• 건축사
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• 제5권2호통권18호
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• pp.38-44
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• 1970

• 건축사
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• 5호통권170호
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• pp.47-51
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• 1983

• 건축사
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• 8호통권90호
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• pp.59-80
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• 1976

• 건축역사연구
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• 제22권4호
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• pp.45-57
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• 2013

Unlike the extrinsic Modern Functionalist, Louis I. Kahn, a modern American architect, had been pursued intrinsic architectural nature based on historicity; The Essence of Architecture, during his lifetime. That is the reason why he is generally called as one of frontiers toward Post-Modern Architecture. However, the actual meaning of his 'The Essence of Architecture' is so vague and unclear until today, because not only his complex personal thought and career but various and subjective interpretation by so many later architects and architectural theorists. In the context, this paper attempt to reanalyze and clarify Kahn's idea of 'The Essence of Architecture' with the deep and objective view of aesthetics focused on a distinguished contemporary German philosopher, N. Hartman's idea of phenomenological relation and the stratified structure of a work of art.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.47-56
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• 2005

The purpose of this paper is to understand the meaning of 'institution' in Louis Kahn's architecture and to reveal that it is expressed through singularity and commonality, which have two aspects; formal-material(eidos-hyle) aspect and phenomenological aspect. Under these recognitions, this paper shows the detail analysis on design process of Phillips Exeter Academy Library, focusing on his writings and sketches. The results are as follows. First, the basic form is maintained through the design process of the Exeter library, and it is derived from the consideration of the human activities in the library. And second, each 'room' of the library acquires its singularity through structure and light. And the 'plan' is based on the commonality inherent in the singularity of each room. And the last, singularity and commonality are revealed not only In the relation of architectural elements but also In the relation with man and architecture.

• 한국실내디자인학회논문집
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• 제17권5호
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• pp.23-30
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• 2008

This thesis aims to analyze the visual perceptual effects drawn by 'axial composition and divergence' and to interpret the architecture of Kahn in respect of 'axial composition and divergence'. Axial composition of the form, the location of the entrance and divergence of internal movement were checked up about 53 works by extracting parti which is basic element of spatial composition. The 3D modeling simulation was performed for the selected 10 works in order to analyze the visual perceptual effect due to divergence of the internal movement. The reaction of the observer's actions and visual perception by 'axial composition and divergence' is presented in the following steps. 1. Divergence of the entrance/a panorama of expanding planes. 2. Divergence of internal movement/The process of perception of visual rotation and central spatial form. 'Perceptive form' created by 'divergence' is the result of diverse and flexible series of processes which must be experienced in person in order to reach the space as a room with a definite domain and center.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.36-45
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• 2005

The aim of this study is to understand the meaning of Form drawing in which Louis 1. Kahn's principal thought is immanent through the detail analysis on design process of the Phillips Exeter Academy Library, based on his sketches and writings. The basic form is composed of three different space: one where students come together in the presence of books, another for the storage of books, and a third for reading in the light. Through the design process in the Exeter library, the basic form is maintained and it is derived from the consideration of the human activities in the library Particularly, the basic form is shaped around the idea that learning necessarily Involved two complementary activities: on the one hand, the quiet introspective act of reading, and the other, the interpersonal exchange of ideas. And the basic form plays an important role in controlling the relationship between program requirements and formal transformations in the design.

• 한국실내디자인학회논문집
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• 제15권2호
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• pp.65-72
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• 2006

The purpose of this study is to show the development process of space concept by studying on the Louis I. Kahn's painting as pre-architectural thinking. Generally the idea of an architect is represented with lots of mediums, and the architectural thinking is developed through the process. In his early days, he, as an architect, made many travel sketches of Europe. In these clays, painting was the most significant medium to him. Since 1950's, he also left lots of sketches affected by abstract painting in addition to travel sketches. The results of this study were as follows: He found the image of antiquity from his painting and he made this image into abstraction in the facade. And the image of ruins was translated the layered space which was the transitional space. And he presented 'marche' through the series of painting of various view point. The Concept of 'marche' was translated into the connections of repetitive mass in the architectural space.

• 한국실내디자인학회논문집
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• 제14권5호
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• pp.114-122
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• 2005

A study of light in Kahn's architecture must be significance as a work in building new architectural space and a new foundation for architecture, as well as clarification of the uniqueness of Kahn's architectural space and search for its significance. In addition, the study provides a greater comprehension of an the concept of Kahn's architecture by clarifying the degree of association of light into other concepts of architecture. Therefore, this study attempts to examine Louis I. Kahn's statement, sketch and work. His sketch along with the characteristics of the technique how to present it also enables comprehension of other aspects of architecture as a means to revive architecture. Khan's use of light enabled the evolution of primarily two types 'specular surface' and 'unique opening part' by associating them with the need to diminish glaringness. Each of these types has been evolved individually and is indicative of a concept of light that can be largely divided into ' object's light ' and ' space's light ' Object's light refers to a type in which the formative significance of structural part and different directions of light coexist, and its formative characteristics play a role that differentiate places within space. Space's light is present on wall spaces that limit space and exhibits its distinguished role differentiating places within space in the form of 'expression'.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.222-226
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• 2007

Buildings form interior space when part of an external environment is limited by a physical surface. And, the interior space forms an appearance of building when space-defining elements, such as floor, wall, and roof. An appearance or a form of building has a lot of meanings depending on the physical and psychological conditions, as well as symbolism. Especially, the prevailing meaning of form in the modern age was, "Form follows function," was quite different from the meaning of form in the architectural era of Louis I. Kahn, who asserted "Form always supercedes function," when functional modernism was still existed even after some 50 years later. Existing studies on Louis I. Kahn usually analyzed his architectural terminology and philosophical concepts of Centrality, Light, Order, Form, and Design; or they were focused on an overall plane and the principle of composition. The purposes of this study are: (1) to investigate how the formal composition characteristics of building are expressed on skylights; and (2) to demonstrate that the formal composition characteristics of skylights plays an important role in constructing a whole structure of building in relation with other architectural elements.