• Journal of the Korea Convergence Society
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• v.10 no.6
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• pp.171-178
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• 2019

Kenzo Tange who had successfully led Japan's early modern architecture has been interested in how to express tradition in the process of realistic creation of architecture since the 1950s. He tried to express the tradition of Japanese architecture in modern architecture in his own way. Tange believed that existing theory of tradition preserving traditional forms would no longer make Japan's tradition international. Therefore, he insisted that through his own 'new tradition', the tradition is maintained only by constant innovation, and that it does not leave traces in the results as a catalyst to stimulate creative activities. Therefore, this study aimed to analyze the concept and characteristics of 'new tradition' which Tange has claimed in his architecture.

• Journal of the Korea Convergence Society
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• v.11 no.4
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• pp.179-188
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• 2020

Kenzo Tange was interested in how to express tradition in the process of creation of modern architecture and tried to express the traditionaluty of Japanese architecture in his own way. In particular, Tange expressed Japanese tradition in terms of building materials and components from the point of view of his own 'New Tradition'. Tange created the 'Japanese style of architecture' based on traditional architecture to match the discourse of international architecture and distinguish it from the Western one, by harmonizing the plasticity of Japanese traditional architecture with the Western technology in building materials and components. Therefore, this study aimed to analyze the signs and traces of traditions in the building materials and components in his architecture. Through this study, I would like to have implications for our architecture, which had a very different process and result from Japan in digesting and combining it with traditional architecture although Western civilization was accepted at about the same time.

• Journal of the Korea Convergence Society
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• v.9 no.6
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• pp.191-201
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• 2018

This study aims to analyze the causes and results of the significant changes in the architecture of Japanese architect Kenzo Tange in the 1960s. For a new era and new architecture of Japan, Tange who has been successful in leading the early modern architecture of Japan. since the 1960s, proposed a structuralist approach, deviating from the existing functionalist tendencies that he has pursued. Therefore, in this paper, we examine what structural changes tend to be made in the post-1960s from the functionalist tendencies of the previous period, and what causes the changes to structuralist tendencies. In conclusion, rather than suggesting alternatives to deny the existing concept of functionalism, Tange's theory encompassed both functionalism and structuralism and achieved the effective reorganization of functions while complementing the disadvantages of existing functionalism through functional elements and their structuring.

• 주택과사람들
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• s.193
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• pp.54-55
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• 2006

일본 히로시마 평화 센터 프로젝트 설계 참여로 유명세를 치른 건축가 단게 겐조. 그는 이에 만족하지 않고 도시계획에 이르기까지 그 영역을 확대하여 공간에 관한 그만의 재능을 유감없이 보여주었다.

• Korean Architects
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• no.9 s.47
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• pp.20-25
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• 1972

-편집주- ㆍ이사진들(ARCHITECTURE WITHOUT ARCHITECTS)은 1964년 11월 9일부터 1965년 2월 7일까지 약 4개월간에 걸쳐서 미국의 현대미술관에서 전시된 작품들로서 이 전시회는 현대미술관의 국제부의 협찬하에서 건축가 B. Rudofsky가 연구, 제작, 편집, 전시 및 디자인까지 도맡아 완성한 것이며, ㆍ이 비형식적이라 할 수 있는 건축물의 전시를 함에 있어서는 죤ㆍ시몬ㆍ구겐하임재단과 포드재단의 재정적인 지원을 받아서 이 계획의 연구를 이룰 수 있었으며 또한 건축가 Walter Gropius, Pietro Belluschi, Jose' Luis Sert, Richard Neutra, Gio Ponti, Kenzo Tange 등의 열광적인 협조와 추천으로서 이들 작품의 전시가 가능했다고 한다. ㆍ본 자료를 제공해주신 조창한 선생님에게 감사를 드립니다.

• Journal of architectural history
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• v.21 no.1
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• pp.135-154
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• 2012

The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.