• 건축역사연구
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• 제22권3호
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• pp.37-48
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• 2013

The purpose of this study is to evaluate Aldo Rossi's work as representation or non-representation, for some hold that the works of Aldo Rossi are representative and others say that they are non-representative. According to the three kinds of novelties appearing after Stephen Pepper's concept, "the breaking of reference" happens, and Aldo Rossi's concept, "the sense of deposition" Rossi's work is uncovered as non-representation. In order to clarify Rossi's work as non-representation, we are going to borrow Pepper's terms, intrusive novelty, emergent novelty, and naive novelty. The breaking of reference accompanies intrusive novelty to bring a sense of representation, emergent novelty to intuit a sense of non-representation, and naive novelty to a sense of newness of disorder. We hope to verify a hypothesis that Aldo Rossi's architectural thought and the architecture come from 'emergent novelty' on the basis of his two books, A Scientific Autobiography and Architecture of the City. Also this paper discusses qualitative aspects rather than visual aspects. The main concepts of emergent novelty are applied to Aldo Rossi's works and his thought. Finally this paper verifies 'the hypothesis' through revealing what Aldo Rossi means by the quality of suspension, the sense of deposition, and idea of the unfinished(repetition). Rossi's work is not textural reference of representation appearing after blocking, but qualitative reference of non-representation.

• 한국실내디자인학회논문집
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• 제15권6호
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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.

• 한국실내디자인학회논문집
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• 제18권5호
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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'.

• 한국실내디자인학회논문집
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• 제36호
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• pp.30-36
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• 2003

The purpose of this study is to analyze the contextual cognition of space in architecture focusing on Aldo Rossi and Michael Graves, the representative architects of spatial cognition in contextual architecture. This study on the contextual cognition of architectural space can be connected with linguistics and aesthetics's approaches. The conclusions of the study as per the above mentioned aims and intentions are as follows : The concept of spatial analysis in Aldo Rossi's contextual cognition in architecture is described the Analogical Space of Speculative Aesthetics by Diachronie Restoration That of Michael Graves' contextual cognition Is defined Semiotics Space of Empirical Aesthetics by Synchronie Repeatition.

• 건축사
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• 10호통권223호
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• pp.49-61
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• 1987

• 건축역사연구
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• 제17권2호
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• pp.67-81
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• 2008

Aldo Rossi explained Roman Forum as a significant urban artifact, because Roman Forum analogically showed not only an image of Roman Empire but also a figure of primitive design for its region. Thus the comparison and analysis between characteristics of Aldo Rossi's architectural works which are based on the theory of 'Analogical city' and the forums, the urban artifacts, was proceeded in this study. Consequently, it was discovered that Aldo Rossi had used his analogical thinking from the forum for his architectural languages such as gable roofs, square windows with depth, columns and so on. His analogical use of organizing spaces, such as courtyard type and pillar corridor type, has also shown that their types came from forum spaces. His analogical aspects of the forum: a space where urban images are analogically formed; were expressed in the 'Theater of Science' with the urban architecture form as the actor and the Theatre as the stage for analogical urban performances. Nevertheless, the expression of primitive design which divides the Roman Forum from other forums was actualized in 'the Theater of the World'. He not only analogically used types from Roman Forum in architectural design but also used boat in Water space, which decided the lifestyle and culture of Venice even before the civilization, to express the primitive design of Venice. Consequently, Aldo Rossi, by aiming the severance from the tradition, provided the possibility of explaining the newest modem type within the historical meaning by forming type which finds its continuance in history through 'the Theater of the World' and through analogical thinking along with the level of modern culture, to our urban architectural atmosphere that has lost its historical meanings.

• 공학논문집
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• 제6권1호
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• pp.139-150
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• 2004

2000년 이상 우리의 언어생활에서 강조 또는 의미의 전달을 위하여 사용되며, 묘사를 위한 언어로 간주되는 은유는 언어활동 뿐 만 아니라 인간의 사고활동 특별히 창조적 사고활동에 있어서 매우 중요한 역할을 담당한다. 창조성이 강조되는 디자인사고도 인간의 사유 활동의 하나로 보는 관점에서 은유는 창조적 디자인사고에 있어서 중요한 역할을 함에도 불구하고 이에 대한 연구가 미진하다. 본 연구에서는 작품 분석을 통한 은유적 방법에 대한 고찰의 일환으로 Aldo Rossi의 San Cataldo 공동묘지를 분석하여 여기서 보이는 은유를 언어학 이론, 인공지능이론, 컴퓨터공학의 지식표현이론, 인지학의 이론등을 토대로 하여 논리적 과학적으로 분석고찰하고 또한 작품에서 나타나는 창조성에 대하여 은유이론으로 설명한다.

• 한국실내디자인학회논문집
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• 제21권2호
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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.

• 한국실내디자인학회논문집
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• 제15권6호
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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.

• 건축역사연구
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• 제12권3호
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• pp.65-86
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• 2003

After 1960s, a radical change was taken place in the modern urban theories which were developped by many architects and planners like Ebenezer Howard, Tony Garnier, Le Corbusier, Ludwig Hiberseimer, and Patrick Abercrombie. Many contemporary architects like Kevin Lynch, Aldo Rossi, Christopher Alexander, Colin Rowe, Rem Koolhaas, and Bernard Tschumi have a view that modern urban theories lost their abilities to organize and control new realities so that new urban theories was needed in order to cope with urban problems in the 1960s. In this study, we are to examine contemporary urban theories in comparison with modern urban theories and to clarify the role of discourse of language in its emergence. In consequence we can detect four main themes in the process of transformation from modern urban theories to contemporary urban theories : from functionalism to formalism, from historicism to archeology, from space to placeness, and from hierarchical organization to network. And we can prove that such themes basically depend on the discourse of language.