• Architectural research
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• 제18권1호
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• pp.1-12
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• 2016

This thesis explores Vitruvius and his impact upon other Renaissance architects who compare a city to a building or a building to a city, who match the city and the building into a human body, and who develop their own works. The objective of this study is to furnish an interpretation of their theory and practice through their literature and designs. In this point of view, this article takes notice of Vitruvius's six concepts coined from venustas and divides them into two parts: i.e. aesthetic quality (ordinatio, dispositio, and distributio) and technical activity (eurythmia, symmetria, and $d{\acute{e}}cor$) each. This thesis indicates that Vitruvius's successive impacts from the concepts bring about concrete design principles through proportional measurements, placing together, and hierarchic values for the former, as well as appropriate use through beautiful look, symmetrical harmony, and appropriate uses for the latter, tracking notions between a city as a house and vice versa, and either the ideas of the house or the city in the synthesis of the human body, which follows the perfect number and module based on the human body. The thesis shows that the representations of architecture and the city take place with the form of a circle and a square that express the religious belief and the cosmos, substantiating the connection between the proportions of the human body and numbers, and ultimately satisfying a concept of centrality, which is slowly extended to the enclosed plaza at the urban level from chambers, atrium, and corridors at the residence level.

• 미술이론과 현장
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• 제9호
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• pp.195-215
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• 2010

Alberti's De re aedificatoria is the earliest case in the history of Italian Renaissance architectural treatises dealing with recovery of antiquity through textual and archaeological pursuits. The key source of the Renaissance theoreticians was Vitruvius' De architectura. However, Alberti was keenly aware of inaccuracy and Hellenization of Latinity in this classical text, and tried to compensate them in his own treatise. Furthermore he claimed a reformed discipline of the architects as well as the patrons, and prescribed how future buildings and cities should be built, based on the proper authority of ancient architecture in proper and intelligible Latin. Such an adaptation of classical usage in order to reestablish a modern norm preceded in his earlier work Momus, a satire on the contemporary Italian society of his own by following the model of Lucian. Alberti's suggestion of proper government in Momus's phrase was expanded in De re aedificatoria, for he consider the buildings are subject to the rules of morality and public interests. He proclaimed that the nature of beauty is the reasoned harmony of every part within a body, and architectural beauty also lies on the harmonized arrangement of all the elements within an individual building and of all individual buildings and facilities within a city. For the architects to execute this task, he formulated the concept of lineanenta, the form derived from the mind in order to prescribe the proper place, numbers, scale, and orders for whole building structure. It is the future oriented city-plans and building designs to serve the public interest and the good of all the individual citizens who make up the City-State that Alberti pursued in his treatise.

• 건축역사연구
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• 제5권1호
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• pp.73-86
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• 1996

This study is to analyze the geometrical composition system for the plan of S. Pietro by Michelangelo. In the result of study, the plan is based on the geometrical elements of circle square cross, and shaped to symbolize the Universe which consists of the Heaven the Earth the Man. The plan is constituted of the conception of composition into hierarchy and repetition intersecting 45 degree the same sized square with inscribed square in a circle. Such the geometrical composition system can be found out a large number of example to the geometrical composition of architecture and city planning from Vitruvius to Bramante and Da Vinci. This plan is disposed in balance as the regularly proportional system of 1:1, 1:2, 1:3, which is formed the principal space. And the interior space is constituted of the organic space system, expanding to the direction of horizontal, vertical(ascension), development for primary space and secondary space with center in the geometric composition system of altar.

• 한국실내디자인학회논문집
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• 제15권5호
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• pp.52-59
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• 2006

Since the time of Vitruvius, the sciences have impacted on the perspectives for architecture and have had a direct influence on the shaping of built space. In recent years, architects have been looking again at sciences as a source of inspiration in the production of their designs and constructions. There are various ways to look at architecture's relationship to science. It is interesting to see how many of the words of day-to-day architectural speech have been drawn from science, the abundant use of references such as topology, fractals, chaos theory, and so on. The reasons for this may be obvious, insofar as science has become the dominant discourse of our times. The numerous attempts have been made to constitute architectural practice so as to bring it into line with the methods of science. But Alberto Perez-Gomez juxtaposed architectural theory and Husserl's. The Crisis of European Science. In Husserl's 'Crisis', it is modern science itself that is laid open question. Through examining its changing relationships to architectural ideas this paper is intended to describe the problematic relationship between science and architecture, in other words, architecture's as science.

• 한국주거학회논문집
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• 제15권5호
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• pp.69-76
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• 2004

비트루비우스(Vitruvius)에서 벤츄리(Venturi)에 이르기까지 많은 건축사가(建榮史家) 또는 건축가(建築家)들이 건축원리에 대한 각자의 규범적 태도를 글로써 밝혀왔다. 이러한 규범적 내용 중 비례이론은 서양건축에 있어 건축미(建築美) 비밀로 간주되어, 조화로운 건축물이 꼭 갖추어야 할 덕목중의 하나로 인식되었다. 현대건축에서 비교적 근대 비례시스템이라 불릴 수 있는 것으로 르 꼬르뷔지에의 모될로르와 반 데어 란의 플라스틱 넘버를 들 수 있다. 모될로르는 현재까지 아주 제한된 성공밖에 거두지 못했는데, 이는 피보나치 수열에 기초한 수치들이 커졌을 때 단위의 배수관계가 거의 형성되지 않는다는 사실에 기인한다. 반면에 플라스틱 넘버는 모될로르의 결점들을 보완할 수 있는 매력적인 수열을 가지고 있다. 이에 본 연구는 반 데어 란의 비례시스템 분석을 통하여 유도된 수열규칙이 건축디자인과 관련되어 직접적으로 적용되어 질 수 있는 CAAD시스템을 제안한다. 본 시스템의 초점은 반 데어 란의 비례이론이 어떻게 컴퓨터 언어로 변환 및 CAAD시스템에 적용되어, 실질적인 건축 실무행위에 있어 컴퓨터가 디자인 도우미로서 역할을 수행할 수 있겠는가하는 것이다. 연구의 결과, 사용자는 이러한 시스템을 사용함으로써 반 데어 란의 비례시스템을 자신의 디자인에 손쉽게 적용할 수 있으며, 이는 복잡한 치수관계로 구성된 비례시스템의 건축실무 활용으로 발전되어질 수 있을 것으로 사료된다.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• 대한건축학회논문집:계획계
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• 제34권9호
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• pp.87-96
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• 2018

The purpose of this study is to get a more fundamental definition of the term Architecture and Geonchuk through analyzing the origin and reception of the terminus technicus Architektonike. In Latin world the greek term Architektonike was adopted and replaced the term Constructio by Vitruvius and has played a significant role in the history of architecture. In the late 19th Century however, the word Architecture was translated into Geonchuk(建築) and has been dominantly used in countries such as Korea, Japan, and China. But the difference of the denotation between them has not yet been fully evaluated. The term Geonchuk signifies much the same as the Tektonik and remains as such in the architectural discourse. In this context, this study goes back to refer to the philosophy of Metaphysics by Aristotle. In his book the term Architektonike was defined for the first time as terminus technicus, and the philosophies in later Ages of Leibniz or of Kant adopted it to signify the world view in accordance with the time. However, the original thought of the Architektonike disappeared in architectural practice and has been used in most cases as a substitute for Oikodomike which denotes house-building. The usage of this word in later time shows that it lost its foundation to be interpreted not only in terms of principium cognoscendi, but also in terms of principium reale. From this the literal usage of the term architecture and Geonchuk has seldom to do with its original meaning and denotation of Architektonike and also they lost the status of terminus technicus for the discourse of arche which encompasses the meaning of both principle and universal order.