• 건축역사연구
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• 제15권2호
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• pp.7-22
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• 2006

The Industrial Revolution brought a variety of new forms of structure, and as a group they are usually called 'industrial architecture'. Steam engines contributed greatly to architecture with a unique structure called 'water tower' to provide water for steam engines, especially the adoption of it. This study is to examine the changes of the building materials and architectural features of the water towers of railway stations built in the early twentieth century in South Korea. This study also attempts to describe the modern features of the industrial architecture, which did not get a chance to be noticed. Through this examination on water tower, which is a part of industrial architecture with sheer integration of function and pure geometric form, we would like to find the meaning of modern architecture in Korea. As we can see in the Korean oldest railway station water tower constructed in masonry at Yeonsan Station in 1911, early water towers were divided into the masonry machine room and the steel water tank. However, the masonry structure was soon turned into concrete structure with its formal features maintained as it was. The steel water tank was also replaced with concrete structure. As a result, while its basic structure remained, concrete structure had substituted for the every components of water tower. Concrete-built water towers were the high-tech architecture of that time and the most perfect structures built in concrete. Nevertheless, the perfection of the water tower form and the technology it attained were not transferred to other modern and contemporary architecture in South Korea. Since the subject to railway station water towers was the Japanese government, and steam engines were replaced with diesels in the midst of a complicated domestic situation after the independence, the need for water towers in railway stations disappeared and therefore, it became ignored and was difficult to look over the architectural features and values of early railway station water towers.

• Architectural research
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• 제20권2호
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• pp.35-43
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• 2018

This article explores the complex modes of experiencing the modern city that are engaging and disengaging by nature, which thus negates any simple ways of understanding what it means by 'the urban' in a Manichean comparison. What follows is an in-depth case study of Gordon Matta-Clark's 1976 film titled City Slivers. Influenced by the countercultural practices prevalent in the 1960s and 1970s, Matta-Clark produced a number of works roughly grouped together under the rubric of "building cuts." Among many others, City Slivers is distinctive among Matta-Clark's extensive cutting projects, in the sense that he actively utilizes film as a primary expressive medium and poetically reassembles fragmentary images of cityscape in order to bring forth an alternative urban scenario where the tension between institution-bound urbanization and dispersed daily urban practices is highlighted. Instead of simply being critical against the changing urban conditions of Manhattan in the 1970s, Matta-Clark aims to actively grasp ambivalent instances of urban life that are at once attractive and alienating, thereby excavating the subconscious terrain of contemporary urbanism that is prevalent but often dismissed over glamorous urban projects.

• 건축역사연구
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• 제12권1호
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• pp.7-24
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• 2003

Considering on the crisis and dilemma of monumentality in Modern architecture, this study analyse the historic reason of decay and new possibility of monumentality within the context of contemporary socio-cultural context. Historically monumentality has been considered as a main substance of High architecture in e tradition of Western Architecture. Difference between building and architecture mainly lies in monumentality which brings about esthetic quality. Usually architects take it granted that the physical and formal characteristics automatically cause the monumentality, But since the modem period the decline of communicative and representative function of architecture made this belief questionable. As Monumentality itself faced the dilemma with the modernity, ironically architects has to response to the task to handle the increasing social demands of monumental building. This study firstly shows the dilemma of monumentality in depth in case of the holocaust museum. Then we analyse the concept of monumentality itself by means of theoretical view of A. Loos and A Riegl We also analyse the change of role which monumental building played in history. Cultural and social change of context, and fundamental change of architecture old way of building a monument impossible. In conclusion this study proposes the new concept and searches new horizon of monumentality with a finding of the otherness of monumentality. Conventional monumental building language has to give way to new approaches. With some examples we already can find a new possibility.

• Architectural research
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• 제19권1호
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• pp.21-26
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• 2017

This research examines the historic preservation of Korean modern architecture by applying Kenneth Frampton(1930-)'s concept of critical regionalism. It explores the representative Korean modern architect Gil-ryong Park (1898-1943) and two of his buildings: the Hwashin Department Store (1935) and the No-soo Park house (1937-1938). The former was in the hot spot on the preservation. There were plans to preserve this building but that it ended up being demolished in 1987. The latter building, however, has been preserved and is currently being used as a museum. These two Korean modern buildings are explored through the frame of Kenneth Frampton's critical regionalism, in particular focusing on three important concepts: "dialectical expression," "place-form," and "sustainability." In this sense, this research will provide pioneering research in understanding the preservation of Korean modern architecture through a representative Western modern theory. In the early $20^{th}$ century, Korean modern architecture, which was built during the Japanese colonial period (1910-1945), could be interpreted as critical regionalism because it represented a dialog between the West and the East, in particular between Western modernism, Japanese modernity, and Korean tradition in the East Asian context. Understanding Korean modernism in this context of a cross-cultural perspective enables scholars to define both the origins and uniqueness of Korean modern architecture.

• 건축역사연구
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• 제21권6호
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• pp.63-76
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• 2012

Modern railway construction by Japanese had a great influence on the urbanization, transformation of urban structure and landscape during the Japanese imperialism and compressive increasing period in Iri(Iksan). This paper aims to find out the effect of railway on the modern urban structure and urban landscape in Iri(Iksan). Railways in Iri, Honam railway, Kunsan railway, Jeonla railway have been constructed progressively during 1911 and 1915 with Iri and old Iri(east-Iri) station. From the analysis of land registration maps and street plans, old photographies and historical records, some significant features underling railway construction can be followed in view of modern urbanization process in Iri. Firstly railways cut off the possibility of developing urban structure based on traditional spatial structure of Iksan. Secondly railways made dual spatial structure in Iri. Japanese and Korean life zone were divided into separate district around urbanization area and market place. Thirdly traditional space cognition system based on four cardinal directions were changed to front and rear space of railway station. Fourthly railways and stations caused neo-baroque spatial order and imperialistic urban landscape of Iri with axis, vista and gridiron plan. Fifthly break points and fringe belts garbling modern urbanization process are created. Sixthly modern cultural and consumptive urban spaces were taken their seats in relation with daily urban life.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.73-83
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• 2005

Recently, by the expansion of Industrial Capitalism and the development of Information Technology, the qualify of humans' life came to have various aspects. In this era of variety, among all the different attempts Rem Koolhaas(OMA)'s architectures attract attention for their architecture's new point of view in architectural design. On the basis of the objective fact in the modern world, as a construction which expresses the language naturally, and a democratic architecture of a faithful part for the whole, these kinds of approach shows the similarity and the properties of Neue Sachlichkeit which has appeared in the colloquy and photographs in Germany at the end of the 20th century in the past. The main purpose of this study is to recognize the understanding and development of Neue Sachlichkeit's properties in architecutre - the Neue Sachlichkeit's influence on the architecture from elementerism, Constructivsit International, ABC Group and Holland's 'the De 8 and Opbouw's' architecture's move to the Holland's architecture - in colloquy and photographs from 1910 to 1930 which had the similar aspect and chronological situation of the modern world.

• 대한건축학회논문집:계획계
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• 제34권8호
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• 건축역사연구
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• 제24권6호
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• 한국실내디자인학회논문집
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• 제27권1호
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• pp.68-79
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• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• 건축역사연구
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• 제20권3호
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• pp.39-57
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• 2011

The goal of this paper is to analyze the relationship between pedagogy and the emergence of contemporary Korean architecture after the 1990s. For this purpose, the paper deals with the education and work of two important contemporary Korean architects, Kim Seung Hoy and Choi Wook. Kim and Choi were part of a group of young architects that went abroad in the 1980s to study at the centers of architectural education in Europe and the United States. Through their education and work, the paper discusses the relationship among education, history, and design practice in architecture. During their studies at Michigan University and IUAV in Venice, they were commonly influenced by Colin Rowe through their studios. In the case of Kim Seung Hoy, he was introduced to the Beaux Arts logic of the analytique and esquisse through the teaching of Steven Hurrt, a disciple of Colin Rowe. Choi Wook took studios that involved formal analysis and comparison of Palladio and Le Corbusier. The paper further analyzes their works in Korea by employing the concepts of fragments and systems, ignorance and knowledge. The paper concludes that, in Korean contemporary architecture, fragments and systems, ignorance and knowledge, lie in the middle of ongoing creative process that must distinguished from the West, where architectural history provides an established tradition of systematic knowledge.