good. This kind of architectonic thinking erased the Other that allowed metaphysics and symbolic Against architecture Bataille produced writings of violation and excess corresponding to labyrinth. Labyrinth in fact made a formal structure of architecture possible to be a metaphor of symbolic system. Bataille's anti-architectural thinking paradoxically shows the importance of Architecture and give a chance to rethink the ethical aspect of architecture instead of aesthetics.

• Journal of architectural history
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• v.25 no.6
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• pp.73-80
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• 2016

A discourse on the Independence Hall of Korea, a representative cultural project of the 1980s, has been understood as a repetition of the traditional debate of the 1960s. It was considered as a petrified propaganda aimed at ensuring the fragile legitimacy of the military regime, and the architect as a sympathizer. Even if all these facts are true, it does not give any explanation for the architecture. Scrutinizing the building process and the change of discourse in the Independence Hall of Korea, this paper tries to explore a section of contemporary Korean architecture in the 1980s. The architect who designed the Independence Hall of Korea is Kim Kiwoong, however, it was Kim Won who took charge of overall scheme for it. Kim Won replaced the role of a technocrat in the 1960s, who deprived architects of his autonomy. Against this backdrop, Kim Kiwoong attempted to explain his own building via various concept like postmodernism, which gave him very proper context. But, later, he appropriated words like void and madang. These derived from some architectural historian's researches in 1970s, and were to predict the architecture of the 1990s.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.124-132
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• 2015

This study investigated the complex meanings of the concept of place and their periodical changes in the Korean architectural discourse. For that, the study surveyed almost every articles in majour 3 Korean architectural magazines during around 1990s, when the Korean architects and theorists concerned the 'place' as an alternative of the modernists' 'space'. 60 selected articles were organized in a table in a chronological order together with their keywords and category codes. The 8 categories reflecting 8 issues of 'place' were suggested in the study after the analysis of selected articles' contents. The categories were structured by two axes which were 4-grade scale axis influences by C. Norberg-Schultz' approach, and 'architecture-human' axis following the 'structure-action' division by A. Giddens. After the analysis of the diachronic and synchronic tables, the study tried to establish a structure model of the concept of place in Korean architectural context, which consisted of architectural terms such as environment, social system, context, identity, landscape, community, Materiality, and residence. This final result could be useful for both architects and theorists who might try to apply the idea of 'place' without erstwhile confusion on their design or research by examining the detailed contents of the concept.