• Korean Institute of Interior Design Journal
• /
• v.25 no.5
• /
• pp.157-166
• /
• 2016

This study is intended to examine the various kinds of emptiness that are shown in the empty spaces created by Hyo-Sang Seung and Louis I. Kahn. Architecture creates the usefulness of a certain space thanks to its emptiness. The word, 'Emptiness' has the following meanings, 'non-fulfillment', 'non-existence', 'emptiness', 'blankness', 'non-visibility' and 'non-limitation', etc. Such concepts of emptiness can be broadly divided into 'ideological emptiness', 'aesthetic' and 'architectural spatial'. Comparisons regarding such concepts of emptiness as they are expressed in the architectural spaces created by Hyo-sang Seung and Louis I. Kahn shall be identified in this study. Hyo-sang Seung tried to leave numerous open possibilities which can contain everything into a certain space since 'emptiness' is not being used at this moment. Louis I. Kahn tried to contain into a space the essence and silence of that space before something that exists is created. The 'emptiness' created by Hyo-sang Seung and Louis I. Kahn is a specific space which can contain more kinds of non-visible spaces than some visible ones. Thus, such spaces may contain various potentials which are possible because they are empty, because of changes in nature and time, and because of silence and intentions going beyond an artist's original intent.

• Journal of architectural history
• /
• v.22 no.4
• /
• pp.45-57
• /
• 2013

Unlike the extrinsic Modern Functionalist, Louis I. Kahn, a modern American architect, had been pursued intrinsic architectural nature based on historicity; The Essence of Architecture, during his lifetime. That is the reason why he is generally called as one of frontiers toward Post-Modern Architecture. However, the actual meaning of his 'The Essence of Architecture' is so vague and unclear until today, because not only his complex personal thought and career but various and subjective interpretation by so many later architects and architectural theorists. In the context, this paper attempt to reanalyze and clarify Kahn's idea of 'The Essence of Architecture' with the deep and objective view of aesthetics focused on a distinguished contemporary German philosopher, N. Hartman's idea of phenomenological relation and the stratified structure of a work of art.

• Journal of the Korean housing association
• /
• v.15 no.2
• /
• pp.63-73
• /
• 2004

Louis I. Kahn's spacial composition is characterized by traditional motives and Ecole des Beaux which had influenced him. This influence had showed five forms about Kahn's spacial composition. His constituent factors in geometrical form are classified into the propositional system, the cellular multiplication of a special unit, the Poche Space and others. According to the results of this study obtained from above mentioned subjects, it can be concluded that geometrical factors, which constitute space of plan, are totally expressed as a system of order which unites particular ones into whole one. This characteristic had developed into a completed meaning for passing through the residential architecture in 1950's, and showed in the other artworks there after.

• Korean Institute of Interior Design Journal
• /
• no.27
• /
• pp.28-34
• /
• 2001

The aim of this study is to understand the composition of plan and the changing aspect of Louis I. Kahn's residential architecture, Louis I. Kahn's spacial composition is characterized by traditional motives and Ecole des Beaux Art which had influenced him. His constituent factors in geometrical form are classified into the propositional system, the cellular multiplication of a special unit, the Poche Space and others. According to the results of this study obtained from above mentioned subjects, it can be concluded that geometrical factors, which constitute space of plan, are totally expressed as a system of order which unites particular ones into whole one.

• Journal of architectural history
• /
• v.26 no.6
• /
• pp.41-54
• /
• 2017

One of the reasons why Louis I. Kahn is regarded as a pioneer of Post-Modern Architecture is that his works are interpreted as Structuralism and Post-structuralism in architecture. A. $L{\ddot{u}}chinger^{\prime}s$ interpretation of Structuralism and M. Benedikt's interpretation of Post-structuralism; especially Deconstruction Theory, in Kahn's architecture must be proper cases for understanding this context. However, when we precisely analyze their insistence, several fallacies can be found with their incomplete grasp of Kahn's architectural thinking. The most problematic thing is that they maximize fallibility with focusing only on the analysis of superficial phenomenon, such as formal composition, disposition of space, decorative features, and so on. Therefore, the meaning of architectural essence toward Post-Modern Architecture which Kahn had pursued during his lifetime is sometimes misinterpreted. For this reason, this paper attempt to reanalyze Kahn's philosophy of architecture deeply with the view of aesthetics which has a key role in both overcoming their fallacies and illuminating the potentiality of Kahn's architecture.

• Korean Institute of Interior Design Journal
• /
• v.21 no.6
• /
• pp.168-176
• /
• 2012

The aim of this study is to review the meaning of technologies 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 represent the ontology of his architecture and tectonic characteristics. These divisions also can be effective in studying relationship between technology and his architecture. '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 used technology as solutions for partial problems in his early years but later he changed its role as media to realize his concept ideally. He considered technology as enhancing building's existence rather than its functional and economical efficiency. Kahn also visualize the usage of technology through detail and construction process. He developed his technology in 'application-modification-complement' process as he executed projects over again. As a result, technology itself cannot drive Kahn's architectural thoughts in a certain way but Kahn emphasized technology as media to enhance the presence of his architecture and to present visualization and realization of his concepts.

• Korean Institute of Interior Design Journal
• /
• v.14 no.5 s.52
• /
• pp.114-122
• /
• 2005

A study of light in Kahn's architecture must be significance as a work in building new architectural space and a new foundation for architecture, as well as clarification of the uniqueness of Kahn's architectural space and search for its significance. In addition, the study provides a greater comprehension of an the concept of Kahn's architecture by clarifying the degree of association of light into other concepts of architecture. Therefore, this study attempts to examine Louis I. Kahn's statement, sketch and work. His sketch along with the characteristics of the technique how to present it also enables comprehension of other aspects of architecture as a means to revive architecture. Khan's use of light enabled the evolution of primarily two types 'specular surface' and 'unique opening part' by associating them with the need to diminish glaringness. Each of these types has been evolved individually and is indicative of a concept of light that can be largely divided into ' object's light ' and ' space's light ' Object's light refers to a type in which the formative significance of structural part and different directions of light coexist, and its formative characteristics play a role that differentiate places within space. Space's light is present on wall spaces that limit space and exhibits its distinguished role differentiating places within space in the form of 'expression'.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2007.05a
• /
• pp.222-226
• /
• 2007

Buildings form interior space when part of an external environment is limited by a physical surface. And, the interior space forms an appearance of building when space-defining elements, such as floor, wall, and roof. An appearance or a form of building has a lot of meanings depending on the physical and psychological conditions, as well as symbolism. Especially, the prevailing meaning of form in the modern age was, "Form follows function," was quite different from the meaning of form in the architectural era of Louis I. Kahn, who asserted "Form always supercedes function," when functional modernism was still existed even after some 50 years later. Existing studies on Louis I. Kahn usually analyzed his architectural terminology and philosophical concepts of Centrality, Light, Order, Form, and Design; or they were focused on an overall plane and the principle of composition. The purposes of this study are: (1) to investigate how the formal composition characteristics of building are expressed on skylights; and (2) to demonstrate that the formal composition characteristics of skylights plays an important role in constructing a whole structure of building in relation with other architectural elements.

• Korean Institute of Interior Design Journal
• /
• v.18 no.3
• /
• pp.39-46
• /
• 2009

The purpose of this study is to analyze the meaning of 'dis-joint' in the works of Louis I. Kahn. Kahn tried to realize his main architectural thoughts of 'what it wants to be' and 'how it was done' through his whole life. The concept of 'dis-joint' had been developed to visualize his architectural thoughts. Kahn used' dis-joint' to show and emphasize the structural system for the raison d'etre of building. Kahn's 'dis-joint' can be categorized as 'spacing', 'butt', 'slit' and 'protrusion'. Kahn used this kind of unusual way of joint beyond simple exposure to stress the existence of element, part and building itself. Through variable combination usage of 'dis-joint', Kahn can realize his architectural thoughts into building in a concrete way. The efficiency and function of joint is not the main issue in his works. 'Dis-joint' was the concrete tool to show the tectonic of architecture and construction process to enhance its presence. Therefore 'dis-joint' of Kahn's architecture is not a joint only to combine building parts but a concrete mean to realize his thoughts in a corporeal way. These facts insinuate that Kahn's architectural philosophy is based on the thoughts of tectonic and its realization.

• Korean Institute of Interior Design Journal
• /
• v.14 no.6 s.53
• /
• pp.47-56
• /
• 2005

The purpose of this paper is to understand the meaning of 'institution' in Louis Kahn's architecture and to reveal that it is expressed through singularity and commonality, which have two aspects; formal-material(eidos-hyle) aspect and phenomenological aspect. Under these recognitions, this paper shows the detail analysis on design process of Phillips Exeter Academy Library, focusing on his writings and sketches. The results are as follows. First, the basic form is maintained through the design process of the Exeter library, and it is derived from the consideration of the human activities in the library. And second, each 'room' of the library acquires its singularity through structure and light. And the 'plan' is based on the commonality inherent in the singularity of each room. And the last, singularity and commonality are revealed not only In the relation of architectural elements but also In the relation with man and architecture.