• 건축사
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• 7호통권339호
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• pp.67-71
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• 1997

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.107-118
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• 2015

Today, The representation of the modern space is experimented with shape and surface of the de-structural point of view to make architecture and space, in terms of not being able to make defined by single regulation. However, it can correspond to the rapidly changing modern, but it is easy to fade of architecture fundamental meaning. Along with the need for the rise of the construction of fundamental space, should be built a 'tectonic' spatial, which is said to be building of logos. Tectonic, as norms for expressing the fundamental meaning of architecture, as to expression of construction, be unfolded with dualism such as science and art, technology and express, structure and formation, and it was introduced into the architecture through the construction expression of space that was a tectonic discussion of 19c german architects. On the other hand Constructivism which is avant-garde formative movement with Russia revolution, constructed 'sculpture' with the formative principles as tectonic. Tectonic's Formative characteristics can draw a conclusion with of tectonic characteristics of constructivism sculpture, space of logos will be realized through its study. Other hand, The pavilion, as symbol space, can be analyzed by tectonic properties, Pavilion, meaning the space is expressed in a variety of tectonic expression. As tectonic construction, fundamental ideology and symbolization of space is revealed metaphorically and visually.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.3-10
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• 2005

The purpose of this study is to find the relationship between hightech architecture and digital one through the discussion on Karl B tticher's view on tectonic in 19th century. The discussion of tectonics which has not been brought up until recently. Since there are no studies regarding contemporary architecture relating to Karl B tticher's view on tectonic, so it is fairly significant to study Karl B tticher's conception, discussion and relationship of contemporary architecture. To study the essence and meaning of Karl B tticher's view on tectonic in 19th century, we will analyze each examples of hightech architecture and digital architecture through Karl B tticher's dual form. B tticher insist that dualistic relationship is united and produced simultaneously. Because they have so closed relationship each other, it's impossible to apply only decoration without structure. Therefore they have mutual assistant relationship. A relationship can be found between hightech architecture's technology and structural symbol that Karl B tticher tried to find in steel which is new material ornament. Digital architecture can be confirmed as images which are made of maximum expose through consistent dynamics of structure. Karl Btticher try to find structural symbolism between new meterail, iron, and decoration. In modern architecture it has the closed relationship with high-tech technology.

• KIEAE Journal
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• 제15권2호
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• pp.79-86
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• 2015

Purpose: The concept of the tectonic has researched to find out the identify of modern architecture. The meaning of traditional tectonic knowledge to emphasize structural joints and attention to detail in creativity has developed in various ways in contemporary architecture. The purpose of this study is to analyze the tectonic characteristics and architectural expressions of the light appeared in the works of Santiago Calatrava. Major features in his works could be found is to maximize structural beauties through deducing the architectural images from the nature and expressing the material properties and the kinetic structures, and thus, to ultimately create the functional space and form by connecting the light to the tectonic structure. Method: Accordingly, I tried to analyze the three works of Santiago Calatrava (the Milwaukee Art Museum, the Bodegas Ysios Winery and the City and Arts and Sciences) as following categories - the structural aesthetics, the expression of material properties, the relationship between he kinetic structures and the light. Result: According to the results of the study, Santiago Calatrava tried to create his own architectural aesthetic by combining structural tectonic with nature, material, regional place and culture. He also sought to express the tense and dynamic tectonic rather than the stable one in his works.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.29-38
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• 2014

This paper is to analysis covering and exposing elements through surface in the spirit of the time through the meaning of relationship between structure and symbol(ornament) in the theory of dressing of Gottfrid Semper. In other words, The purpose is to illuminate how complementary tectonic between structure and symbolic of an architecture surface is expressed in accordance with the biased required conditions relating with the paradigm of the era. The advancement of the new method of tectonic and the new aesthetic taste have a deep relation with the reconsidering the dichotomy classification discussing a dominant position between structure and symbol(ornament). Expression of surface representing the era comes across the combined interpretation of technology, structure, and the non-physical culture's art of the community and the era.

• 건축역사연구
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• 제33권2호
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• pp.29-39
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• 2024

In contemporary architectural discourse, the concept of space is ubiquitous, yet its historical genesis and theoretical underpinnings in Gottfried Semper's seminal theoretical work remain under explored. This study investigates the reception and integration of Semper's architectural theory into modern discourse, tracing its trajectory from August Schmarsow, to Nikolaus Pevsner, to Sigfried Giedion. While Semper's "cladding theory" had initially been understood in terms of both its relation to physical properties and structural and functional values, leading to an expansion of cladding as a new genre of art, i.e. arts and crafts, Semper's "architectural theory" instead explained cladding theory in terms of space. In disseminating Semper's theoretical work, Schmarsow was especially important as he himself played an increasingly prominent role in expanding the boundaries of modernist architectural theory and practice from the beginning of the 20th century on.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.24-34
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• 2016

The notion of materiality in architecture has existed throughout its history, and it has begun to discussed in earnest as an important architectural discourse since early twentieth century, when the Industrial Revolution and its consequent mass-production system has fundamentally changed the means and methods of architectural production. However, this traditional notion of materiality is not fully engaged with today's digital paradigm, and not able to inquire into the complex aspects of contemporary architectural process, because their theoretical and perceptional bases are still remaining in modern era. In this shifting context, this study is intended to develop a new concept of digital materiality which corresponding to contemporary digital and material culture. This paper speculates and argues digital materiality as an active ingredients of contemporary design process as well as a comprehensive logical system that negotiate with various geometric conditions. The purpose of this study is to analyze and investigates the distinctive characteristics of Office dA's architectural design process in the digital realm.

• 건축역사연구
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• 제7권4호
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• pp.77-91
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• 1998

The theory of tectonic appeared in the midst of 19th century as German architects adopted new materials and structural technology, invented by creative engineers, into architectural design. This does not merely mean a technical problem but concern the redefinition of architecture in term of an aesthetic, cultural, and ontological identity. Furthermore it alluded to a desire on the part of architectural theorists to actualize artistic and spiritual goals out of new constructional necessities. Because of their complex discourse that assumed the possibility of communication between philosophical and technical aspects, between ideal and real concerns, tectonics becomes until now the most important issue in architecture. The concept of tectonic was intensively investigated by Gottfried Semper's and Karl B$\ddot{o}$tticher architectural writings. They contributed to clarify the principle aspects of tectonic within architectural, philosophical, and anthropological discourses of 19th century. Gottfried Semper stressed an understanding of how architecture took on physical form in earliest human culture. He placed great importance on the artistic expression of materials. But unlike Semper who argued the cladding of the structural frame by decorative wall system, Karl Botticher required maximum visibility of structural frame. This represents the different positions between Gottfried Semper and Karl Botticher

• 한국실내디자인학회논문집
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• 제20권5호
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• pp.87-95
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• 2011

최근의 현대 건축에서는 재료의 물성과 구축성이 두드러지는 프로젝트를 많이 발견할 수 있다. 이러한 경향의 배경에는 사양한 요인들이 있을 수 있다. 그 중에서도 공간성(性)에 대한 근본적이고 회귀가 중요한 바탕이라고 할 수 있다. 피터 줌터의 건축은 현란한 조형적 효과, 표현만을 위한 기술적 장식을 사용하지 않는다. 대신 그의 건축은 장소와의 관계, 문화적 context 상에서의 맥락, 그리고 공간의 근원적인 경험을 주요한 매체로 사용한다. 그리고 이러한 특수성은 대체적으로 빛과 재료의 고유한 적용으로 나타난다. 이는 장소와 문화의 특성을 관습적인 형태나 화려한 표현으로 재현하는 것이 아니라 '공간감'의 구현으로 구축하는 방식이다. 본 논문은 피터 줌터의 건축에 나타나는 빛과 재료의 구축 방식, 그리고 공간의 경험에 대하여 살펴본다. 그의 건축 구축 방식은 일견 간단해 보일 수도 있으나 실제로는 프로젝트마다 고유한 빛과 재료의 적용과 텍토닉(tectonic)이 내재되어 있다. 본 연구의 목적은 이러한 점들을 자세히 살펴보고 그러한 구축방식이 궁극적으로 어떻게 공간의 경험과 관계를 하는지 고찰하는 것에 있다. 구체적인 사례는 Bruder Klaus Chapel과 Kolumba Museum으로 한정된다. 프로그램은 다르지만 빛을 사용하여 관람자의 공간경험과 공간인지가 어떻게 형성되는지를 다루면서 결론 맺는다.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.47-55
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• 2008

This paper attempted to analyze the Sainte-Chapelle(1242-48) in Paris in terms of Gottfried Semper's theory of four elements. For this aim, this study was divided into two parts: the first part regarding Semper's theory, which included not only the theories of four elements and four technical arts but also the concepts of the two types of primitive dwellings; the second part regarding the Sainte-Chapelle, composed of the overall study and the characteristics of the building and finally the analysis of it in terms of Semper's theory. The Sainte-Chapelle was regarded as a real example of Semper's four elements, in that the building was composed of a sacred altar containing Christ's earthly relics, stereotomic bases made of stone, a tectonic structure featuring linearity, and textile stained glass as an elaborate enclosure. While the bases and the structure were employed as serving elements, the altar and the stained glass played critical roles to make a whole space immaterial and monumental. These two elements served to reveal not only biblical typology but also the religious and political vision of Saint Louis to establish Paris is as a new Holy Land.