• 한국콘텐츠학회논문지
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• 제21권6호
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• pp.113-127
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• 2021

본 연구는 탈근대의 건축 공간을 고정되지 않고 지속적인 변화의 개념으로 보고, 변화하는 관계 네트워크로 건축 내 공간 요소를 이해하는 것을 목표로 한다. 연구의 목적은 관계성이라는 관점에서 렘 콜하스와 SANAA의 작품에 나타난 공간적 특성을 밝힘과 동시에 두 건축가의 공간구성 전략을 분석하는 것이다. 연구의 방법은 관계성의 대한 이론적 고찰을 통해 비고정적 관계성의 의미를 정의한 후 렘 콜하스와 SANAA의 건축적 접근방법에 대해 살펴보았다. 관계성을 공간의 프로그램, 환경, 사용자 그리고 가구와 집기로 구분하여 두 건축가의 작품 분석하였다. 결과적으로 두 건축가 모두 조직화에 의해 경직된 프로그램을 거부하고 가능성이 내재된 관계성을 건축공간 활성화 목적으로 활용하고 있다는 점에서는 유사하지만, 렘 콜하스는 사용자의 행위유발 기제의 전략을 사용하고 있는 반면, SANAA는 사용자의 자율적 행위를 담는 이완공간의 전략을 사용하고 있음을 확인할 수 있었다.

• 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.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.35-42
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• 2004

This study dealt with approaches in architecture and music in the contemporary situation characterized by accidence and uncertainty through Pierre Boulez and Rem Koolhaas' works. First of all, we examined basic positions with starting from zero degree breaking from fixed ideas and with relative neutrality. Then, from a methodological aspect, we inquired into 1) anti-hierarchical objective approach, 2) accidental approach to form. 3) diagram of structure and event, and 4) the use of selective routes. Lastly, from a receptive aspect, we dealt with the space of pluralistic perspective and works in progress. The two persons used chaosmos approach that enables adjustment and control through structure defining the relationship with accidence or chaos. With the approach, they created works in progress or open works that have a pluralistic viewpoint working in the field of specific relation and the concept of endless regeneration.

• 대한건축학회논문집:계획계
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• 제34권7호
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• pp.69-78
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• 2018

The purpose of this article is: firstly, to survey architect Rem Koolhaas' preservation theory by reviewing his essays, books, exhibitions, and research projects focusing on preservation-related issues; and secondly, to formally analyse OMA's remodeling projects from 1970's to the present. From this analysis, this article tries to classify OMA's remodeling projects into four distinct categories and to establish, respectively, four generally-applicable remodeling strategies: 1)'Interior-oriented', 2)'Juxtaposition', 3)'Infill' and 4)'Cohesion.' Finally, this article argues that these remodeling strategies can be interpreted as a consistent pursuit of integration of various programmatic elements.

• 한국콘텐츠학회논문지
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• 제12권10호
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• pp.138-147
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• 2012

현대에 이르러 공간디자인 분야에 나타난 의미 있는 시도는 공간구축과 담론의 교차점을 찾으려 시도한 것으로 평가된다. 본 연구는 현대 철학자인 질 들뢰즈가 프란시스 베이컨의 회화를 분석하여 자신의 담론을 전개한 문헌에서 공간적 단서를 찾아 현대 공간디자인과의 공통적 특성을 밝히는 것이다. 들뢰즈의 분석에 따르면 베이컨의 회화는 골격-배경(아플라), 형상-형태(형상) 그리고 윤곽-한계(트랙)라는 세 가지요소로 구분된다. 이러한 회화의 세 요소로부터 '형상-사건의 발생', '트랙-감각의 장소', '아플라-배경과의 상호작용'이라는 공간적 분석어를 추출했다. 그리고 이 분석어로 렘 콜하스의 최근 작품을 분석했다. 렘콜하스의 작품에서 확인되는 들뢰즈 공간론은 사용자와 공간 사이에 발생하는 사건 중심, 사건 발생을 유도하는 장소, 사용자와 공간 또는 공간과 대지 사이의 차이생성이란 방식의 적용이다. 결과적으로 현대 담론과 공간디자인 모두는 생명 운동에 의한 '차이'로서 이해된다는 공통의 특성을 확인할 수 있었다.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.47-55
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• 2016

This article explores an extended sense of autonomy in contemporary architecture activated through the practice of fashion, by taking architect Rem Koolhaas' work Prada Epicenter in New York as a case. In doing so, it argues that throughout the work Koolhaas sets up a world in which the corporate and the individual are entangled together in complex ways. Instead of considering Prada Epicenter to be the exemplar illustrating that the global company-Prada-institutionalizes the designed commercial space in a top-down manner, this article claims that such a space imbricates a multiplicity of meaning that is generated at the intersections of the local and the global, the ordinary and the spectacular, and the individual and the institutional. In this respect French philosopher Gilles Lipovetsky's fashion theory works as a critical point: his claim that the ambivalence of fashion-both as corporate power and individual freedom-is a threshold encouraging us to better understand the operativity of late capitalism in daily life is extended to Koolhaas' case. In other words, Koolhaas' Prada Epicenter brings forth possibilities that the ostensibly technocratic and institutionalized space in fact works as a resillient field where senses of individual autonomy arise in the aid of corporative practice of branding.

• 한국실내디자인학회논문집
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• 제18권3호
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• pp.47-56
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• 2009

This research aims to analyze the characteristics of the architectural space of Rem Koolhaas based on the spatial discourse of Gilles Deleuze, a philosopher of post-structuralism which comprehends pluralism accepting even contingency and uncertainty beyond deterministic attitudes of structuralism that has led the western discourses since the 19th century. First of all, this research will reflect on Deleuze's spatial concept through literatures and extract the characteristics related to architectural spaces. Then, on the basis of these characteristics, it will analyze the characteristics which were applied to the interior space of the recent architectural works of Rem Koolhaas to find out how Deleuze's spatial dicourse was embodied. Among Deleuze's speculations, the characteristics which falls under the spatial discourse were classified into three categories; degree between the striated space and the smooth one, the space of events and singularity, and the space of the multiple sense. These analysis words are used to look into the correlations among the specific practicing methods embodied in the architecture of Kookhaas. In conclusion, in the architectural space of Rem Koolhaas, it was found that the characteristics of Gilles Deleuze's spatial discourse of post-structuralism were embodied by the methods such as (1) Space of continuous transition, (2) Space of the $multiplicit{\acute{e}}$ accepting contingent events, (3) Space of the multiple sense, and (4) Space of movement.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.51-59
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• 2014

Rem Koolhaas has pursued new architectural approaches breaking with conventional ones. Around the 1990s when large-scale projects occurred with the union of Europe ahead, Koolhaas recognized the limits to the existing methods for responding to such changes. Accordingly, he came to use design methods based on 'congestion' and 'void' as strategical alternatives, which became the moment for him to leap forward from the previous working sphere based in Europe to becoming an architect who would be commissioned a number of large-scale global projects. Therefore, this study intends to investigate his design methods which utilized congestion and void, and to derive spatial characteristics from the projects based on such methods. First of all, the study looked into the historical background, definition and process of congestion and the void as design methods, and analyzed his projects to which such methods were applied by classifying them into the following categories: 1) the void that removes a space of singularity; 2) the void that penetrates space while making a flow; and 3) the void that is formed by vertical extrusion. Then, the characteristics of architectural spaces made in this way were identified as 1)the single-body appearance made by congestion and the following types of space made by the void: 2) the non-uniformly shaped space that looks like floating; 3) the flexible space with various flows and directions; and 4) the space with virtual possibilities that embrace contingent events. This understanding of Rem Koolhaas's design methods which were attempted in various ways at his critical turning point will be the foundation to understand the overall world of his works.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.87-96
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• 2007

This study analyzes the place of modem architecture based on the place theory of C. N, Schultz. For applying Schultz's theory to the modern architecture, It is required to examine the modern cityscape, features of inner space of architecture and features of program. By analyzing the avant-garde architecture of Rem Koolhaas on such basis, the potentiality of placeness of modern architecture could be verified and the alternatives would be searched. It is inferred that the placeness features of Rem Koolhaas' public architecture is under the influence of the interpretation of program based on the humane background rather than the physical aspects of surroundings. The inner space shows the non-linear features, the metaphor of city. The obscurity of physical boundary illustrates the flexible features with ambiguous boundary. Consequently, the inner space expresses the surreal atmosphere that doesn't match the purposes of usage of architecture, the traditional concept. The outer shape is recognized as the by-product from the interpretation of internal program rather than it considered the surrounding context. The outer shape has the relatively simple formative shape and contrasts against the complicated inner space by using the non-physical materials. It is found that Koolhaas' architecture doesn't pursue the features of placeness of traditional concept. However, It is inferred that his architecture has the possibility of placeness by attaching the meaning through the social roles of each architecture. It gives the substantial suggestion to the modern architecture that can't easily acquire the placeness of traditional concept due to the environment of modern city.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.58-66
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• 2015

This study was conducted to determine a 'platform' as a mean of interactions between users in contemporary spatial design and network(web) and to verify the similarity between the platform and space of Rem Koolhaas, one of the leading contemporary architects of our time. A platform, referring to tangible or intangible structures designed for common use in a variety of ways, is activated by the networking effect of participants. Aided by the recent development of the IT industry encompassing computers and smart phones, the concept of platforms is extending to all areas of modern life, in general. In this study, the similarity between architectural space and platforms after reviewing the computer-related platforms, ecological features that refer to virtuous circulation, and various cases applied with platform thinking. Through this process, the platform feature of architectural platforms is defined as the 'open spatial system combined with control and freedom that acts more than one function and facilitates direct/indirect exchanges between users regardless of its type or size'. Establishing the criteria for spatial analysis based on this definition, analysis was conducted on interior design projects that were planned and conducted by Rem Koolhaas after 2000. As a result of this analysis, it was learned that Rem Koolhaas designs space using dual space structures where the extension and mixture of the user group, mixture of various functions defined by users, loose control that induces voluntary participation, community reinforcement, and inducement of accidental events, and opening and closing coexist. In addition, this design approach was found to be a design strategy similar to the concept of platforms that began to be developed in the IT field.