• 국제초고층학회논문집
• /
• 제9권1호
• /
• pp.17-41
• /
• 2020

In Part One, I documented the evolution of the use of the elevator and the iron frame to build ever-taller buildings that would eventually be called "skyscrapers," to offset the ever-increasing cost of Manhattan real estate. By the start of the Great Depression of the 1870s in 1873, New York architects had erected two ten-storied skyscrapers. In Part Two I document the major events, designers, and buildings in New York, Chicago, and other American cities that eventually culminated in the ability to erect 20 story skyscrapers by 1890.

• 건축역사연구
• /
• 제17권6호
• /
• pp.87-98
• /
• 2008

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of 'avant-garde' visual art, which is explained as formal 'purity' and 'abstraction' as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of 'avant-garde' architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the 'Universal Philosophy' including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on 'from Being into Becoming'.