• 한국실내디자인학회논문집
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• 제22권1호
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• pp.115-123
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• 2013

Today, the views on Temporality of space have been changed not only to be based on the concept of time, but also to identify the space with a body adapted to the new circumstances. The study suggests that the actions of performers in space have been important by changes of views and are connected to the music phenomenology mixed with music whose tempo is the phenomenology related with of human consciousness itself, and derives the temporal property by putting them into Rem Koolhaas space with the fluid quality. According to Clifton's Phenomenology of Music, an understanding of music is made in both human body and consciousness as two ways to listen to sounds and enjoy music. Though a correlation between the characteristics of Clifton's Phenomenology of Music and one of resulted from uncertainty and immateriality of modern space Temporality, we could work out four kinds of characters which are the continuity of the fluidity from temporal programs, contrasting changes or synchronicity, the multidimensionality from synesthesia of line and face, ventilation by quality of the material and immaterial circumstances of sound effects, the implication in events resulted from cognition for information and unexpected actions, and the autonomy of the route of a variety of experiences including intimate connection of inter-related events and temporary and diverse external conditions. Hereby Temporality of musical phenomenology in Rem Koolhaas's space can be experienced by systems base oh the importance of host's motion, changes of programs according to the motion as well as uncertainty and immaterial changes. Due to the changes user's emotion and motion is undergone as Temporality that changes automatically.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.85-95
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• 2009

Since the early stages of philosophy in ancient Greece, reason has prevailed over sensation, based on the idea that it was the recognition of the ideal world existing as the archetype of objects. Abstract concepts followed geometric models, though they be invisible. However, from the beginning of 20th century, people began to be interested in the idea in metaphysical philosophy, that reason might not be a characteristic best representing the human spirit, and that a human being is composed of emotion, desire and the physical body, in addition to reason. The study shows that paintings and constructional space have shown similar changes through the stream of time, and have a synchronistic relationship within the range of the formative arts, based on the contemporary philosophy. First of all, it defines the change of contemporary thought and its analysis words. And consider the Corporality which is one characteristic of contemporary thought. This study shows the characteristic of the Corporality in the architectural space of Rem Koolhaas whom it selected the architecture who is influenced by Post-structuralism. In conclusion, It compares paintings and architectural space and looks into the correlations among them in the category of the Corporality which is a pont of view from contemporary thought. As a result of the comparison, the Corporality in paintings is defined as (1) An escape form Reason, (2) An emphasis of experienced events and (3) A destruction of forms. It defines the architectural space of Rem Koolhaas corresponding with the Corporality in paintings has a characteristic of (1) The space of Body without Organs, (2) Becoming spatial concept of events and (3) An Unrestrained Form.

• 대한건축학회논문집:계획계
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• 제35권9호
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• pp.119-129
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• 2019

The purpose of this paper is to study the meaning of Rem Koolhaas's works focused on Villa Dall'Ava. This House which offers a fine example of the early architectural concepts of Rem Koolhaas was completed in 1991, 7 year earlier than the Maison Bordeaux and also this work is the only one house constructed in Paris. Rem Koolhaas, one of the most influential architects representing contemporary architecture in these days is interpreted so diversely as new constructivism, deconstruction and new scientism etc. The relationship between Modernism architecture and the architecture of Rem Koolhaas is supposed in various point of view in recent studies. Although the leading background on which the architectural inclination of Rem Koolhaas is de-constructivism, various interviews, editorials and other perspectives give clue that Rem Koolhaas was influenced by Modernism. His architectural concept is connected with the architectural principles of Le Corbusier: 'Five Points of a New Architecture' and 'Dom-ino system', which are especially applied a lot to Villa Dall'Ava in the modified form. This study is to research the architectural characteristics of Villa Dall'Ava by analyzing the layout, plan, elevation, section and structure, which revealed the architectural connectivity between the concept of Rem Koolhaas and the architectural principles of Le Corbusier which had a great effects on architectural history and became a fundamental elements for the change into the modern architecture. In practice, the architectural work of Rem Koolhaas remind the architectural principles of Le Corbusier. This research appraises each points of 'Five Points of a New Architecture' in regarding with Villa Dall'Ava whose study will be important to find the meaning of the works and ideas of Rem Koolhaas.

• 건축역사연구
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• 제20권4호
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• pp.115-134
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• 2011

International Competition for Parc de la Villette has evoked the old architectural question that is about the conflict between unchanging architecture and ever changing time. Tschumi and Koolhaas suggested well-known solutions for it, both of which had started from the criticism of general urban design approach that ignored changing factors in time. However, this study argues that the approaches of Tschumi and Koolhaas are even opposite to each other in spite of their common aims. Influenced by deconstructivists' theories, Tschumi tries to generate the 'text' on the surface of la Villette so that the different users of the park can read it differently. The text is built by 'superimposing' different systems such as points, lines, and surfaces. This study criticizes such formalistic approach since such 'forms' do not generate any dialogue with the real users but just stay as a backdrop for irrelevant events. Meanwhile, Koolhaas concentrates on the 'ground-ness' of la Villette. What he deals with is the real ground which embraces all the potentials on it already. His 'bands' express nothing but the metamorphosis of the ground, and the ground generates the 'differences' out of itself by repeating itself ceaselessly. This study tries to clarify all those happenings and meanings by intimate investigation of various drawing works for the la Villette project by Tschumi and Koolhaas.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.13-23
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• 2016

2014 Venice Biennale of Architecture, presented by general director Rem Koolhaas, has shown the distinct difference between his present displays and past displays. Under the theme of FUNDAMENTALS and ABSORBING MODERNITY, Rem Koolhaas has developed his own unique way which is a research-oriented display technique to explain the difference at the exhibition. The purpose of this study is to define a research-oriented display technique as realism rhetoric for the opened dialectic and identify its aspect of a methodic approach. This report investigated not only Rem Koolhaas's thought and theoretical approach through his work but also the comparison of between his present and past displays. His display is based on the constellation of Central Pavilion, National Pavilions, and Arsenale display and reflected the reality of architecture in self-deception through the metonymical interaction of various facts and records. Rem Koolhaas called it the composition of contradiction. In his work, the spatial situation which is the present has been made with the intervention of historical events and has revived the reality of architecture. Also, the present is a montage of the strict control of architecture, the isolation from the architecture itself, and the autonomic communication with other fields. Finally, as a result of his work, Rem Koolhaas has shown that his display is not the end of phase but a phase of creation.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.73-83
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• 2005

Recently, by the expansion of Industrial Capitalism and the development of Information Technology, the qualify of humans' life came to have various aspects. In this era of variety, among all the different attempts Rem Koolhaas(OMA)'s architectures attract attention for their architecture's new point of view in architectural design. On the basis of the objective fact in the modern world, as a construction which expresses the language naturally, and a democratic architecture of a faithful part for the whole, these kinds of approach shows the similarity and the properties of Neue Sachlichkeit which has appeared in the colloquy and photographs in Germany at the end of the 20th century in the past. The main purpose of this study is to recognize the understanding and development of Neue Sachlichkeit's properties in architecutre - the Neue Sachlichkeit's influence on the architecture from elementerism, Constructivsit International, ABC Group and Holland's 'the De 8 and Opbouw's' architecture's move to the Holland's architecture - in colloquy and photographs from 1910 to 1930 which had the similar aspect and chronological situation of the modern world.

• 한국실내디자인학회논문집
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• 제26권1호
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• pp.13-24
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• 2017

The semiotics philosopher Roland Barthes declared 'the death of the author'. This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes. In architecture, too, author-centered design appears. Architects sometimes try to express their will and concepts strongly through their work. However, this architecture is oriented toward identity, self-revealing, self-centered, and eventually without inspiration. On the other hand, the signifier does not result in a single meaning, and it is architecture as text that allows readers to enjoy the pleasure of deciphering. The purpose of this study is to investigate that unilateral by the will of the architect. Or whether there is a potential for non-intelligence and the possibility of generating meaning. In particular, we will analyze the works of Rem Koolhaas, SANAA and Sou Fujimoto to see if they are free from the will of the architect and can obtain the user's true freedom. As a result, we want to reveal the potential of various interpretations by users in contemporary architecture.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.