• Architectural research
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• 제8권2호
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• pp.17-26
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• 2006

This paper attempts to identify the term "tectonics" comprehensively by collecting and categorizing existing definitions of tectonics within the architectural area rather than to stress the concept of tectonics of each specific theorist. Although no consensus of opinion on the concept of tectonics exists, architectural tectonics was closely related to the following terms in three categories: 1. $techn\acute{e}$, technique, and technology; 2. construction and structure; and 3. stereotomics. Based on its etymology, system, and material construct, the notion of tectonics common in these three categories signifies "the art of framing construction," in which linear elements are connected with joints and clad or infilled with lightweight material. Thus, the art of framing construction, as a common concept of tectonics, reveals the following characteristics: First, tectonics is based on framing construction in contrast to piling-up construction as the etymology of tectonics signifies the art of carpentry. Then, the term tectonics, dealing as it does with a higher level of construction rather than the mechanical level of structure, incorporates the poetic aspect of techne as well as the rational aspect of technology. Third, Owing to the organic, double system of tectonic frame and incrusting or infilling materials, the tectonic body becomes both the ornament and the structure simultaneously. As the art of framing construction is based on material construction rather than structural or ornamental form, this paper proposes that one can view tectonics as a term that conveys the meaning of the actual material effect on space.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.60-67
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• 2006

In modem days when architectural materials have grave impacts on overall design expression, materials for architecture, especially finishing materials have become the most essential elements for the design expression, as architectural space and form have been. When it comes to the architectural materials, they can be conceived by visual and tactile sensory system and perceptional system which based on memory and experience. This study confirms how materials bring into effect on architecture in the sense of its design. The main subject of this analysis is expression method of architectural finishing materials. Also, this study finds out the relationship between finishing materials and the images of materials by analyzing the effect factor of architectural material expression with the perspectives of materials, formal and environments and by examining roles of the architectural materials in design. The material factor, in the expression of materiality, is how to make tectonic space and to vary the surface of building as finishing material design. The formal factor is related to set up the new direction in the architectural form and to create the dynamic and informal space. And the social and cultural environment as the effect factor gives new situation and context to architectural material expression. This principle enables us to use architectural materials as one of the important elements which express the whole characteristics of the area.

• 한국실내디자인학회논문집
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• 제19권1호
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• pp.3-15
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• 2010

The high-rise building is a dramatic phenomenon and a powerful expression of architecture in the modern civilization. The architecture of these high-rise buildings has been developed with mutual contributions of architectural aesthetic form and advanced technologies. Architecturally the significant evolution of tall buildings from ancient towers is a "change of function" from some religious symbols to a commercial concept that has aesthetically become acceptable with the changing of modern society and culture driven by a technological evolution. Generally, this commercial function in the evolution of high-rise building is office where high-rise working style is simply a necessity to meet quantitative market demands since this style in major cities around world has been changed from low-rise to high-rise during the last several decades in influenced of the modern industrial society. To achieve optimum spaces with architectural aesthetics in the high-rise building, the design has become collaborative, requiring the input of architects, engineers, economists, and other consultants. Hence, architects must deeply understand the basic planning theories of high-rise buildings and try to find optimum planning between architectural aesthetics and other issues. For the approach, we can firstly start with measurement and analysis of the planning use situation for major planning issues of high-rise buildings in practice. Therefore, this study is to analysis Design Elements and to find commonly used planning strategies, tectonic, of high-rise building in practice. It will give a chance to confirm commonly used planning and then becomes the starting point of the planning development of high-rise buildings based on practical planning issues.

• 암석학회지
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• 제14권1호
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• pp.1-11
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• 2005

이 연구에서는 영남육괴 중부의 김천, 성주 및 안의 지역에 분포하는 화강섬록암들에 대하여 스핀 U-Pb 연대측정을 실시하였다. 연대측정결과는 삼첩기와 쥬라기의 경계시기와 거의 일치하는 195.7±2.4∼200.8±1.9(2σ) Ma의 좁은 범위를 나타낸다. 이 암체들은 서로 연결되지 않은 독립암체들이지만 주원소 조성이 매우 비슷하고, 거의 동일한 연대를 나타내는 것으로 보아 동일한 조구조 환경 및 유사한 근원물질로부터 생성된 하나의 스위트를 형성하는 암체들로 취급할 수 있다. 삼첩기∼쥬라기초의 연대를 나타내는 영남육괴와 옥천대의 심성암체들의 연대와 지리적 분포를 살펴보면 이 시기의 영남육괴와 옥천대에서는 비교적 짧은 간격으로 지구조적 환경변화가 반복적으로 일어났으며 이에 따라 특징적인 심성암체들이 관입하였음을 알 수 있다. 전반적으로는 압축력이 작용하는 활동적 대륙연변부 환경이 우세하게 작용하였으나, 세부적으로 살펴보면 압축력이 작용하는 섭입환경과 인장력이 작용하는 판내부환경이 여러 차례 반복되어 나타났다. 결론적으로 영남육괴와 옥천대는 삼첩기∼하부쥬라기의 시기에 서로 상이한 지구조환경 변화를 겪었으며, 이는 한반도 지각의 시대별 진화를 밝히는데 중요한 단서가 될 수 있다고 생각한다.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.75-82
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• 2017

The aim of this study is to find phenomenological characteristics in the background and contents of Kenneth Frampton's architectural theories and their contribution to architectural phenomenology. His theories reflect on the interpretations of Modern architecture synchronically and diachronically. This difference makes Frampton have more concrete direction for architectural phenomenology. Hanna Arendt, who contribute to form Frampton's architectural theory, introduced various concepts of Heidegger's phenomenology to Frampton. And criticism of image centered late capitalism also act as a background for Frampton to relate to phenomenology. Frampton emphasized the importance of 'critical regionalism' and 'tectonic' as a poetics of construction as the resistance of globalization. All of these have relations to 'place' and 'perception' that are main themes of phenomenology. Frampton explains his theory with phenomenological terms and above all things, he assimilates concerns of architectural phenomenology with critical thinking. In these aspects, his theories can be recognized as playing an important role to the development of architectural phenomenology.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.134-141
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• 2005

Ludwig Mies van der Rohe, one of the influential modernist architects in early 20th century, had an great effort to found the modern architecture through various kinds of works. Conceptually he tried to develop the trans-temporal architecture language by involving a reintegration of countermanding principles in both ideas and practices for designing buildings. The model for his striving to find such a synthesis or a dynamic form was the neo-classicism of K. F Schinkel, inasmuch as Schinkel endeavored to combine the classical rationalistic order with the creative act of construction and to make these two melt into his age. In the same horizon with that Mies van der Rohe attempted to express the industrialized civilization of his time as a given fact, though this phenomenal substance was the only authentic form that has been conceivable to the people. For him the modern technology was regarded as the manifestation of rationalistic transcendency, which can be interpreted always consequentially. Here In this context this study is purposed to consider through the analysis of the ground ideas of architecture and the designed chairs, how commensurable the tectonic value (in the architecture) that is constantly evident in his works and the various autonomous drives toward deformalization (in the furniture design) that is concerned with his interest for cultural situation and materiality of form are with each other. And then it will be tried to prove, that on the ground of the trans-temporal achitecture language the furniture design of Mies van der Rohe, which emphasizes curves as individual forms, could correspond to his architecture that lays priority to space and construction

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.16-24
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• 2017

This study examines Safdie's design philosophy: place, purpose, and process and design strategies found in museum buildings. Safdie, influenced by personal background as immigrant, education of McGil University in Canada, apprenticeship from Louis Kahn, is one of the most recognized architects who designed renowned public and cultural buildings after Habitat 67 in Montreal, Canada. In order to reveal design strategies his eight museum buildings has been selected and analyzed in terms of interpretation of context, program presented in floor plan and section design, and the process of integrity found in structure and material. The results of this paper can be summarized as follows: 1) Reflection of existing context and regeneration of the locality has been in a creative way to reinforce the sense of place. 2) The layout of major and gallery space is determined according to the Safdie's interpretation of the site context and this can be categorized into three types. 3) Integration of the innovative structural frame and material has been experimented by using tartan grid and toroid form in the major and gallery spaces. This study is intended to reevaluate the significance of Safdie's design approach to building uniqueness of the site, program and tectonic.

• ALGAE
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• 제24권4호
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• pp.185-193
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• 2009

Geothermal springs in India, formed as a result of volcanic or tectonic activities, are characterized by high temperature and relatively abundant reduced compounds. These thermal springs are inhabited by characteristic thermophilic organisms including cyanobacteria. Cyanobacteria are among the few organisms that can occupy high temperature aquatic environments including hot springs. In alkaline and neutral hot springs and streams flowing from them cyanobacteria can form thick colourful mats that exhibit banding patterns. The present investigation involves study of mat forming cyanobacterial flora from hot springs located in Bakreswar, West Bengal, India. The important species found are Synechococcus bigranulatus, S. lividus, Gloeocapsa gelatinosa, G. muralis, Phormidium laminosum, P. frigidum, Oscillatoria princes, O. fragilis, Lyngbya lutea, Pseudanabaena sp., Calothrix thermalis, and Fischerella thermalis. Their distribution pattern in relation to physico-chemical parameters of spring water has also been studied. Three cyanobacterial strains of the above mentioned list were grown in culture and their pigment content and nitrogen fixing capacity were also studied. Nitrogen fixing capacities of Calothrix thermalis, Nostoc sp. (isolated in culture) and Fischerella thermalis are 5.14, 0.29, and 2.60 n mole $C_2H_4/{\mu}g$ of Chl-${\alpha}$/hr respectively. Carotenoid : Chlorophyll-${\alpha}$ ratio of four mat samples collected from Kharkunda, Suryakunda, Dudhkunda and bathing pool are 2.45, 1.60, 1.48, and 1.34, respectively. Higher value of Carotenoid : Chlorophyll-${\alpha}$ ratio coincided with higher temperature.

• 한국실내디자인학회논문집
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• 제25권4호
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• pp.43-50
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• 2016

This study tries to categorize trends of "structure and skin integration" and understand the expressive characters of each architectural type. To do so, we listed up 8 architects who are quoted twice or more in related researches, then analyzed their 25 contemporary buildings which integrated structure and skin since 2000. As a result, this study defined four types based on the way of building tectonic system of structure and skin. Key feature of "linear structure-two dimensional skin" type is the communication with the surroundings as a result of .geometric architectural forms, patterned surface and reflection. Characters of "linear-three dimensional" type are organic architectural forms, sculptural skin, and the mysterious space. "Planar-two dimensional" type is a transformational geometry form to express the dramatic images through the skin, therefore gives a sense of rhythm and dynamics to space. "Planar structure-three dimensional" type highlights the texture, and exposes boundary of the inside and outside. In architectures we studied, the structure is the way to make a creative forms and space, and the skin to express various meanings. That said, the "structure and skin integration" is the means of aggressive design expression.

• 한국주거학회논문집
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• 제14권6호
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• pp.125-133
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• 2003

The purpose of this study is to reveal the characteristics of Kan as a compositional unit in relation with its usage, building base, structural system, and roofing system in Seo Baek Dang and Gwan Ga Jeong. The results are as follows： Seo Baek Dang and Gwan Ga Jeong share a common characteristics： Kan module forms the plan to be 1：1 in shape and enables flexibility in usage and regularity in compositional aspect. In Seo Baek Dang, there are active level differences in base, room floor levels and column heights to achieve intended roof design while minimizing the deviation of module (500 mm) of four sides enclosing the an-madang (inner courtyard) and, in Gwan Ga Jeong, instead of differentiating levels, maximizing the module control (up to 1,560 mm) and lowering the roof slope are found. They are regarded resulting in a rather plane manner. Through a comparative analysis, it is found out that these two houses have a common characteristics of Kan to form a quadrate plan while they have differences both in conceptual and tectonic manner that is 'how to build a house' in similar conditions of region, period and society. In addition, Kan as a module is clarified to have a relative value that regulates both structural and aesthetical aspects.