• Childhood Kidney Diseases
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• v.8 no.1
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• pp.57-62
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• 2004

Schinzel-Giedion syndrome is a rare, distinct dysmorphic syndrome characterized by congenital hydronephrosis, skeletal dysplasia, and severe developmental retardation, likely to be inherited as an autosomal recessive trait, but not yet confirmed. This syndrome is characterized by coarse facial features such as midfacial retraction, bulging forehead, short nose with anteverted nostrils, low-set malformed ears, protruding large tongue, and hypertelorism. Skeletal and limb defects, choanal stenosis, simian creases, hypospadias, microphallus, hypertrichosis, and intractable seizures are the frequently associated clinical findings. Urogenital involvement is a major component of the syndrome, and this problem sometimes is associated with nephrocalcinosis and urinary tract infection in the clinical course of the disease. We report a 22 month-old girl with Schinzel-Giedion syndrome complicated by medullary nephrocalcinosis and urinary tract infection due to Klebsiella pneumoniae. This patient had also been suffering from postnatal growth deficiency, intractable seizure, spastic tetraplegia, delayed development and severe mental retardation.

• Journal of architectural history
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• v.33 no.2
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• pp.29-39
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• 2024

In contemporary architectural discourse, the concept of space is ubiquitous, yet its historical genesis and theoretical underpinnings in Gottfried Semper's seminal theoretical work remain under explored. This study investigates the reception and integration of Semper's architectural theory into modern discourse, tracing its trajectory from August Schmarsow, to Nikolaus Pevsner, to Sigfried Giedion. While Semper's "cladding theory" had initially been understood in terms of both its relation to physical properties and structural and functional values, leading to an expansion of cladding as a new genre of art, i.e. arts and crafts, Semper's "architectural theory" instead explained cladding theory in terms of space. In disseminating Semper's theoretical work, Schmarsow was especially important as he himself played an increasingly prominent role in expanding the boundaries of modernist architectural theory and practice from the beginning of the 20th century on.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.205-217
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• 1992

For all the variety of past studies on the pyramids of Old Kingdom of Egypt, they still basically remain in 'enigma and mystery' as Giedion rightly puts in. This paper deals directly with the three most obvious facts about the pyramids : their cardinal orientation, the varying slopes, and above all, their magnitude. The prominent triangles of their once polished faces were there to be seen from the Nile valley as they shined or shaded under the Sun. The northern faces, especially, went in and out of the Sun in accordence with the seasonal variation of the solar declination, The steeper northern faces which turned into shade in high summer noon could have been warning signs of oncoming inundation of Nile, and the milder slopes that suddenly began to shine in some early spring noons could have been the vernal alarms to awaken the peasants to their timely toil on the fresh land. Dates and hours of insolation on the northern faces of pyramids are graphically and numerically computed.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2001.05a
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• pp.69-72
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• 2001

We are defined a space as the activities of creating value in harmonic relations between human and environment. After Industrial Revolution, relations between human and space is changing because of speed and visualization's power in contemporary society. We we known information where is far by means of visualization. There is only difference of speed. Movement in space means the line of vision and circulation. But it is tried to think relations between human and space again in result to experience indirectly. This study aims at the analysis of expression of the modem Architecture space in Giedion' Space, Time, Architecture and aesthetic systems applied to it. On the basis of that , this study analyzed the difference of Bergson' consideration from Modern Architecture about movement.

• Journal of architectural history
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• v.24 no.2
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• pp.27-34
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• 2015

The tasks of writing history is to reconstruct the past in order to understand the present condition and to envision the future. Modern architectural histories in the west have assumed this role, from Winckelmann to Giedion. Likewise, history of Korean modern architecture has to serve this purpose. However, existing histories of Korean modern architecture simply list up stylistic changes from western eclectic architecture to modernism without any historical narratives explaining the transition from Korean traditional architecture to modern architecture. History of Korean modern architecture has simply been understood as a unilateral process of transplantation of western architecture into Korea. This paper points out two major problems underlying this kind of historiography of Korean modern architecture. The one is formalistic approach which sees history of modern architecture mainly as a process of formal and stylistic changes. The other is humanistic approach which sees modern architects as agents of history. This paper argues that this kind of history writings has limitations since modernity of Korean architecture is fundamentally different from that of the west. and that specific tasks that Korean modern architectural history has to address are then two folds;(re)connecting the past architectural tradition to the present and forming self-identity of Korean architecture.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.3-10
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• 2005

German architect Hans Scharoun (1893-1972) has long been known as an Expressionist Architect, but recent scholarships reveal that his architectural pieces represent a profound idea of modern functional building. In this context, his architectural tendency can be constructed as an advanced functionalism. In the early twentieth century Germany, many young architects were not given chances to build due to economic hardship after World War I, and they were naturally led to imagery sketch designs for future architecture. Scharoun began with utopian fantasies as one might easily notice through his watercolor paintings in the Glass Chain period, but further developed his vision into a more concrete idea on organic building which he believed to be a modem functionalism. This paper intends to exemplify Scharoun's modern functionalism through a detailed analysis of his design of Weissenhofhaus presented at Stuttgart Deutscher Werkbund Exhibition in 1927. Weissenhofhaus is often rebuked for its expressionist qualifies by famous critics such as Sigfried Giedion and Nikolaus Pevsner, but the house also suggests other possibilities within the Modern Movement in Architecture. In particular, Weissenhofhaus is chosen for its historical importance linking two world war eras in German modern architecture.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.