• Journal of architectural history
• /
• v.14 no.1 s.41
• /
• pp.151-183
• /
• 2005

All architecture in the history were based on a certain concept of architectural unit that functioned as a base model of architectural design. As we know, such model was not the same in the East and the West, and therefore, their architectures are not the same. This paper aims to identify how and why such base model of the two cultural area are different. As one way of discussing this issue, the concept of particle and field, as two representative idea of the West and East respectively, the employed. This kind of discussion can not follow the way of scientific verification as method of argument. However, the understanding of such concept of unit model is crucial for the understanding of the architecture of the culture in general. In basic sense, the tradition of Western architecture is rooted in the model of particle, where, architecture is conceived to be as a independent unit standing on earth as if it is a box like object. While, the tradition of Eastern architecture is rooted in the model field, where, architecture is conceived to be a part of field organization. In present days, we are used to the model of particle as if it is the only possible model of architecture. But, in fact, what man need to achieve in their architecture and city, is the balance between the two models.

• Journal of architectural history
• /
• v.14 no.1 s.41
• /
• pp.107-122
• /
• 2005

The purpose of this study is to analyse Herzog & de Meuron's surface, which represents contemporary architectural trends toward surface. Semper's Bekleidung theory and the important architectural theories about surface were compared according to the conceptual opposition between representation and re-presentation, which is borrowed from Kastern Harris, and again Martin Heidegger. Representation means a sort of translation into a different medium. It doesn't preserve the material identity of what it represent. Re-presentation, however, celebrates the material employed. The tension between representation and re-presentation have activated the architectural history Contemporary architects have emphasized re-presentation at the expense of representation. This trends relate with digital technology, which demands surface or skin independent from depth or interior. Buildings that deserve to be called works of architecture invite us to attend to material in a different way Re-presenting its materials, the work of architecture reveals its being. Such revelation requires that materials work in a way that invites us to step back from our usual involvement with things. It's the poetics of re-presentation, which is emboded in the Herzog & de Meuron's architectural works.

• Journal of architectural history
• /
• v.13 no.4 s.40
• /
• pp.35-54
• /
• 2004

Perception of architectural experience is different in different culture. This paper aims to identify how the experience of architecture is understood to be different in Eastern and Western culture. The discussion is based on the idea that the Western architecture placed more emphasis on visual perception, while the Eastern, on mutual responsiveness between man and built environment. The fact that the Western culture is more visually oriented than other culture, and therefore visual aspect of architecture, too, is considered to be very important, is already widely agreed among scholars. But, then, what had been considered to be important in the architectural experience in the East? It is the degree and quality of mutual responsiveness between man and architectural environment. This fact influenced much on the making of architecture of course, and the same fact played the key role in making the Eastern architecture different from that of the West. We are so used to the way of architecture of the West, that the quality of responsiveness is unknown if not forgotten. However, it is not the quality that was useful only in traditional society of the East, but necessary in our modem period as well. The quality for responsiveness, therefore, should be rediscovered and restored as the prime value and quality of architecture in the future architecture.

• Lingua Humanitatis
• /
• v.1 no.2
• /
• pp.107-121
• /
• 2001

This paper examines the way in which the idea of language has been introduced in architectural discourse since the late 1960s. The paper reviews the works of Robert Venturi, Charles Jencks, Peter Eisenman, Alan Colquhoun, and Mario Gandelsonas, which explore the analogy between linguistic and architectural form. All of the writers above are responsive to each other's theoretical positions, sometimes implicitly and sometimes explicitly. A system of signs can be approached by asking how the lexicon and syntax are proportioned. The same question may be posed to architecture: can architecture be understood as a lexicon or as a relational structure, such as language is\ulcorner Two perspectives are presented by architectural theorists. The first advocated by Venturi and Jencks posit architectural form as a problem of signs. The problem with this perspective is that, it reduces architecture into popularized iconography in favor of the representational aspects of architectural form. The second perspective, developed by Eisenman, explores the possibility of finding new formal constructs in the abstract relationship of formal properties. Eisenman's theory, however, has its own problems for, in highlighting syntactic structure, it minimizes the distinction between the perceptual and the pragmatic dimensions. Yet both perspectives address crucial problems of contemporary architecture and expand architectural discourse into the broader realm of humanistic studies.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.4
• /
• pp.45-55
• /
• 2018

The purpose of this study is to analyze common features and methodological differences of PN-spatial characteristics found in architectural theories and works of contemporary young architects in Japan, such as Sou Fujimoto, Yo shimada, Keisuke Maeda and Junya Ishigami. These architects have paid attention to space between nature and inner space and have tried to establish their own architectural theory on that. Such space is ambiguous and PN-spatial in a way that it has features of both nature and inner space. Ambiguousness is a characteristic of modern architecture and PN-spatial characteristics are one of the features of Japanese architecture. This study aims to analyze the architectural theories and works of contemporary young architects in Japan from the perspective of PN-space and to draw methodological differences and common features. Their theories and works have common features in terms of 'ambiguous spatial boundary', 'unregulated spatial territory', 'detoured circulation' and 'architectural motifs', but each has their own methodology. To sum up, the works and theories of the Japanese young architects contain the philosophy and discourse of modern architecture in general. To be sure, they clearly have characteristics of Japanese architecture, which needs to be studied constantly.

• Journal of the Regional Association of Architectural Institute of Korea
• /
• v.21 no.1
• /
• pp.89-95
• /
• 2019

In the era of the Fourth Industrial Revolution, a new curriculum that breaks away from the existing education programs is needed to cultivate men of talent for this new industrial era. In this regard, this study aimed to develop innovative curriculums that can be applied to the capstone design of architectural engineering at universities in Korea. To this end, it analyzed the operational status of the capstone design curriculum of domestic universities that operate engineering certification education programs. In addition, it examined educational innovation cases of advanced universities at home and abroad, and analyzed other studies related to educational renovation. Based on the analysis results, it developed the capstone design curriculum of architectural engineering that can be applied to domestic universities. The curriculum was developed into two contents: operating method and syllabus. The method which has been commonly applied to domestic universities was adopted as the operating method. The syllabus was developed by applying flipped learning and design thinking theory, which has widely been dealt with in advanced universities and recent studies. In addition, the curriculum was developed in the form of a prototype to meet the conditions of each university for its efficient utilization.

• Korean Institute of Interior Design Journal
• /
• no.2
• /
• pp.40-45
• /
• 1994

This thesis is to research the change in attitude regarding the architectura ornament. One of the key dogmas within Modern Movement of art and design was anti-ornamentalism. The modernist had revolted against ornament and believed that the greatness of the modern age might lay in its inability to produce a new form of ornament. Architectural ornament has been passed through an process of evolution in a decadent stage. In this context, the purpose of this study is to identify historical meaning of architectural ornament in the age of transition toward Modernism.

• Journal of the Korean housing association
• /
• v.11 no.3
• /
• pp.9-18
• /
• 2000

The fuzzy theory is on the basis of understanding of the subjectivity and the ambiguity. The paradigm of the fuzzy theory is to explore a regularity from the subjectivity and the ambiguity. Nowadays, the fuzziness, the main concept of the fuzzy theory, is widely applied to a lot of fields as the theory which is positively accepted and actively interpreted. In the science, the fuzziness is officially called as multi-valence. On the other side, there exists the other theory called Han-ism which is presumed as a prototype of korean philosophy. The basic concept of the Han-ism - one, many, middle, same, about - includes the fuzziness. The purpose of this study is to unfold the interrelationship between the fuzzy theory and Han-ism, and furthermore, to interpretate the cultural phenomenon and architectural spaces in koreas traditional architecture with a viewpoint, the fuzziness of the Han-ism.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.1
• /
• pp.117-125
• /
• 2019

The purpose of this study is to examine urban built environments associated with the walking behavior in order to identify the problem of urban infrastructure from the perspective of Universal design theory. Using the walkability criteria developed based on the findings of previous studies on Universal design theory and walking environment, the urban built environments in old town area of Seoul were evaluated. The results of the evaluation indicated that the pedestrian infrastructure in the study area had several shortcomings to improve in order to provide walking-friendly environments. First, the pedestrian infrastructure for visually impaired people were severely limited. Second, walking traffics in large portion of the street networks were interrupted by a variety of obstacles such as parked cars, signboards, and illegal street shops. Third, there were certain areas where the quality of pavement was not properly managed. In summary, this study provides an empirical data to understand the current situation of pedestrian infrastructure in the urban areas. Improvement of pedestrian infrastructure is needed to address the issues related to the mobility of the disabled people. It is also recommended to construct the GIS data on walking environment in order to develop and mange a long-term public investment plan for walking-friendly urban environments.

• Journal of architectural history
• /
• v.15 no.2
• /
• pp.39-54
• /
• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.