• 한국실내디자인학회논문집
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• 제17권5호
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• pp.3-11
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• 2008

'The eye' and 'the gaze' organize the visual system and distinguish the subject from the others. Recent philosophical thoughts have forcefully argued against the tradition characterized by the domination of the eye that assimilates the alterity of the others to one's own, cancels their alterity, and totalizes their differences within himself. In the speculative discourse modeled on the eye, the alienation of self in its other and the reflection of the object are linked together in such a way as to form a totality in which they are reflected into one's another, leaving absolutely no remainder outside. By contrast to this totalizing tendency of the eye, Sartre and Lacan propose the gaze that becomes constitutive of vision. The modern architecture reinforced subject's eye and clearly separated the others from subject Through Descartes's visual paradigm, space became homogeneous and nature was seized by architecture. However, recently the clear boundary between subject and object is disappearing. Lacan insisted that oneself's eye and the other's gaze are mixed up in human sight This means that the boundary between the subject and the other is indistinct and also the boundary between an object and landscape is meaningless in architecture. The overthrow of gaze in contemporary architecture appears in the form of trans-boundary, translucency and widen architectural notion and expression.

• 한국실내디자인학회논문집
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• 제15권3호
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• pp.14-23
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• 2006

As a proto-modernist work the Amsterdam Exchange has been regarded as a specimen of Structural Rationalist's architecture. Because of its ma]or steel structure, use of geometry, and reminiscence of Gothic the designer of the building was labeled by Kenneth Frampton as one of the apostles of Viollet le Duc. The architect was Hendrick Petrus Berlage. Contrary to above Nicolaus Pevsner claimed that Berlage's architectural discourse was 'Anti-Rational' because of its anachronistic formal language, Expressionism. In terms of structure Berlage's idea is rational, whilst formally 'Anti-Rational'. These polarised view points were due to the legacies of Modern Architecture that was controled by hegemonic figures in terms not only of practical field but of historiography. The hegemonic figures wanted to see Berlage as what they wanted to see. With this idea, this paper is one of endeavours to collect fragmented history in the early modern architecture. The Amsterdam Exchange has a long term story until the opening. Without understanding the story we have to withhold an evaluation of Berlage's architecture.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.3-11
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• 2006

After the 60's, The discourse of the Art of Reception, semiotics, and epistemology have been made steady progress. Especially, the Art of Reception which emphasizes the role of reader in the process of understanding the text, had made the significant role of the Border Dismantling in the Architecture. Its concept can be difined as the free interpretation of each individuals on the art works, that abhors the one-directional systems between reader and writer. This study analyzes the meaning of 'Borderness dismantling' as a molting the center of the world of God, center of Ideology, center of ration in the pluralized and center-cracked world. and also means vague border, no limitation, and overcoming, which make people participate together to overcome the estrangement. The process of study inquire into the phenomenon of fragmentization, indeterminacy, continuitiness, hybridization, mutual penetration, Rhizome and complex allegorization(the process of humanization) Looking back of architectural history, in the origin of those phenomenon, there is the etching works of Piranesi. Many contemporary architects had been affected by his works, and re-interpret and make come true of his visions. This study analyze the meanings of his working process and consequences on contemporary architecture.

• 국제학술발표논문집
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• The 8th International Conference on Construction Engineering and Project Management
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• pp.291-300
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• 2020

Newly graduated students are shown to constitute an important source of innovation within the architectural, engineering and construction (AEC) industry. In relation to digital technologies like BIM (Building Information Modelling) that is claimed to have a potential to transform the industry, newly graduated students may play a vital role in innovating with BIM. The paper aims to explore determinants for students perceived potential of BIM use (PPBU) and the role of the educational background. The aim will be achieved by analysing the results from a survey conducted among third- and fourth-year students in construction and civil engineering in Hong Kong, Sweden, and Thailand (n = 194). When the different groups are compared Swedish and Thai students perceive a significant higher PPBU than Hong Kong students. In a step-wise multiple regression analysis five predictors for PPBU were identified for Thai respectively Swedish students, and one predictor was identified for Hong Kong students. It is concluded that in the contemporary BIM-discourse it is claimed that BIM can/should transform the industry, and BIM is even seen as a disruptive technology, and newly graduated students will contribute to (digitally driven) innovation. However, from the predictors of PPBU, the question can raised if the awareness of the need for structural changes is lacking in the education, if students later in their working life should contribute to a BIM-induced transformation of the industry?

• 한국융합학회논문지
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• 제11권4호
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• pp.179-188
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• 2020

단게 겐조는 현대건축의 창작 과정에서 전통을 어떻게 표현할 것인가에 관심을 가졌고, 일본건축의 전통성을 자신만의 방식으로 현대건축에 표현하려고 노력하였다. 특히, 단게는 자신이 주장했던 '신(新)전통'의 관점에서 전통을 건축재료나 구성요소적 측면에서 표현하였다. 단게는 건축재료와 구성요소 등에서 일본 전통건축의 조형을 서양의 기술과 조화시킴으로써 국제 건축계의 담론과 상응하면서도 서양의 것과는 구별되도록 전통건축에 근간을 둔 '일본적인 건축양식'을 창조하였다. 따라서 본 연구에서는 단게가 건축에 사용한 건축재료와 구성요소에서의 전통의 표시나 흔적을 찾아 분석하는 것을 목표로 했다. 이와 같은 연구를 통해 서구의 문명을 거의 비슷한 시기에 받아들였음에도 불구하고, 그것을 소화하여 전통건축과 접목하는 데는 일본과 매우 다른 과정과 결과를 가졌던 우리 건축계에 시사점을 갖고자 한다.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.100-107
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• 2015

The paper begins with the idea of the society of the continued rooms that building connects architectural space (building interior) and urban open space (urban interior) or countryside/rural open space (territorial interior). It gives an account of, through literature review, a theoretical possibility of integrating not only architecture and urbanism but also architecture and countryside/rural planning. The first site explores the continuously articulated and connected spaces between building interior, urban interior, and territorial interior, in understanding Alberti's analogy, "A house is a little city." (1452) The second site illustrates architecture as an open boundary and a spatial medium which makes building, urban, and territorial interiors connect and makes them continuous. There is an opportunity of reading the continued relations and the continua of spaces. The third site deals with the form of building that architecture creates for building interior (society of rooms) and urban interior (society of urban rooms), and moderates the interiors. The last site clarifies the territorial interior (society of countryside/rural rooms) that constitutes homogeneous spatiality moderated by architecture between building interior and urban interior. The paper discusses the society of the continued interiors(building/urban/territorial interiors) that ought to be a fundamental truth in the field of every project which deals with a unit of space. It logically clarifies the society of the interiors, not isolated and blocked off but multilayered and continued. It comes to the conclusion that the territorial interior should be subsumed under the design field and the society of the continued rooms ought to be considered as a united object of space in the fields of interior architecture/design, architecture, landscape, urbanism and countryside/rural planning. Ultimately, it aims at offering a departing point of discourse and a theoretical foundation for the future studies on urban interior and territorial interior.

• 한국조경학회지
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• 제48권1호
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• pp.46-56
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• 2020

88올림픽공원은 한국 근현대사의 주요 전환점인 88서울올림픽대회를 기념하는 공간으로서 체육공원, 사적공원, 조각공원 등 다양한 기능의 수행을 목적으로 한 도시 공원이다. 문화올림픽이라는 슬로건 아래 88서울올림픽은 국가 홍보의 장으로 적극 활용되었으며, 이와 같은 차원에서 1986년 기 준공되었던 공원은 1, 2차 세계야외조각 심포지엄 및 국제조각초대전을 거치며 190여 점의 작품이 설치되면서 조각공원으로 재조성되었다. 본 연구는 조각공원으로서 88올림픽공원의 조성 과정 및 전후 담론을 살펴봄으로써 88올림픽공원의 역사·문화적 가치를 재고하고자 한다. 조성 과정 및 그 전후, 88올림픽공원을 둘러싼 여러 담론이 나타났다. 먼저, 추상 양식 조각품의 비율이 높아 한국의 문화를 보여주는 데 역부족이라는 비판이 지속적으로 제기되며, 한국 문화의 세계화에 대한 논의가 번졌다. 둘째, 조성 과정에서 몽촌토성 훼손 등 사적지 보존 문제에 대한 논쟁이 이어졌다. 셋째, 공원의 정체성에 관한 공방이 있었다. 이에 더해 조각공원 프로그램의 후속 도입으로 인해 공간과 작품의 간극이 해소되지 못했기에 통합된 도시공원으로 자리 잡지 못했다는 의견도 제기되었다. 조각공원으로서 88올림픽공원은 세계화, 민족성, 공공성, 예술성 등에 대한 논의가 대형 공원 조성과 맞물려 공론화된 초창기 사례로, 추후 도시 경관의 문화·예술적 실천에 대한 탐구에 있어 유의미한 역사적 맥락을 제시한다. 본 연구는 정치·문화·예술·조경을 아우르는 88올림픽공원의 조성 전후 담론을 살펴봄으로써 1980년대 문화예술과 도시 공간에 대한 논의가 벌어진 지점을 포착하고 해석했다는 의의를 지닌다.

• 한국산학기술학회논문지
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• 제19권12호
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• pp.363-373
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• 2018

오늘날 다변화된 사회에서 어떤 스타일의 건물이 동시대를 대표하는 건축적 양식인지 알기 어렵다. 그 중에서 모놀리스적 스타일의 건물에서 드러나는 단순함은 현대의 지극히 복잡한 사회구조와 대칭점을 이루며 그 가치를 인정받을 수 있다. 본 논문에서는 21세기 초반 단열경량골재콘크리트가 사용된 건물의 분석을 통해서 모놀리스적 표현에 대한 개념정의와 그 특징들이 공간 및 형태 그리고 건축구법에서 어떻게 표현되고 있는지에 대해 연구하였다. 여러 재료가 층을 이루어 구성되는 다층적 방식의 외벽시스템과는 달리, 단열경량골재콘크리트에 의한 외벽은 단일재료로서 콘크리트를 사용하여 거푸집을 빈틈없이 채워서 만들어진 덩어리 형태이며 그 자체로 모놀리스적이다. 이러한 점은 동일한 재료에 의한 내외부공간의 동질성, 고형(固形)으로서 표면의 연속성, 스테레오토믹적(stereotomic) 구축방식의 공간적 특성, 노출콘크리트사용에 의한 물질성의 표현, 덩어리와 공간 사이의 대비적 특성을 가진 공간을 만들어 낸다. 그리고 현대건축의 다층적 외벽 방식의 모놀리스적 건축에 대한 담론을 외부로 드러나는 형상적 특징과 더불어 구조와 재료, 그리고 그것이 공간에 끼치는 영향에 까지 논의의 범위를 넓힐 수 있는 기회를 제공한다.