• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.171-180
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• 2012

The purposes of this study were to compare Louis I. Kahn and Rem Koolhaas, both of whom established their architectural theories and granted rationality to them by applying the theory of psychoanalysis, and examine common and different characteristics in the inner space composition of a building between them. The study also set out to confirm a basic premise based on which to develop a metaphysical design concept by applying the theory of psychoanalysis in the inner space composition of contemporary architecture in future from the more developed and integrated perspective of modern psychoanalysis. As a result, Kahn sought after a metaphysical design concept through the combinations of inner unit spaces including servant and served space, which are comparable to the confrontation between consciousness and unconsciousness from the perspective of psychoanalysis. Unlike him, Koolhaas applied the concept of folding to his architectural plans based on the theory of post-structuralism and created a metaphysical design concept by more focusing on connections between unit spaces rather than their combinations. While Kahn worked on his designs with much interest in the combinations of inner unit spaces in horizontal circulation by separating it from vertical circulation, Koolhaas created a new design concept beyond the limitations of Kahn, who had a confronting, dichotomous view of the world between the phenomenal world and the metaphysical world, by making use of inclined slabs to connect upper slabs with lower ones. The findings show that there can be various metaphysical design concepts depending on how to connect and combine two confronting concepts when applying the theory of psychoanalysis to architectural design.

• Journal of architectural history
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• v.8 no.3 s.20
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• pp.75-89
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• 1999

Under the WTO system, global standardization of professionalism in architecture practice calls for transformation of curriculum in architectural education in Korea. This paper compares the curriculum standards of international accrediting authorities such as NAAB and RIBA based on UIA accord which defines fundamental knowledge and abilities of an architect. As a result this paper extracts 51 achievement oriented criteria of architectural education in Korea. It can be categorized as communication, design, cultural context(history and theory, human behavior and social aspects), technical systems(structural systems, environmental control systems, construction material and assemblies) and practice(project process, project economics and business management, laws and regulations). Based on this recommended Korean curriculum standards, current curriculum is analyzed focusing on the 5 architectural programs in Seoul. Through this analysis, it became clear that some area - social and economic aspects in architecture, sustainability in architecture, understanding and selection of construction material, assemblies and environmental control system, recycling of existing building, professional liability, professional rules of conduct, project economics and project management - need to be covered and emphasized to meet the international standards in professional education in architecture. The result in this paper will be used as a basic data in the process of finding the direction of restructuring curriculum for professional architectural education in Korea.

• Journal of architectural history
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• v.23 no.1
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• pp.51-62
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• 2014

Architecture is a product of numerous influences, as shown in the apprenticeships of Kim, Jung-Up and Kim, Swoo-Geun with Le Corbusier's influences. Therefore, its identity is need to be re-defined based on such complex relationships. The rhetorical images of 'the Map of Misreading', as the core of the poetic identification proposed by Harold Bloom's 'the Theory of Influence', provide an efficient way of explaining the relations between architectural apprenticeships and identities. This research is to re-build a new methodology of architectural criticism based on it. The diachronic transformations of the architecture of Seung, Hyo-Sang also had very characteristic 'revisionary ratios' about his precursor Kim, Swoo-Geun. As an antithetic stance of his precursor's final phase, his early days works pursued continuously geometric abstraction and objective images of the architecture of Adolf Loos. However, his recent works are showing the obvious symptoms of regression to his origins. Finally, the architectural identity should be re-conceptualized as a complexity, based on inter-textuality from complex influences. This new architectural identity can be reflected into the modern obsessive identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.118-130
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• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.

• Journal of architectural history
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• v.14 no.3 s.43
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• pp.7-21
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• 2005

This paper is an attempt to find/make an entrance to John Hejduk's architecture. Based explicitly on both Karl Popper's model of knowledge production called 'conjecture and refutation' and Harold Bloom's theory of poetry called 'revisionism', this paper, in order to produce a new problem, mainly deals with an existing knowledge as an object to refute, that is, Michael Hays' interpretation of Wall House by Jacques Lacan's notion of the gaze, Hejduk's a pivotal architectural finding. The arguments underlying this paper are two: First, Hejduk, just like this paper, follows Popper's model and Bloom's theory in conducting his own architectural research. Secondly, he takes what might be called artist's attitude when absorbing previous knowledge and producing new one. These two arguments are made in the first part and then served as a basic propositions for further arguments. In the process of criticizing the way in which Hays explicates Hejduk's Wall House, this paper reaches two main arguments. First, Lacan's notion of the gaze is not proper specifically for the explication of it. However, it may be useful and even promising when dealing with other works such as Subject/Object and House of the Inhabitant Who Refused to Participate. Secondly, Freud's notion of 'uncanny', arguably Hejduk's strong architectural orientation, may serve much better as a main gate among possibly many ones in trying to open his architecture. It is considered that this might also serve as an important clue to solving mysticism remaining yet untouched in his architecture.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.97-108
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• 2018

This study is based on the way Kim Kwang Soo works, which reveals a strong expressive tone that is rare in Korean architecture. His work is not decorative and symbolic representation of the intention of positive amusement. Therefore, the following noteworthy points will arise. The various phenomena associated with architecture and society are researched and analyzed in a critical manner. So, it creates and expresses its own formal logic. In this study, the theory of the subversive appropriation theory was identified by using the expressive characteristics of engagement. The study was based on a conceptual framework for the overturning of the mimesis, which Benjamin and Adorno have described. From this, this study summarizes Kim Kwang Soo's nihilistic attitude, finding boundaries and crack points, and subversive expression as a new form of architectural formal logic as main characteristics of interpretation of works. The characteristics of subversive expression of Kim Kwang Soo architecture derived from this are as follows. It does not take an ideological approach to the dismantling of the internalization of traditional Korean architecture. Popular culture and social phenomena are used as materials for expression. These are structured sensibly with appropriated formal logic. Finally, the architectural position adhered to the limit of performativity was recognized as the dimension of new meaning generation.

• Journal of Urban Science
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• v.9 no.1
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• pp.75-90
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• 2020

Günter Behnisch is one of the architects who played a major role as a pioneer of German modern architecture after World War II. After experiencing the era of the oppression of the Nazi right-wing national socialist, he tried to break away from the high-pressure and arrogant architecture to control everything in the building and to create a building that was born in a democratic way of thinking. He thought that architecture showed us the way we treat ourselves and the world, and that architecture formed our world view backwards. In this way, architects can express their way of thinking about their society through their works. Behnisch judged that the educational facility was the most appropriate use for implementing his democratic mindset. He hoped that this would give students the characteristics of democracy through architecture. Schools are a place where small society is experienced, and it is thought to be a medium for him to implement democratic thinking in school architecture. This study analyzed the educational facilities of Behnisch by deriving the analysis elements through the educational space organization reflecting Prakash Nair's educational facilities and educational theory and his architectural philosophy. The various plans, sections and spaces, which are characteristics of the his school facilities analyzed in this study, are expected to be helpful as data for presenting variety to many educational facilities in Korea.

• Structural Engineering and Mechanics
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• v.23 no.2
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• pp.147-161
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• 2006

Recent developments in fractal theory suggest that fractal may provide a more realistic representation of characteristics of cementitious materials. In this paper, the roughness of fracture surfaces in cementitious material has been characterized by fractal theory. A systematic experimental investigation was carried out to examine the dependency of fracture parameters on the aggregate sizes as well as the loading rates. Three maximum aggregate sizes (4.76 mm, 12.7 mm, and 19.1 mm) and two loading rates (slow and fast loading rate) were used. A total of 25 compression tests and 25 tension tests were performed. All fracture parameters exhibited an increase, to varying degrees, when aggregates were added to the mortar matrix. The fracture surfaces of the specimens were digitized and analyzed. Results of the fractal analysis suggested that concrete fracture surfaces exhibit fractal characteristics, and the fractal geometry provide a useful tool for characterizing nonlinear fracture behavior of concrete. Fractal dimension D was monotonically increased as maximum aggregate sizes increase. A new fractal fracture model was developed which considers the size and shape of aggregate, and the crack paths in the constituent phases. Detailed analyses were given for four different types of fracture paths. The fractal fracture model can estimate fractal dimension for multiphase composites.

• Korean Institute of Interior Design Journal
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• no.7
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• pp.64-69
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• 1996

Le Corbusier planned and began to build space of new architecture expression around 1920s by connecting his theory of architecture of a great influence upon his creation of works with the puristic plincipes. The objective of this study consists in enguiring into the interior space of Le Corbusier's villa in 1920s and 1930s , especially into villa La Roche-Jeanneret , villa Terrasses, and villa Savoye. The constituents of the villas introduced new architectural concepts, including geometry, economics , and his new five architectural factors, and there appeared such phenomena as were shown in the paintings of the purist period, such as transparency, contrast , etc. We can see through this study, that Le Corbusider's architectural purpose is the realisation of his architectural and puristic. concepts.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.62-70
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• 2005

Basically, modern architect's translation of relations between architectural space and human beings is focused upon the space and the way the space is experienced. Thus, the architecture is construed not as the finalized and fixed structure but as something undetermined and In progress. Here, we can identify the similarity between current trend and theory on process. Experience argument in this study is based upon such a similarity. And for your understanding of the spatial concept broached in the following experience argument, I've presented the analysis of Ben van Berkel's and Kazuyo Sejima's works that represent user's experiences in discussing art works. Taking a step further, I'll try to provide the true definition of being in progress and the potential of the architecture, thereby seeking the value and meaning of trends in modern architecture. In this regard, this study is aimed to analyze the attributes of experiences in progress identified in the art works of Ben van Berkel and Kazuyo Sejima and to extract and analyze the architectural concepts therein.