• Title/Summary/Keyword: 김중업 건축

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건축물

  • Korea Institute of Registered Architects
    • Korean Architects
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    • v.4 no.12 s.12
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    • pp.14-27
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    • 1969

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주택특집

  • Korea Institute of Registered Architects
    • Korean Architects
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    • no.9 s.162
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    • pp.33-72
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    • 1982

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A Study on the form composition of Kim Jung-up's Architecture by Meterial Expression (재료를 중심으로 본 김중업건축의 형태 구성에 관한 연구)

  • Kim, So-Young;Yoon, Chea-Shin
    • Proceeding of Spring/Autumn Annual Conference of KHA
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    • 2006.11a
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    • pp.341-345
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    • 2006

  • zArchitect Kim lung-up used free-curved lines as his architectural language. We can categorize his language into 'overlapped curved lines' and 'juxtaposed circles.' We found that his language was expressed well when he applied a specific material, for example, overlapped curved lines - concrete and juxtaposed circles - brick. Furthermore, using the plasticity of concrete, he built roofs and columns in a curved form. He also created reliefs on the walls out of the characteristics of bricks. It can be evidence that he considered forms and characteristics of materials to design buildings. This research mainly focuses on his design method to use free-curved lines with specific materials based on the analyses of forms and materials applied in his architecture buildings and art works

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A Study on the Revealing of Regionality in Kim Su-Keun and Kim Jung-Up's Architecture (김수근과 김중업 건축의 지역성 구현에 관한 비교 연구)

  • Lee, Seung-Heon
    • Journal of architectural history
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    • v.13 no.3
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    • pp.37-50
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    • 2004

  • Presentation is the way of revealing regionality that is hidden into the inner world. The expression of regionality has to be based on the origin and at the same time created newness as always suitable for the present through combination of 'familiarity' and 'unfamiliarity'. Regionality that has been maintained even under the application modern trends, spirits, technologies and materials should be now disclosed. Creating new forms that reflect regionality is possible only when a keen sense(emotion) always focusing on the essence of the earth works together with foresight(imaginative power) clarifying global pattern changes, under high tensions between both of them. Kim Su-Keun succeeded in reinterpreting traditional spaces, but failed in communicating patterns of life, ultimately revealing stiffness with no tension and no creativity. Kim Jung-Up could not draw out a whole meaning of relations among traditional fragments or relations between them and the present. He only borrowed such fragments from the view of formative art. For 'disclosed abstract', 'familiarity' and 'unfamiliarity' are repeated circularly and cope with pattern changes, continuously creating new forms and showing unity as a complete calmness(rest). In "YangDuk Catholic Church" by Kim Su-Keun provides a simultaneous reactivation of various images through continuous cross-weaving rather than being inclined to either the earth or the world. Based on the technique of 'disclosed abstract', "YangDuk Catholic Church" created a new form and space never seen before.

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