• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.21-29
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• 2008

Baroque period was fundamentally different from the previous ages in terms of various aspects. Not only the social, economical, and cultural changes, but also ways of experiencing architectural space were essentially changed. Space in Baroque architecture was no more confined in the strict medieval order and proportions, but it became more flexible and dynamic by applying many interesting spatial concepts as well as design methods. That is why Baroque architecture somehow has been re-considered in the present time. Various contemporary architects and theorists attempt to apply ideas in the Baroque architecture to enhance and rich spatial experience. This thesis aims to study the methods of constructing spatial depth in some of Baroque architecture. First of all, theoretical research on the Baroque art in terms of depth expressions compared to the previous ages based on Heinrich $W{\ddot{o}}lfflin$ was mentioned. After explaining the general concepts and methods of spatial depth in Baroque architecture, two case buildings were selected to be further analyzed. They are San Carlo alle Quattro Fontane and Cappella di Santissima Sindone. They have unique ways of expressing the spatial depth in which people experience particular spatial feelings. Based on the case analysis, this study was concluded that the ideas as well as design methods for spatial depth can be applied in contemporary architectural designs in various ways.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.52-59
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• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.59-67
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• 2012

Eugenio D'Ors, the writer of 'Lo Barroco' called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men's emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.

• The Journal of Engineering Research
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• v.6 no.1
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• pp.65-74
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture. Suggested from the classical baroque, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding. This idea meet the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent. Through the general principle of 'the new baroque', a free dispersal of power, to architect is offered the possibility, to make the real world intimate to the real life and to produce from there a vivid new space, and to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• Journal of architectural history
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• v.17 no.6
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• pp.7-27
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• 2008

The primary object of this study lies in reilluminating the meaning of the Baroque, through studying arts and architecture by means of the features of Baroque aesthetics suggested by Deleuze in his writing 'Le Pli' on the basis of Leibniz's 'Pli' concept. Through this study we can see the following. In the first place, the six features - pli, separation between the inner and the exterior, highs and lows, unfolding, texture and paradigm presented as the features of Baroque aesthetics - have to be understood not as being independent features but as those derived from a series of continuous process of folding and unfolding. In the second place, Deleuze's thinking ranging from the 'Pli' of the Baroque to the paradigm derived on the ground of Leibniz thinking is a dynamic world of folding and unfolding, ultimately seeking unity through the topological changes and succession repeating deterritorization and reterritorization. In the third place, most architectural trends claiming 'Fold Architect' or the 'Pli' of Deleuze as their architectural philosophy are committing errors of mass-producing standardized designs by confining the meaning of Deleuze's 'Pli' concept into a simple reproduction of plied superficial things. With this finding in mind, the concept of folding and unfolding examined through reilluminating the Baroque Architecture where the 'Pli' concept is embodied, suggests to us that the problems of contemporary architecture should be rightened, and shows us that it can become an architectural philosophy which can be concretely realized in architecture.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.127-134
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• 2013

Baroque is fundamentally in contrast with renaissance style classicism, which attempted to fix a world view itself as the value of perpetuity. Furthermore, it is interpreted as a topic of incompletion or transformation that is not defined or is not exemplary and which may be enjoyed by people in the classical life, which requires a microscopic concept in contrast with dualism, the central axis of western civilization, namely, rational lucidity. Also, such characteristics are estimated to serve as a lubricant in life while going beyond the formal aesthetic level of art even from a contemporary perspective, and to play a productive role and to have potential. Consequently, this paper assumed that the concepts expressed by the 20th century US contemporary architect Richard Meier of a complex space, namely architectural formative vocabularies such as overlapping, interpenetration, collision, and collage style mixture created by a layered structure, in his architecture are in common with the double surface technique and juxtaposition of a flat structure of Baroque architecture. Then, the paper analyzed and considered the characteristics. The paper considered the following two issues: Such Baroque style formal principle is reinterpreted against a backdrop in which his architectural flow based on the domino theory of Le Corbusier became established as his own unique architectural feature, and it may be proposed as one big flow that enables us to seek again modernistic architecture that attempts to make an architectural space absolute as an atypical formal contour.

• Journal of the Korean Home Economics Association
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• v.20 no.1
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• pp.37-45
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• 1982

The plastic arts, which has substantially been regarded as a part of aesthetic activities originated in the artistic forms reflects interrelated aspects of the times. With this viewpoint, this article will attempt to trace the historical background and characteristics of the plastic arts in the 17th of Europe, and will observe its artis artistic qualities and aesthetic appearances shown in the Baroque architecture, industrial arts and costumes. The contents are as follows; 1. The Historical Background and Characteristics of the Plastic Arts and Its Artistic Qualities. 2. The Plasticity in the Baroque Architecture and Industrial Arts 3. The Plasticity in the Baroque Costumes.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.63-71
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• 2005

The dome structure has been treated in two layers among the techniques that have formed the space in Baroque architecture and the light used to be manipulated to create the openness of space and the fantasy of atmosphere. Such an expression technique has influenced on the expression of space in the architecture of New York Five in the 1960s to 1970s and the concept of multiple space embellished with various layers has appeared in the architectural concept of New York Five; meanwhile, the common meaning with the technique of double layers and the ways of phenomenal expressions that have recognized the existence of space in the Baroque period has been achieved through the light, immaterial organism. It means that the existing concept of light limited simply to the plane elements of brightness and darkness has been treated as a formative element that has defined and adjusted the visual expansion and reduction of the space Itself and special existence and has been used as an element of the media of spatial structure. In addition, these elements have been treated as another solution for the emotional aspects of space. Therefore, this study compares the plastic and formative meaning of the Baroque architecture with that of New York Five in terms of the relation between space and light and examines them; in doing so, it will give a clue to understand various and new space expression techniques to many architects and space designers who have led modern architecture.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.142-152
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• 2017

This study investigated Renaissance and Baroque architectural characteristics found in contemporary public buildings in Seoul, which are National Museum of Modern and Contemporary Art Seoul Branch(MMCA) and Dongdaemun Design Plaza(DDP). Among H. $W{\ddot{o}}lfflin^{\prime}s$ five categories for Renaissance-Baroque art study, four categories (Clearness/Unclearness, Plane/Recession, Closed form/Open form, Multiplicity/Unity) are applied for the analysis as the architectural issues of Transparency/Concealment, Exhibited/Experienced Depth, Formal/Figural, and Composed harmony/Generated Unity. As a result, MMCA showed the characteristics of the extreme of Modern classic such as transparency, homogenization of space, formalism, and composition of multiple elements. Meanwhile, the study could find various Baroque characteristics from DDP such as separation of indoor and outdoor, phenomenological depth, rule breaking, and generation of figure. The study finally argued that DDP would not be an anti-modern, but try to inherit and overcome the modern architecture to explore different possibilities, and that the similar relationship between Renaissance and Baroque art could be found in these two cases.