• Korean Architects
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• no.10 s.223
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• pp.49-61
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• 1987

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.35-42
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• 2006

'Place' as the spacial concept became now key concept in the environments and architecture from the mid 20th century. The purpose of this study is to explain the placeness in Aldo Rossi's architecture according to space sequence. Aldo Rossi has attempted to apply the typological elements for the restoration of place in the cites and buildings which had ruined by modem architecture. Therefore It would be important for us to find out a method which making placeness in Aldo Rossi's architecture. Experiencing place could be examined by the method of space sequence. The experience of place is related to the experience of the human body in architecture space. The experience of place in space can make a unique placeness of architect. And, the experience of the place through the movement of the body and the vista, is the key elements of space sequence to explain the placeness in architecture. The results of this research are following. (1)Key space which related to movement of human body in Aldo Rossi's architecture make a set consisted of a goal space and the surrounding space. (2)The Arrange of Space and the formation of the boundary is more complex in the dispersed buildings than that of the single building. (3)The typological elements like a courtyard, a cylinder and the axis in the buildings made the goal space and helping people to find the orientation of human body.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.23-34
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• 2012

After the modern age, the rapid urbanizationhad a big impact on the then architecture. R. Venturi and A. Rossi are two of the leading architects, developing architecture in cities in the US and Europe respectively. This study shed light on a tangible and intangible meaning and interpretation of urban landscapes through their architectural thoughts and architectures. The followings are the physical and intangible meaning and interpretation in architectural thoughts and works of those two architects. Venturi understood that iconological landscapes at the roadside in large citiesare the nature of physical landscapes. To Venturi, the façades of buildings at the roadside are a part of signage such as traffic lights and road signs, and those façades have the meaning of symbolic systems beyond simple physical landscapes. To A. Rossi, types of buildings as physical townscapes are a key role supporting raw data of classification in architecture. And also, those types have significance of the basic data shedding light on the principles and history of cities. For intangible factors in R. Venturi's architecture, daily routine, function and use, time, a use for a building and others form complex architecture. And also, those factors describe shared values of the same period as the façades of buildings and complex symbols and formative lexicons in metaphorical terms. For A. Rossi's intangible factors, 'collective memory' is buried in inhabitants of the city, and with that, the city is a place for memory to its inhabitants. What is more, cities' monuments have intangible landscapes like 'sustainability', 'permanence' and so on. With lots of events happening throughoutcities, those monuments are the whole images of cities giving the value to the urban buildings that reside in cities. Finally, R. Venturi's all-encompassing complex architecture concept was extended on a tangible and intangible point of townscapes. It was found that A. Rossi's tangible thought was formed from the whole landscape of historic cities in then Italy as the background of time and place. Also, With types of urban buildings and 'collective memory', A. Rossi drew architectural norms and formats of unchangeable types.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.43-51
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• 2006

The purpose of this study is to present possibility about applying space design of urban theory focused on collective memory. Urban which is the final data of human's collective life has been recognized creative circumstances human collective is living. It can not think without collective from its motivation to problem of form as well as building as element which compose these cities. It is to recognize essential attribute of construction in the collective that think architecture with urban, and It means that recognize actuality of architecture that can talk as the most collective product that represent human. There was discussion for collective and urban. But, this problem was proceeded to clear human knowledge of architecture mainly in other discipline, and even if speak as field of architecture, it could just pass confined meaning by refering at process that clear several main aspects of architecture as doing not pass over more than it. Problem of form that is ultimate aspect of architecture remained by different thing still doing not combine with collective architecture, and occasionally happened the case that make collective of architecture and relation of form overly incommodiously reducing form by a tool for diagram, shape, figuration in the aspect of collective. This research study concept for memory collective in the urban and collective of architecture, and choose urban planning methodology and their work by specific example between Aldo Rosi and Rem Koolhaas dealing with architecture and urban, and present possibility about space design of urban.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.12-20
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• 2009

Memory and schema are very similar in terms of human accumulated mental and physical experiences. However, while memory has more personal aspect, schema discussed in this paper has more collective aspect. Schema has been developed through different generations and times, and has become a specific psychological or visual element(s) that can be applied to various fields, such as all, design and architecture. This study focuses on Aldo Rossi's architectural design characteristics based on his 'Autobiographical Concept' as well as personal schema. 'Autobiographical Concept' is the crucial structure supporting Aldo Rossi's distinctive formalization and spatialization. 4 case projects were comparatively analyzed by the 5 elements included in 'Autobiographical Concept'. It was not easy to relate each element to a specific design aspect because the 5 elements are somehow theoretically and conceptually inter-connected each other. Even though it is very difficult to directly relate a conceptual element with a real spatial element, it is found that the 5 elements have some differences in the spatialization process. Thus, in the conclusion, this study attempted to show the unique characteristics of the Aldo Rossi's architectural design process based on his 'Autobiographical Concept'.