• 한국실내디자인학회논문집
• /
• 제34호
• /
• pp.29-36
• /
• 2002

Skin Architecture', which has been an important topic of architectural discourse in the recent past, is playing an even greater role in the design expression of architectural materials nowadays. The purpose of this study is to define the epidermal conception about material matter and to discover the various modes of visual effect in the use of architectural materials.Epidermal thought is expressed in different forms, ranging from a simple covering made up of materials of all kinds , removable or technological wrappings. Analyzing the recent experiments from the works of Bernard chumi, Herzog & de Meuron, Peter Zumthor, Gigon & Guyer , it can be argued that the skin is a good emotional approach in the design expression of architectural material matter as epidermal concept since the 1980's.

• 한국실내디자인학회논문집
• /
• 제26권4호
• /
• pp.12-21
• /
• 2017

This study is on the constructive ways of body perception applied to architecture space. This research also has a purpose of extending the range of possibility of body perception's application. Research on the phenomenological method applied to architecture space was mainly focused on sensation, which made limited awareness on the range of body perception. The scope of body perception includes not only sensation, but also perception, cognition, and human behavior. Therefore this study explicate how operant features of body perception works together. Operant features of body perception are perception as cognition, synesthesia, and Interaction with others. Herzog & de Meuron, Sejima, and R. Koolhaas's works are reviewed to verify these features of body perception.

• 건축역사연구
• /
• 제16권4호
• /
• pp.7-22
• /
• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.

• 한국실내디자인학회논문집
• /
• 제27권1호
• /
• pp.68-79
• /
• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.