• 한국주거학회:학술대회논문집
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• 한국주거학회 2009년 춘계학술발표대회 논문집
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• pp.118-123
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• 2009

The objective of this study is to define the plans of eco-friendly housing and the meaning of architectural imagination, and to classify diverse sources of the origins of architect's imagination to propose a desirable green housing plan. Generally, imagination which means the process of forming in the mind based on one's previous experience had been perceived negatively for a long time, however, today this perception has changed as new valuation that imagination is the only the motive of human being's behavior patterns comes out. Meanwhile, green design means planning the healthy life in the future by finding the way that people and environment can live together. In order to realize green design in our lives, some plans which concern environment, style, and alternative technology of housing. Especially, in interior design, not only by technology skills but also by green visual environment, eco-friendly houses exist. Therefore, this study examines several elements which gives green atmosphere into the house, and understands how architectural imagination comes out in eco-friendly housing design through verify some examples.

• 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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• 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.

• 건축사
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• 통권549호
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• pp.96-99
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• 2015

• KIEAE Journal
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• 제17권5호
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• pp.61-68
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• 2017

Purpose : Ando Tadao has his own unique architectural conception to reproduce natural view on site, and he continues to create new architecture without regarding to any principles. Ando Tadao experiments his imagination through the museum architecture, starts organization of space with light, and completes organization of space with light at once. Methods : The research works as follows: 1) Analyzes the meaningful characteristics showed in his architectural works. 2) Analyze organization of space and use of light in museums designed by Ando Tadao. 3) Selecte his representative museums in Korea and Japan, and then analyze space composition and light use through literature study and field survey. Result : The organization of museum space by Ando Tadao has a close relationship with the light. Light designed by Ando Tadao represents unique architectural varieties such as cushioning space, moving line, spatial characterization, and natural influx.

• 한국공간구조학회논문집
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• 제9권3호
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• pp.83-92
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• 2009

본 논문은 랜드스케이프 어바니즘의 실천적 주제를 통해 점차 도시화되어가는 건축의 실험적 영역의 가능성을 타진해 본다. 대표적인 랜드스케이프 건축가인 제임스 코너의 랜드스케이프 어바니즘의 실천적 주제와 크리스트퍼 지롯과 세바츠찬 바롯의 랜드스케이프 건축의 개념간의 매스릭스 분석을 통해 시간기반프로세스, 표면의 잠재적 영역성, 실천적 방법론 상상력의 주제들이 이미 어바니즘을 넘어 건축의 영역으로 충분히 들어와 있음을 확인할 수 있었다. 이는 랜드스케이프 어바니즘 전반적 랜드스케이프 개념의 트레이싱 그리고 건축적 랜드스케이프 개념간의 상호 관계를 드러내는 매트릭스 밀도를 통해 보다 세부적인 주제별 특성들과 전략들을 가늠해 볼 수 있도록 한다. 결과적으로 건축공간내 다양한 사건공간을 만들어 내는 현대건축의 주요한 공간특성을 구성하는 랜드스케이프의 전략은 외부공간으로 확대되어 랜드스케이프 어바니즘으로 연속되어 건축도시공간은 거대한 사건의 장소로 강화된다.

• 한국실내디자인학회논문집
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• 제13권2호
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• pp.80-90
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• 2004

Scientism is a kind of paradigm since the birth of Modernism. Architectural design was also effected from scientism in the 1st Machine age, and being effected still In the End Machine age. But many architects in the 2nd Machine age express scientism in architectural design as a "science for kick" as SF. The design of Rem Koolhaas follows the line of Modernism which was effected from scientism in many ways. However he shows modified machine aesthetics as SF pataphysics mixed with literary imagination, and now shows new science paradigm in post-modern age. He expresses many new science theory like indeterminacy theory, chaos, catastrophe theory in his works. And those are expressed as indeterminate program that proceeds in non-linear way, rhizome in space, order out of chaos, topological metamorphosis as a catastrophe. This study analyzes the expression of scientism in architectural design of Rem Koolhaas since 1970s.nce 1970s.

• 건축역사연구
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• 제32권4호
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• pp.7-18
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• 2023

Recognizing that the debate on the original form of the Seokguram Grotto is closely related to the mythologization of the Seokguram Grotto, which is far from factual understanding, this paper is prepared to restore the Seokguram Grotto based on scientific facts. To this end, we will first analyze its active meaning and fiction from three directions: the founding legend, the rediscovery story, and the concept and discourse of the Line of sight for Buddha statue (對佛像視準線), which have contributed to the mythologization of the Seokguram Grotto. The original restoration of the Seokguram Grotto should be based on a scientific understanding of the Seokguram space. However, past debates and restoration attempts have been based on imagination and not on scientific knowledge. Therefore, Chapter 3 attempts a scientific analysis of the light environment of thr Seokguram Grotto and critically examines the existing errors and realistic mythological images to correct the public's spatial perception of Seokguram's architecture and to propose a rational restoration of Seokguram's architectural space.

• 건축역사연구
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• 제18권4호
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• pp.81-99
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• 2009

The study is on the analysis of Adalberto Libera's works, which are those of the competition works for international congress hall in 'E42'. I exerted a conclusion from analysis and studies of congress palace as well as informed data about architect Libera and uninformed original sketch of it. 1. Through analysis of original sketch data in possession of archives of paris Centre Pompidue and relevant sketch from the works, Libera adopts the modern architecture of Italy to the formalization process of concept as one of architectural methods. 2.In contrast to the way of elucidation of historicity of classicism architect, Libera's initial sketch is one of the traits from modernist's architectural concept process. Libera completes his architectural style to have developed new architecture vocabulary from 'Floating transparent box' which was result from intuition and imagination. 3 By comparing all the first plan, the second plan and constructed project, we can infer that Libera's plan was influenced by E42's classicism urban environment and masterplanner Piacentini. In addition, through historicity explanation method of modernist, it is adjudicated that the front side of facade with classism and the back side of facade with modern are partially accepted. 4. By analysing architectural concept's formalization process from original sketch of Congress palace, outstanding architect of Italian Fascism architecture, it provided new methods of architectural programming with the concrete examples.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.63-70
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• 2006

This study investigates and analyzes natural traits in Gaudi's architectural designs on the assumption that the naturalism in his architectural designs has been built heavily on regional cultural background. In particular, focusing on four buildings Gaudi designed in his late years, this study distinguishes between natural traits found in ornaments and details, and natural traits as organic expression of form. This study shows, first, with regard to natural traits in ornaments and details, organic motives were applied to patterns, plastic objects, and parts of the building. Second, natural traits in organic expression of form were reflected by typifying $Catalu\tilde{n}a$ regional nature, using curved lines of organic shapes and realizing lively natural creatures. It is remarkable that Gaudi developed his architectural designs as unique magic naturalism based on his imagination. And In this century 'Regional Culture' gets more important in architectural designs. Gaudi's architectural works can be appreciated to represent very well $Catalu\tilde{n}a$ regional cultural identity by using properly its natural motives and objects.