• 건축역사연구
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• 제24권1호
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• pp.17-28
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• 2015

This study aims to research the Kisho Kurokawa's architectural concepts and expressions that are comprised of various and complex theories system for Korean's globalization of architecture. Kurokawa's architectural concepts are composed by Metabolism, Metamorphosis and Symbiosis. And intermediate zone, ambiguity, multivalence are theories that work as media in changing process levels to three main concepts and these are used as media of Metamorphosis which embody Symbiosis. Metabolism include concepts of Metamorphosis and Symbiosis. Symbiosis is comprise of concepts of Metabolism and Metamorphosis, and is a ultimate goal of these three main concepts. Metamorphosis works as a medium in changing process levels from Metabolism to Symbiosis. The architectural expressions are embodied according to these main three concepts and theories of media in changing process levels. And these architectural expressions are analyzed by three elements as follows: form, material & color, structure & technique.

• 건축역사연구
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• 제6권1호
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• pp.67-79
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• 1997

Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.

• Architectural research
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• 제15권2호
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• pp.69-75
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• 2013

Within residential high-rise market there are many value determining factors. Site condition, view, program, units and structure are important parameters that are directly related to the financial aspect of the project. However, most of the studies of high-rise building design focus on the facade and the shape strategies from an esthetic point of view without considering these factors. The objective of this study is to investigate new design approach that incorporates site, program and structural information at an early stage as a generator of building form and explore a wide range of strategies to negotiate these factors in the process of design/decision making. Not being based on designer's subjective preference or style, architects still can create interesting building design through integration and negotiation of various building information. Since this form is based on real data, not just play of form, we can expect that this form has great potential to be developed into real one at the later design phase.

• 건축역사연구
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• 제12권2호
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• pp.61-69
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• 2003

Manfredo Tafuri's Ideological criticism in architecture has opened a new horizon to interpreting architecture in modern capitalist architecture for it views architecture not just as a style or formal invention, but in terms of socio-economical process. It offered a comprehensive understanding of a chaotic situation of contemporary architecture and historical meaning modern architectural movements in relation with capitalistic development. However, it has been criticized as architectural pessimism which does not allow any possibility for progressive architectural practice. It was also criticized of epistemological problem of how one could be outside ideology without assuming true consciousness against false consciousness of ideology. Tafuri solves this problem by assuming Althusserian activist concept of knowledge and suggest the concept of labor of writing history of critical historians, instead of a design for utopian society, as a possible critical architectural practice. However, I argue that ultimately ideological criticism does not deny architectural practice itself, nor researches on formal characteristics of architecture. The problem lies rather in the architectural Intellectuals' attachment to the traditional concept of architect as a form giver to the society. By rejecting this myth and broadening the concept of architectural practice from design to production, we can find that Ideological problem is not architectural pessimism, but rather it opens up a new way of approaching to the problem of architectural practice in modern capitalist society.

• 건축역사연구
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• 제15권3호
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• 건축역사연구
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• 제11권1호
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• 건축역사연구
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• 제24권5호
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• pp.21-32
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• 2015

Sajik, the altar of land and grain was treated as one of the most important national ritual facilities by the Joseon dynasty and the Ming dynasty because it symbolized the legitimacy of a dynasty, and its architectural ordonnance was arranged strictly by the government. But when the Joseon government considered to reconstruct its national Sajik altar in Hanyang during the Sejong period, they found the new architectural ordonnance for local Sajik altars recorded in "Hongwulizhi(洪武禮制)" had been published by the Ming government was hard to adopt, because it was too narrow and totally different from the traditional style. Above all things, they doubt of there was other architectural ordonnance for kingdoms, not for local governments. King Sejong ordered to investigate the origin form and former examples, and tried to get other ritual documents of authority published by the Ming government such as "Damingjili(大明集禮)". After several academic researches and intense debates, they decided to create a new architectural ordonnance for their national Sajik altar, its form was in accord with the traditional style and its size was in accord with the new ordonnance. But they did not know there had already been the architectural ordonnance for the kingdom in the Ming dynasty. Because the first emperor of the Ming dynasty had changed its Sajik ritual system several times, even the whole country of the Ming dynasty also had gone through chaos on this issue even after his death. Consequentially, the official documentation works had been made partially, there was no a complete document on this issue even in the Ming government.

• 한국건축시공학회지
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• 제22권6호
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• pp.565-575
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• 2022

최근 디지털 설계기술의 발전에 따라 건축가의 창의성을 극대화한 비정형 설계가 급증하고 있다. 그러나 다양한 비정형 곡면을 구현하기에는 많은 어려움이 발생하고 있다. 비정형 형상구현을 위한 패널분할은 mesh, developable surface, tessellation, subdivision 등의 분할기법이 적용된다. 비정형 패널의 제작 시 이러한 분할기법의 적용과정은 복잡하고 생산데이터 추출에 많은 인력과 시간이 투입된다. 따라서 비정형 건물의 설계 후 패널제작을 위한 생산데이터 추출과정을 빠르고 체계적으로 수행할 수 있는 알고리즘이 필요하다. 이에 본 연구는 빌딩모델, 생산장비 성능, 패턴정보를 종합적으로 고려하여 비정형 패널의 생산데이터 자동생성을 위한 수학적 알고리즘을 제시하는 것을 목적으로 한다. 이를 위해, 패널분할 시 수학적 알고리즘을 제시하였고, 비정형 곡면으로의 Mapping을 통해 CNC 장비를 위한 생산데이터를 추출하였다. 본 연구의 결과는 비정형 콘크리트 패널 생산을 위한 데이터 자동생성을 가능하게 하여 생산성 향상과 원가절감에 기여한다.

• 한국산학기술학회논문지
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• 제11권8호
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• pp.3083-3093
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• 2010

최근 3D파라메트릭 모델링 기법의 발달에 힘입어 비정형 건축 프로젝트가 증가하고 있다. 기존의 BIM 시뮬레이션 의사결정 지원시스템은 가상현실에서 구현되기 때문에 효율적이지 못했다. 이에 본 연구에서 효율적 의사결정지원을 위한 증강현실 기반 시뮬레이션 시스템인 "AR naviX"를 개발하였다. 이 시뮬레이션 시스템은 현장사진과 동영상자료 혹은 레이져 스캐닝 데이터를 활용하여 사용자가 보다 높은 현실감과 몰입감을 느낄 수 있도록 함으로써, 의사결정에 소비되는 시간을 단축시킨다.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.68-76
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• 2006

Founding himself on 'The Principle of Self-making' that is the instrument of 'the natural construction' and accomplishing the various interdisciplinary researches, Frei Otto could explicate the fundamental structure of life that is able to make visible the self-making processes in the nature, the technique and the architecture. It is the flexible pneumatic construction that is grounded on the fibrous organization. This was a milestone not only for him who wanted to put the idea of the new architectural form into practice, but also for the contemporary architecture that faces on the style-pluralistic disorientedness. The architectural form of the natural construction includes in itself three constitutional sub-ideas. One of them is 'the adaptable architecture', which is inclined to the architecture similar to the organization of human body, and the other 'the light architecture' that is in the pursuit of the optimal form through the minimal material. The last one is 'the ecological architecture' that aims to realize the optimal dwelling environment based on the effective energy consumption by accumulating knowledges of the always fluid and unstable nature. With these architectural ideas Frei Otto could develop a new architectural form language 'the light architecture of the natural construction'. This study is purposed to explain the various experiments that were made by his team and the basic principles of the structural dynamics of 'the architecture of the natural construction' and then to analyze the structures that were built on the ground of those principles.