• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.113-127
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• 2021

This study aims to view the architectural space of the postmodern era as a concept of continuous change without being fixed, and to understand the spatial elements in architecture with a changing network of relationships. The purpose of the study is to analyze the spatial composition strategies of the two architects while revealing the spatial characteristics shown in Rem Kolhaas and SANAA's works in terms of relativity. The method of the study defines the meaning of non-fixed relationships through theoretical considerations of relativity and then looks at the architectural approaches of Rem Kollhaas and SANAA. The relationship was divided into programs, environments, users, and furniture and furniture in the space and analyzed the works of the two architects. As a result, both architects are similar in that they reject rigid programs by organization and use potentially inherent relationships for building space activation purposes, while Rem Koolhaas uses the user's behavior-inducing strategy, while SANAA uses the user's relaxation strategy.

• Journal of architectural history
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• v.12 no.3
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• pp.65-86
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• 2003

After 1960s, a radical change was taken place in the modern urban theories which were developped by many architects and planners like Ebenezer Howard, Tony Garnier, Le Corbusier, Ludwig Hiberseimer, and Patrick Abercrombie. Many contemporary architects like Kevin Lynch, Aldo Rossi, Christopher Alexander, Colin Rowe, Rem Koolhaas, and Bernard Tschumi have a view that modern urban theories lost their abilities to organize and control new realities so that new urban theories was needed in order to cope with urban problems in the 1960s. In this study, we are to examine contemporary urban theories in comparison with modern urban theories and to clarify the role of discourse of language in its emergence. In consequence we can detect four main themes in the process of transformation from modern urban theories to contemporary urban theories : from functionalism to formalism, from historicism to archeology, from space to placeness, and from hierarchical organization to network. And we can prove that such themes basically depend on the discourse of language.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.1
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• pp.69-79
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• 2004

This Paper examines theoretical terrains and design strategies of landscape urbanism which is an emerging hybrid field at the intersection of architecture, landscape architecture, and urbanism. Landscape urbanism offers alternative approaches for theory, education, and practice in contemporary landscape architecture. It views the emergent urban complex sites-post-industrial sites, landfill, brownfield, urban void, etc., not as a weakness, but as a strength. Landscape urbanism poses an understanding of landscape as an element of urban infrastructure. In this sense, the landscape is seen in the context of contemporary urban development and public works. As a complex amalgam, landscape urbanism is more than a design style it is an ethos, an attitude, a way of thinking and acting. We can chart the main characteristics of landscape urbanism such as horizontality and surface, infrastructure, process, technique, and ecology. Multilayered examples of landscape urbanism can be seen in several experimental practices such as worts of Rem Koolhaas, MVRDV, Adriaan Geuze/West 8, James Comer, etc. It is possible to summarize the productive strategies for landscape urbanism as follows : thickening, folding, new materials, nonprogrammed use, impermanence, and movement.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.20-27
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• 2005

This study is focused on the concept and spatial organization of bifurcation. After discussing the concept of bifurcation used in Borges' literature and Deleuze's Fold philosophy, case examples in contemporary architecture are analysed to comparatively investigate the relationship between the concept and space. In Deleuze's philosophy, bifurcation as well as pleats, inflection are used to form the world of fold that goes to infinity while, in Borges' literature, the structure of bifurcation is the key method to create the labyrinth of time. There are various projects in contemporary architecture based on the Deleuzian concept of bifurcation. Rem Koolhaas's Two Libraries for Jussieu University and UN Studio's Arnhem Central are selected and researched for further comparison study. In Jussieu project, the bifurcating spatial organization is 'intentionally' used to construct the indeterminant space whereas in Arnhem Central, bifurcation can be found in both the ever-bifurcating design process as well as the final spatial organization'unintentionally'generated from the process. This study is concluded with the comparative analysis between the representation and actualization of a concept that are crucially different.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.132-142
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• 2013

An event as philosophical thought is expanded throughout our society and affected largely an architectural field as well as aesthetics. Paying attention to this fact, this study is to relate the event to an architectural space and to find an interrelationship between them. Since Martin Heidegger who started to be regarded the event as a subject of thought, many philosophers revealed different thoughts about it. Architecture works of Louis I. Kahn, Peter Zumthor, Steven Holl, Bernard Tschumi, Rem Koolhaas who had the influences from the thoughts of Martin Heidegger, M. Merleau-Ponty, Jacques Derrida, Gilles Deleuze, are analyzed and compared their features. The reason why this relationship has become the subject of research is because the event can be confirmed to be connected with an architectural thoughts by correlating with aesthetic texts. Throughout this study, each architect, who is affected from philosophers, has different characters as they have different thoughts about events. This study is expected to be used as an literature data of intertextuality of philosophy and architecture.

• International Journal of High-Rise Buildings
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• v.4 no.2
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• pp.143-152
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• 2015

The increasing integration of public space and consumerism in Hong Kong has yielded new urban forms. The emergent vertical malls in Hong Kong and other East Asian metropolises have overturned the existing vertical order of the city. This vertical order is determined by the level of accessibility, but is being challenged by widely adopted vertical circulation technology. Inspired by Fredric Jameson's and Rem Koolhaas' reflections on the cultural significance of vertical transportation, this article examines the conflict between market logic and urban design requirements in the vertical interior spaces. "Departmentalization," as the current programming formula for vertical malls, can be further optimized by critically applying urban design doctrines such as Kevin Lynch's five elements of city image. It concludes with a statement that the knowledge base of vertical urbanism should be open to a set of new terminology informed by a new technological environment.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.98-105
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• 2006

This study tries to find how architects interpret and express fashion brand images. First, it examines the concept of brand images and its architectural expression of them in contemporary commercial architecture. Second, it investigates the brand strategies and architectural expression strategies of world-famous fashion brand companies such as Prada and Louis Vuitton. Third, it finds out architects' expression of the brand strategies focusing on Rem Koolhaas, Herzog & do Meuron, Jun Aoki, Barthelemy-Grino, Kumiko Inui. In conclusion, architects have their own expression tools for fashion brand images but the extent of expression vanes according to each brand strategy.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

• Korean Institute of Interior Design Journal
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• v.13 no.2
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• pp.29-37
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• 2004

This study analyze the architectural space in the aspect of the 'Raumplan' and 'Plan Libre'. These concepts based on the 'Raumplan versus Plan Libre' exhibition in Delft University, Netherlands. It is generally agreed that the concept of 'Plan Libre' in connection with Le Corbusie architecture and 'Raumplan' related to Adolf Loos's works. that exhibition contents was focused an extent of modem architecture. But, These concepts continually influence contemporary architecture and offer diverse vision in architecture. Therefore, this study focused on the analysis that look for common element in the space through the case study and space element connection in change of the values, technical growth. This Paper reveals that Adolf Loos's Raumplan is similar to Louis I. Kahn's 'Room' concept and Ando Tadao's centrifugal space composition method In the dwelling architecture. And the concept 'Plan Libre': non-definitive formal system and the elements : column, free form screening wall is revived as formal application of 3 dimension composition in architecture. and transfer lots, void, and linear space in Rem Koolhaas's urban design projects. These aspects is so called topology. This topological concept is an attempt in view of the space connection state rather than formative viewpoint.