• 한국실내디자인학회논문집
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• 제18권5호
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• 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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• 제18권1호
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• pp.27-34
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• 2009

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday's behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body's and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper's discussion are as follows; First, Tschumi's movement concept Is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it Is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi's movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

• 디자인학연구
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• 제11권3호
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• pp.69-76
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• 1998

본연구는 과거에서 현재, 미래라는 시간의 흐름에서 생성에서 폐기로 귀결되는 건축물의 문제점을 인식하고, 보다 지속가능한 건축환경을 위한 방안을 제시하는데 그 목표를 둔다. 이에 문제해결의 방안을 생물체의 위계구조와 진화 및 적응에서 찾고자 하였으며, 연구의 진행과정은 다음과 같다. ·건축환경의 인간에 대한 지원성의 의미롸 디자이너의 역할에 대해 설명하였다. · 이용자 중심의 계획의 필요성을 인식하고, 홀론 이론에 따른 다충적 위계 시스템의 건축에의 적응과 건축공간에 시간의 개념을 도입함으로써 완결이 아닌 과정으로써의 건축의 중요성을 밝혔다. ·베르나르 츄미의 라 빌레뜨공원을 위에 인급한 이론적 관점에 분석하였다. 연구과정을 통해 구체적 사례를 분석해 봄으로, 이론적 관점을 적용한 시각적 대안 마련을 위한 하나의 기초적 정보가 될 수 있기를 기대한다.