• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.162-170
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• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• (The)Study of the Eastern Classic
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• no.49
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• pp.137-160
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• 2012

This paper focuses on analyzing Eom Heun's grip on reality and attitudes through his literary works. He realized his time as a corrupted world that lack of morality. This actually was a criticism for the existing political force at that time, and he embodied it by using the image of wind, frost, mole cricket, ant, and so on. During that time, he tried to stick to his opinion on integrity. For that, he criticized men of the day who had an apathetic attitude. On the other hand, he praised pine and grass as an image of faith and fidelity. We may verify his world view by reading his literary works.

• Journal of the Korean Society for information Management
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• v.38 no.1
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• pp.263-291
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• 2021

This study aims to develop a records management system for catholic churches that use open-source software to ensure systemic management and preservation of sacrament records, which accounts for the highest percentage among all records produced by catholic churches and holds great significance for them. To that end, the researcher analyzed catholic church regulations and reference materials, as well as the websites of open-source software. The researcher also interviewed members at the G Cathedral of the Catholic Archdiocese of Daegu, to examine the current status of records management at catholic churches. Based on the investigation, the researcher designed four layers of metadata and authority data that reflected the characteristics of the sacramental records. Then the design was experimentally implemented using AtoM, an open-source records management system.

• Korean Institute of Interior Design Journal
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• no.36
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• pp.102-110
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• 2003

This Study is concerned with the architectural problems particular to the design of the sanctuary in Catholic churches. The paper is meant to address two distinct groups - clerics and architects. Architects do not tend to think the church buildings theologically or liturgically, and priests, though they are often trained in the arts, do not tend to look at buildings the same way architects do. Hence, my goal is to adequately address the concerns of each in a language the other will understand, thereby building a bridge of communication between the two groups. The two main concerns of the study are to provide guidelines and reflection lot liturgically correct buildings, and to re-establish the traditions of church buildings. I discuss the idea of the sanctuary in the Catholic church,(in chapter 2) and examine each of the main furnishings of the sanctuary with regard to history, liturgical use, symbolism and related pastoral concerns.(in chapter 3,4).

• Journal of the Korean Institute of Rural Architecture
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• v.5 no.1
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• pp.42-61
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• 2003

The purpose of this study was to analyze the characteristics of wooden anglican church architecture in Chungcheong area. For this study, I have selected ten anglican churches, and have studied the characteristic through the actual survey and analysis. This study focuses on the architectural characteristics and evolution of wooden anglican church in chungcheong area, based on the actual survey and historical analysis. The results of this study is as follows:1)The shape of plan is long axis composed of the entry and altar. 2)The shape of elevation is composed of the roof form and existence and nonexistence of bell-tower. 3)The shape of section in divided into one kan and three kan way, by the existence and nonexistence of a row of columns in the interior. 4)The structure and design follows roof-framing.

• 전기의세계
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• v.38 no.6
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• pp.12-18
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• 1989

한국형 고속전철을 고려하는데 있어서 위에서의 기술적인 측면보다도 오히려 수송용량, 경제성, 운영방식의 측면에서 더 많은 비중을 두고 검토해야 하는지도 모른다. 그러한 측면에서 한국형 고속전철은 한국의 지형조건, 경부간의 연변인구, 현경부선의 장래, 고속전철의 운영방식, 한국철도의 기술수준 등을 고려하지 않으면 안되고 한국형이어야 한다. 한국형 고속전철은 1. 경부간 고속전철의 거리는 380Km정도이므로 2000년대의 국민 일인당 시간가치를 기준으로 최고속도를 결정하여야 하고 표정속도는 190Km/h이상이어야 한다. 2. 고속화를 위한 필수조건인 차량의 축중을 17톤 이하로 제한하여야 하고 기존의 철도차량이 고속전철선에 야간열차등으로 투입되더라도 이 원칙은 유지되어야 한다. 3. 수송능력을 확보하기 위하여 열차편성당 좌석수는 800석 이하로 확보되어야 한다. 4. 기존선에서의 연장운행이 불가피하므로 기존선의 차량한계 내에서 안전하게 운행될 수 있어야 하고 전력공급은 기존선 방식인 A/C25KV, 60HZ의 사용이 불가피하다. 5. 고속전철의 건설비용, 차량의 제작비, 기술이전도, 국산화율 등을 고려한 시스템이어야 한다. 한국형 고속전철은 위의 기본원칙을 최소한 만조시킬 수 있는 시스템이어야 한다.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.72-82
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• 2005

Metaphor has been regarded as a simple methods for decorating languages for a long time, nowadays it has important role in creative thinking. Designers have had used metaphoric thoughts in art work design and architectural design as well as writers. But designers and art critics have not recognize its importance, in addition research about metaphor specially in design have not even started yet in any design areas. This research is on the line of studying automation design by explain mechanism of metaphoric design regarded as black box. Ronchamp Chapel design by Le Corbusier has been analyzed and some metaphoric processes has been logically described. In this process, properties of sound are transferred and used as window design to control lights.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.137-148
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• 1992

I have focused my study on the comparative analysis between 'Sacrestia Vecchia (Old sacresty)' and 'Sacrestia Nouva (New sacresty)' of San Lorenzo in Firenze. One is designed by F. Brunelleschi and the other is designed by B. Michelangello on the base of similar program and context. The analytic study has led me to the following conclusions: First. two saresties take concrete shapes by organizing the classcal vocabularies on the elementary forms. Second, though Michelangelo has started Bruneleschi's sacresty, he gives a more concrete form by the heightening the section. Third, the transformation of entrance and aediclues show that Michelangelo designed the new sacresty on the creative interpretation of the classical vocabulary and the context.

• Journal of architectural history
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• v.24 no.2
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• pp.7-16
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• 2015

This article deals with a proportional analysis of Cologne Cathedral with regard to the medieval tradition of geometry and figurate numbers that were commonly used in the medieval period. It first outlines symbolic and geometric notions of the geometry and numbers during the medieval period, and then, interprets the proportional design of the plan and section of the cathedral in analogy with the notion. It concludes that the proportional design of the cathedral was not quite arbitrary but carefully designed for the systematic and symbolic quality of the medieval aesthetic tradition.