• 건축역사연구
• /
• 제12권3호
• /
• pp.149-162
• /
• 2003

Schulz accepted the existentialist view based on Heidegger's thought and at the same time the objectivist view making fixed this living world, evoking controversies for discussion. He could not see various presentations of the meaning of place because he perceived elements of this world individually. Thus Schulz's mixed system of understanding is sternly different from Heidegger's thought. First, Heidegger suggests that place as existential space represents the occasion revelation of incidents in Dasein. While Schulz recognizes that place is a systematic space predetermined for Dasein. Second, Heidegger interprets the placeness as creative openness in which elements comprising this world face and interact with each other into one. In contrast, Schulz defines each of the elements through signification and regards it as invariable and static. Third, Heidegger perceives that the placeness is expressed with sustainable, complex images through "rift-design" which seeks dynamic interactions between the ground and the world. While Schulz attempts to take "Genius Loci" or "habituated scene" through "gathering" as a concept he regards static and then visualize such structural two factors, producing certain internal images of place. However, limits of Schulz's theory prevent us from exerting complete imagination and discovering the inner creative world of the object. Thus the ultimate goal of paying attention to the placeness, that is, the recovery of individual identity, fails due to the prevalence and abstraction of objectified thinking. In contrast, Heidegger's thought about "openness" is a useful means of realizing the placeness. Openness may be referred to a dynamic coordination in which the earth and the world sustain each other under incessant mutual tensions, but not sticking o each other. "Rift-design" is an openness strategy to cause tense relations by preventing structuralization intentively. This is a creative design that allows seeing original seams of the object.

• 한국실내디자인학회논문집
• /
• 제22권1호
• /
• pp.132-142
• /
• 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.

• 대한건축학회논문집:계획계
• /
• 제36권1호
• /
• pp.61-68
• /
• 2020

The aim of the paper is to verify the hypothesis that 'Deep Contextualism can be applied to architecture,' developed through Stephan Pepper's Contextualism. This hypothesis is verified by Peter Zumthor's architectures. 'Deep Contextualism' has 'the third context' between human and natural context. The third so-called "ready-to-hand" is reactivated according to contingency and creativity in Being, 'Being' is continuously revitalized. It means that quality in 'the third context, or a sense of ready-to-hand is creatively and unceasingly transformed into a new texture by creativity and contingency in Being. Also Zumthor and Heidegger agrees to a sense of ready-to-hand. Through creativity and contingency in Being his architecture widens and deepens. Zumthor's atmosphere is world 4, and his architecture is world 3 which is an embodiment of world 4 or his air.

• 디지털융복합연구
• /
• 제19권12호
• /
• pp.443-450
• /
• 2021

이 연구는 아나 릴리 아미르푸어(Ana Lily Amirpour)의 영화 '버려진 자들의 땅(The Bed Batch, 2016)'을 중심으로 연구하였다. 논문의 핵심주제인 '언캐니 인간학(Uncanny anthropology)'은 프로이트(Sigmund Freud)의 '언캐니(Uncanny)' 이론을 '인간의 관계성 (주체와 타자)' 에서 바라보자는 의미에서 출발해서 이상적 인간학을 지향한다는 의미에서 특별히 사용하였다. '언캐니 인간학'의 새로운 이론 논의를 위해서 키르케고르를 시작으로 니체(F. W. Nietzsche), 하이데거(Martin Heidegger), 레비나스(Emmanuel Levinas)의 인간학이 언캐니 인간학의 이론적 배경에 해당된다. 하지만, 이 논문에서는 제한적인 지면 관계상 레비나스의 관계적 인간학에 집중해서 살펴보았다. 이 영화에서 가장 중요한 점은 인간과의 악의적인 관계성을 사랑으로 승화시켰다는 점이다. 일상적이지 않은 주제를 선택했고, 네러티브에서 인과성을 단절시키면서 주제와 내용을 표현했으며, 레비나스의 언캐니 인간학이 오롯이 표현된 영화로 평가된다.

• 건축역사연구
• /
• 제11권1호
• /
• pp.49-64
• /
• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• 한국조경학회지
• /
• 제25권3호
• /
• pp.155-176
• /
• 1997

Today most landscape architects and scientists have approached ecological restoration, only in a scientific way or on aesthetic way so as to deal with the complex phenomena of a site easily. However, 'the real world' as well as 'ecological nature' as it is can not be totally dealt by the scientific approach which is quantitative and reductioinal. ince a site to be restored has the character of 'place' where man 'dwells', it must be designed and built as total phenomenon. In terms of Martin Heidegger's interpretation of "revealing", we might find out how to overcome the dilemma of the 'modern technology'. To the point of the phenomenological integrity between 'modern technology' and 'art', we can reveal 'sense of place' on a site. The phenomenological approach, which is related to the characteristics of the site, implies something more than scientific since it focuses on the development of site-specific data without wasting extra data for ecological restoration. Bodily experiencing a site with the perception, man discloses the site's nature and he also analyzes it in a scientific way. Therefore the phenomenological approach might be a clue of constructing ecological restoration as well as construing the identity of landscape architecture.

• 건축역사연구
• /
• 제6권2호
• /
• pp.53-64
• /
• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• 영어영문학
• /
• 제57권6호
• /
• pp.1089-1109
• /
• 2011

In an attempt to demonstrate in context of Nietzsche's "overman" (ubermensch) and Heidegger's "Being-in-the-World" (Dasein) the collective human efforts to overcome humanism in crisis, I will provide the ground for the poetics of overcoming, the ground which are based upon the double movements of transhumanism and transnationalism. For this purpose, I will turn to the theories of two distinctive poets who reveal and disreveal their truths about the subjecthood or the subjectivity in terms of overcoming: Christopher Dewdney for posthuman transhumanity and Dionisio D. Martinez for transnational cultural contamination Transhumanism represented by Christopher Dewdney manifests an interfusion of outside and inside, thereby collapsing the boundary between the mind and the world, and provides a breakthrough from the limitedly defined mind to the transhuman perspective of overcoming by using terminalogy and techniques from science and technology. The emerging transhumanism reflects the growing interdependence between humans and bio technologies, and suggests a potential improvement of human beings. The main argument of transhumanism is that we humans can and should continue to develop in all possible directions, by overcoming our human limitations by shedding the body and having the disembodied consciousness which will liberate our mind. Kwame Anthony Appiah's "cultural contamination" is another form of overcoming as well as a way to otherness, a counter-ideal of cultural purity which sustains authentic culture, reversing the traditional binary opposition between enriching authenticity and threatening hybridization. Dionisio Martinez's poetry sublimates the negative side of Appiah's concept of contamination, by redeeming the value of the Appiah's list of the ideal of contamination such as hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, a bit of this and a bit of that is how newness enters the world. When a poetic subject is doubly exiled and doubly homeless away from his/her native homeland and home of native language, one has no more identification with the authentic culture of both home and away, but rather anticipates a new identity as a transnational subject to cross the bridge beyond cultural authenticity and to enter into the field of cultural contamination.

• 건축역사연구
• /
• 제7권1호
• /
• pp.81-92
• /
• 1998

According to Post-modernists including deconstructivists, as Modernism is changed into Post-modernism, the paradigm is shifted from consciousness to language. The paradigm of consciousness corresponds to representational language, and the paradigm of language to self-referential one. In post-modern age most of architects are wandering what kind of language architecture is. Some theorists contend that architecture is representational, and others that it is self-referential. Allan Colquhoun, who is known as one of the best architectural theorists inUnited States, accepts both the former and the latter, but fails to reveal the meaning and the limitation, of the two languages. Although he believes that the representational language of architecture ('figure') is the source of self-referential language of architecture('form'), he never clearly answers what kind of language architecture. In order to overcome the limitation and the meaning of Colquhoun's figure and form, and synthesize the two language, this essay appropriates Martin Heidegger's some concepts, 'ready-to-hand,' 'present-at-hand' and 'being-in-the-world' to make a theoretical framework for 'image' which prevails over and synthesizes 'form' and 'figure.' Since Image is based upon both 'being-in-the world' and 'ready-to-hand,' it is the source of 'form' and 'figure.' When 'image' is fragmented, the former and the latter emerge. Image is therefore both the former and the latter because it represents and self-refers a world as a reality.

• 건축역사연구
• /
• 제14권1호
• /
• pp.107-122
• /
• 2005

The purpose of this study is to analyse Herzog & de Meuron's surface, which represents contemporary architectural trends toward surface. Semper's Bekleidung theory and the important architectural theories about surface were compared according to the conceptual opposition between representation and re-presentation, which is borrowed from Kastern Harris, and again Martin Heidegger. Representation means a sort of translation into a different medium. It doesn't preserve the material identity of what it represent. Re-presentation, however, celebrates the material employed. The tension between representation and re-presentation have activated the architectural history Contemporary architects have emphasized re-presentation at the expense of representation. This trends relate with digital technology, which demands surface or skin independent from depth or interior. Buildings that deserve to be called works of architecture invite us to attend to material in a different way Re-presenting its materials, the work of architecture reveals its being. Such revelation requires that materials work in a way that invites us to step back from our usual involvement with things. It's the poetics of re-presentation, which is emboded in the Herzog & de Meuron's architectural works.