• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.107-118
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• 2015

Today, The representation of the modern space is experimented with shape and surface of the de-structural point of view to make architecture and space, in terms of not being able to make defined by single regulation. However, it can correspond to the rapidly changing modern, but it is easy to fade of architecture fundamental meaning. Along with the need for the rise of the construction of fundamental space, should be built a 'tectonic' spatial, which is said to be building of logos. Tectonic, as norms for expressing the fundamental meaning of architecture, as to expression of construction, be unfolded with dualism such as science and art, technology and express, structure and formation, and it was introduced into the architecture through the construction expression of space that was a tectonic discussion of 19c german architects. On the other hand Constructivism which is avant-garde formative movement with Russia revolution, constructed 'sculpture' with the formative principles as tectonic. Tectonic's Formative characteristics can draw a conclusion with of tectonic characteristics of constructivism sculpture, space of logos will be realized through its study. Other hand, The pavilion, as symbol space, can be analyzed by tectonic properties, Pavilion, meaning the space is expressed in a variety of tectonic expression. As tectonic construction, fundamental ideology and symbolization of space is revealed metaphorically and visually.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.10
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• pp.11-18
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• 2019

This study explores the relationship between the expression of material Sensibility properties and the meaning of tectonic in the architectural space of Kengo kuma. First of all, It can be derived that The sensibility of the material is based on phenomenological meaning of the tectonic after modern architecture that also Kengo kuma has been aware of. So it derived characteristics of sensibility by material expression and meaning from the Kengo kuma's works including critical books and collection of architecture works. All derived characteristics consist of sub-sections of the case analysis to figure out correlation with expression of Material Sensibility and tectonic meaning at the Kengo kuma's works. At the ends, it was analyzed through the relationship chart.

• KIEAE Journal
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• v.15 no.2
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• pp.79-86
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• 2015

Purpose: The concept of the tectonic has researched to find out the identify of modern architecture. The meaning of traditional tectonic knowledge to emphasize structural joints and attention to detail in creativity has developed in various ways in contemporary architecture. The purpose of this study is to analyze the tectonic characteristics and architectural expressions of the light appeared in the works of Santiago Calatrava. Major features in his works could be found is to maximize structural beauties through deducing the architectural images from the nature and expressing the material properties and the kinetic structures, and thus, to ultimately create the functional space and form by connecting the light to the tectonic structure. Method: Accordingly, I tried to analyze the three works of Santiago Calatrava (the Milwaukee Art Museum, the Bodegas Ysios Winery and the City and Arts and Sciences) as following categories - the structural aesthetics, the expression of material properties, the relationship between he kinetic structures and the light. Result: According to the results of the study, Santiago Calatrava tried to create his own architectural aesthetic by combining structural tectonic with nature, material, regional place and culture. He also sought to express the tense and dynamic tectonic rather than the stable one in his works.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.29-38
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• 2014

This paper is to analysis covering and exposing elements through surface in the spirit of the time through the meaning of relationship between structure and symbol(ornament) in the theory of dressing of Gottfrid Semper. In other words, The purpose is to illuminate how complementary tectonic between structure and symbolic of an architecture surface is expressed in accordance with the biased required conditions relating with the paradigm of the era. The advancement of the new method of tectonic and the new aesthetic taste have a deep relation with the reconsidering the dichotomy classification discussing a dominant position between structure and symbol(ornament). Expression of surface representing the era comes across the combined interpretation of technology, structure, and the non-physical culture's art of the community and the era.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.73-80
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• 2006

The purpose of this study is to analyze the characteristics of structural expression in the works of Louis I. Kahn. Kahn's main architectural thoughts of 'what it wants to be' and 'how it was done' are important in this research because these statements act as a clue to understand the relationship between structural expression and space. 'What it wants to be' means the essence and existence of architecture and 'how it was done' shows the tectonic of architecture and construction process to enhance its presence. Kahn's emphasis of structural expression stems from the fact that structure is the logical part of whole building system rather than the concealed object for the exterior of buildings. Therefore structure of Kahn's architecture is not a structure only to support building but a mean to express his thoughts in a corporeal way. In Kahn's works, the characteristics of structural expressions are summarized as the visualization of the order in dynamics, construction process, spatial system, and the relationship between structure and light in the space.

• Economic and Environmental Geology
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• v.30 no.6
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• pp.613-624
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• 1997

A study of anisotropy of magnetic susceptibility (AMS) was conducted on the Ordovician-Eocene strata in the Taebaek area. The study area is a northeastern part of the Okchon belt, sometimes called as Paegunsan Synclinal Area. A total of 600 independently oriented samples were collected from 60 sites covering the whole area. With a few exception of late Cretaceous-Eocene volcanic rocks, all the sampled strata are nonmetamorphosed sedimentary rocks, mainly sandstones. Among the 60 sites, 5 sites showed flow lineation lying on the bedding plane, 11 sites showed load foliation parallel to the bedding plane, and 21 sites showed tectonic foliation unrelated to the bedding plane. The tectonic foliations are defined by $k_1-k_2$ ($k_{max}-k_{int}$) anisotropy plane, and are considered as a result of tectonic forces acted perpendicularly to the foliation plane in the geologic past. Regardless of sample-site locations, tectonic force directions defined by $k_3$ ($k_{min}$) axis perpendicular to the tectonic foliation are consistent among the strata of the same geologic age. In the course of geologic time, however, the tectonic force directions showed a clockwise rotation: approximately E-W in the Ordovician sites, NW-SE in the Permian sites, N-S in the Triassic sites, and lastly NE-SW in the late Cretaceous-Eocene sites. The pre-Permian directions showed better clustering in the in-situ (geographic) coordinates, while the younger directions become better clustered after the bedding-tilt correction. It is interpreted that the major tectonic structures of the Taebaek area were controlled by the above-mentioned tectonic forces: The Paegunsan Syncline and the Hambaeksan Fault must have been generated by the NW-SE force of late Permian-early Triassic time. It was then reactivated in the reverse (dextral) sense by the N-S force of Triassic time. The Osipchon Fault in the eastern part of the study area was either generated or reactivated by the NE-SW force of late Cretaceous-Eocene time. The Permo-Triassic NW-SE force should be an expression of the Songnim Disturbance in the Korean peninsula, which is in turn related with the SCB/NCB collision in China.

• Korean Institute of Interior Design Journal
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• no.33
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• pp.19-26
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• 2002

This study analyzed the characteristics of spatial expression in the Barcelona Pavilion to be based on tectonics. Mies pointed out the image of materiality about the material rather than the process of tectonics using the material, and he also expressed demateriality in the image of each material through the reflection. To be liberated from structural matters, the wall has been introduced. He intended to show the design plan as the independent structural system, however, the wall actually seems to be supporting the roof that shows rather clearly self-contradictory because of the expression of materiality in the material. In terms of architectural elements; wall, roof, column, floor, and so forth, tectonic expression and abstract aesthetics stands face to face, because of hiding the productional process and transforming to line and surface in the image of materiality. The interior of the glass wall seems fairly closed space from the exterior, because materiality and reflection of materials of columns and podium. The character of experiential space is inconsistent and fragmentary because of the splendid images from maternality and reflection on the wall, and collision with the reality and the image the wall reflects, even though the geometrical space of the Pavilion's plan has the mutual penetrability and organic character.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.89-97
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• 2005

The purpose of this study is to analyze the interior characteristics of Philips Exeter Academy library by Louis I. Kahn. Kahn's main thoughts of 'what it wants to be ' and 'how it was done' play a important role in this research because these statements act as a clue to understand this library. 'What it wants to be' means the essence and existence of architecture and 'how it was done' shows the tectonic of architecture and construction process to enhance its presence. Most of his works inform that Kahn had consistently applied his thoughts into design process. The thoughts of the essence of library leads Kahn to configurate 3 layers of interior space. The emphasis of tectonic expression is also the characteristics of interior in that structure is the logical part of whole building system rather than concealing object for the exterior of buildings. In Exeter library, interior characteristics are summarized as 3 layers of interior configuration, the order in dynamics, the visualization of construction process, and the relationship between structure and space.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.77-91
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• 1998

The theory of tectonic appeared in the midst of 19th century as German architects adopted new materials and structural technology, invented by creative engineers, into architectural design. This does not merely mean a technical problem but concern the redefinition of architecture in term of an aesthetic, cultural, and ontological identity. Furthermore it alluded to a desire on the part of architectural theorists to actualize artistic and spiritual goals out of new constructional necessities. Because of their complex discourse that assumed the possibility of communication between philosophical and technical aspects, between ideal and real concerns, tectonics becomes until now the most important issue in architecture. The concept of tectonic was intensively investigated by Gottfried Semper's and Karl B$\ddot{o}$tticher architectural writings. They contributed to clarify the principle aspects of tectonic within architectural, philosophical, and anthropological discourses of 19th century. Gottfried Semper stressed an understanding of how architecture took on physical form in earliest human culture. He placed great importance on the artistic expression of materials. But unlike Semper who argued the cladding of the structural frame by decorative wall system, Karl Botticher required maximum visibility of structural frame. This represents the different positions between Gottfried Semper and Karl Botticher

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.2
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• pp.1-9
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• 2016

Vernacular perspectives had been ignored in the movement of modern architecture. This study's purpose was to review vernacular perspectives and to identify vernacular characteristics of earth architecture. Six representative contemporary earth architects were selected, and then their works were analyzed. Themes of vernacular architecture based of Frampton's critical regionalism were emerged. Findings were as following: 1) constructed by considering the local climate and the region's natural characteristics, 2) constructed with local materials seeking integration of structure and finishing work, 3) having tectonic form included regional characteristics, 4) creating space of various senses and expression of texture through earth modeling, 5) presenting homogeneity of sense of place between site and architecture, and 6) pursuing ecological and sustainable architecture. These characteristics of contemporary earth architecture reflect the vernacular architecture inherited continually in architectural history. Therefore, contemporary earth architecture has been in line with contemporary architecture aiming for sustainability.