• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.15-22
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• 2019

According to Kenneth Frampton, the modern architecture starts to be recognized as the poetics of construction and lays a great weight in its value on the technology of making forms and the inherent meaning in the tectonics. The tectonic connotes not only the technological construction of the architecture but also ontological details as the joint of material and texture. The works of Carlo Scarpa are examples to prove the way how the ontological meanings are exposed in the tectonic form of architecture. The purpose of this study was to analyze the connections between Carlo Scarpa's architectural thoughts and visual logic(schemata) from the characteristic of details in his work during the 1950s to 1970s. Through the analysis, the Italian tradition in the architecture is reinterpreted through isolation and break of recollected montages. Carlo Scarpa makes spatial fragments and aspects of reinterpreting in surroundings and situation with the architectural place in Venezia. As a result, the unique details of his craftsmanship provide lessons on how to reinterpret the traditional architecture. In conclusion, Carlo Scarpa's architecture emphasizes the passage of its perceptive experience aspects as a dis-joint of tectonic forms. It may imply the significance of his philosophical approach, especially to the ontological architecture and tectonics.

• Journal of architectural history
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• v.13 no.2 s.38
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• pp.39-55
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• 2004

In terms of the way we perceive the world, the history of human beings might be said to be a history of two incompatible forces -'science' and 'myth.' Until today, both indispensable aspects have made human existence possible and characterized human culture. Nonetheless, an essential definition of myth has never been clearly explained. What is the general philosophical thought about myth? Current well known interpretations are so called Enlightenment and Romanticism of myth, which both has same criticism that they has not generally considered myth in terms of its technical function or specified contents. One who overcomes the limit of two current extreme beliefs on myth and also who concerned more with the ultimate origin of myth and its relation to the structure of poetry than the source of its vital accomplishments is philosopher Hans Blumenberg. For him myth is an artificial means and an answers to overcome the 'absolutism of reality.' On this point, the research concerns basically two issues. One is to investigate the functional and structural characters of myth through philosopher Hans Blumenberg's anthropological reflections. The other is to analyze architect Tadao Ando's works and thinking. The intention of the paper is not only to explore the relationship between philosophical theory of Blumenberg and Ando's architectural works, but also to suggest a new critical understanding on architecture from mythological point of view. I also expect that this research will suggests a concrete theoretical idea for constructing and construing artistic form and cultural space.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.158-167
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• 2012

This research began by considering that, although architecture and architectural culture of the last two decades seem to have rediscovered ornament and some recent studies have reconsidered the ornamental issues of contemporary buildings, there is currently some difficulty in providing a synthetic investigation of this topic, because of the complex nature of the contemporary architectural situation. Following this premise, this research provides some reference points for further studies that will aim to expand the understanding, and attempt to classify and hypothesize the future of contemporary ornamental phenomena. Based on the assumption of the historical continuity of ornamental problems, and adopting the relation - both technical and aesthetic - between ornament and structure as one of the crucial issues to link past and present problems, the study firstly defines two categories and two sub-categories concerning the relation between ornament and structure, namely: a) ornament integral with the structure and b) ornament applied to the structure; a1) ornament visually expressing the structure and a2) ornament not visually expressing the structure. The study then reviews the historical development of ornament from ancient times to the present in the light of the above mentioned categories, and finally discusses the principles of traditional and modern ornament thus analyzed in relation to contemporary ornamental trends, as identified in selected case studies. Some common points between past and contemporary experiences are revealed in order to facilitate further investigations. In particular, the analysis shows a certain trend in contemporary architecture for a strong link between ornamental treatment and the structure of the building and a current tendency among contemporary designers to keep the exterior appearance of the building project separate from the design of the rest of the construction.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.9
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• pp.87-96
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• 2018

The purpose of this study is to get a more fundamental definition of the term Architecture and Geonchuk through analyzing the origin and reception of the terminus technicus Architektonike. In Latin world the greek term Architektonike was adopted and replaced the term Constructio by Vitruvius and has played a significant role in the history of architecture. In the late 19th Century however, the word Architecture was translated into Geonchuk(建築) and has been dominantly used in countries such as Korea, Japan, and China. But the difference of the denotation between them has not yet been fully evaluated. The term Geonchuk signifies much the same as the Tektonik and remains as such in the architectural discourse. In this context, this study goes back to refer to the philosophy of Metaphysics by Aristotle. In his book the term Architektonike was defined for the first time as terminus technicus, and the philosophies in later Ages of Leibniz or of Kant adopted it to signify the world view in accordance with the time. However, the original thought of the Architektonike disappeared in architectural practice and has been used in most cases as a substitute for Oikodomike which denotes house-building. The usage of this word in later time shows that it lost its foundation to be interpreted not only in terms of principium cognoscendi, but also in terms of principium reale. From this the literal usage of the term architecture and Geonchuk has seldom to do with its original meaning and denotation of Architektonike and also they lost the status of terminus technicus for the discourse of arche which encompasses the meaning of both principle and universal order.

• Economic and Environmental Geology
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• v.28 no.1
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• pp.25-31
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• 1995

In Dongnam area, Cretaceous igneous rocks, such as diorite, porphyritic granite, and quartz porphyry intruded Paleozoic sedimentary rocks, such as Myobong slate and Pungchon limestone. The Dongnam Fe-Mo skarn deposits were imposed on the diorite(endoskarn) and the Myobong slate(exoskarn). The ore deposits consist mainly of magnetite and molybdenite with small amounts of sulfides, such as galena, sphalerite, pyrite, chalcopyrite, and pyrrhotite. The igneous rocks show nearly constant $^{206}Pb/^{204}Pb(18.80{\sim}19.06)$ and $^{207}Pb/^{204}Pb(15.71{\sim}15.72)$ ratios. Their $^{207}Pb/^{204}Pb$ ratios higher than the typical ratios of orogene suggest that the igeneous rocks were formed from lower crust(or mantle) - derived magma excessively contaminated by upper crustal materials such as high radiogenic Precambrian basement rocks. The lead isotopic compositions of the igneous rocks, the Pungchon limestone, and the ore minerals show a well defined linear in $^{206}Pb/^{204}Pb$ - $^{207}Pb/^{204}Pb$ plot. The lead isotopic compositions of the igneous rocks are similar to those of magnetite and galena, which were formed at early skarn stage and significantly lower than those of altered quartz porphyry, molybdenites, and pyrite, which were formed at late epithermal alteration stage. Considering the systematic variation of the lead isotopic compositions in the ore minerals according to hydrothermal stages, the variation may be due to a relative variation in surrounding rock(Pungchon limestone) involvement in hydrothermal ore solution leaching the surrounding rock. Therefore, the variation of the lead isotopic compositions in ore minerals can be modeled in terms of the mixing of the leads derived from the igneous rocks as low radiogenic source and the surrounding rock(Pungchon limestone) as high radiogenic source.