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근/현대에서 나타나는 ‘서프라이즈 박스’ 건축 전략에 관한 연구
남성택(Nam Sung-Taeg) 대한건축학회 2011 대한건축학회논문집 Vol.27 No.8
The main purpose of this paper is to introduce the strategy of ‘surprise box’ in modern and contemporary architecture. The surprise box is against the architecture of absolute transparency. The outside reveal nothing. The hidden mystery can be discovered only when the inside is opened. In the case of Le Corbusier, Innovation trunk, that he considered like the surprise box, became the reference for an new architectural design. The astonishment, intentioned by the surprise box architecture, provoke the intensification of the perception, such as the lesson from the art of provocation of Marcel Duchamp and his objects. Alison and Peter Smithson manifest also “concealment and display”, another expression of surprise box. The article also tries to analyze the selected examples of contemporary architects like Rem Koolhaas, Herzog & de Meuron, Jean Nouvel, SANAA, to show that the theoretical line continues and spreads now more than ever.
남성택(Nam Sung-Taeg),이상진(Lee Sang-Jin) 대한건축학회 2011 대한건축학회논문집 Vol.27 No.9
The study focuses on ‘Simple Construction’, which can be explained as use of simple means and methods for the construction. Though Simple Construction and Minimalism might share numerous similar cases, they are clearly distinguished in terms of focus on the procedure versus emphasis on the final result, form. The cases of Simple Construction are often the results of limited means under ultimate environment, and are usually constructed by ordinary people. During such a simple construction process with poor means and methods, most unnecessary ornaments have to be reduced, and paradoxically, these become the basis for architectural theories by recognizing architectural substances. Simple construction has also generated diverse contemporary design trends, and influenced new aesthetics, such as Art of catalogue, Minimal Art, Ready-made construction, etc.
남성택(Nam Sung-Taeg),이상진(Lee Sang-Jin) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.5
Is Minimalism frugal? This question may expand the discussion on Minimalism, which has usually been discussed from formalistic and aesthetical perspectives because of its influence from Minimal Art. Of course, it is hard to deny the minimality or simplicity of form, ‘the final output’. Since architecture is clearly distinguished from other arts by process and means of construction, it requires discussion and . The discussion on Minimal Architecture needs to focus on both result and process/means. Sustainability becomes one of the most important issues, and the process or means of construction are as important as the final result from the perspective of sustainability. This paper aims to analyze Minimalism from the perspective of ‘Frugality', which is one of principles for sustainability. Reflecting Mies van de Rohe, `Less is More', he emphasized importance of minimum means to maximize architectural expression. If Minimalism is emerged from repulsion against the past excessive formalism, such as Postmodernism or Deconstructivism, its strategies shall focus on 'minimal means', instead of `minimal form'. Analysis on Minimalism from the perspective of frugality revealed contradiction between 'means' and 'result', and this may take a role to expand the discussion on Minimal Architecture beyond its form.
페터 줌토르와 올라푸 엘리아손의 작품에서 발견된 ‘분위기’에 대한 연구 - 브레겐츠 미술관과 전시 <The Mediated Motion>을 중심으로 -
이혜령(Lee, Hye-Ryeong),남성택(Nam, Sung-Taeg) 대한건축학회 2022 대한건축학회 학술발표대회 논문집 Vol.42 No.2
The purpose of this study is to make an analysis on the interaction of Peter Zumthor’s Kunsthaus Bregenz (1997) and Olafur Eliasson’s <The Mediated Motion> (2001) based on the notion of ‘atmosphere’. Both Zumthor and Eliasson thought atmosphere as a significant notion in their works. This study explicates Zumthor and Eliasson’s notion of atmosphere and how they were influenced. Specific examples of their works are analyzed on the basis of atmosphere, and it was found that Zumthor and Eliasson both wanted to represent nature through artificial methods. <The Mediated Motion> in Kunsthaus Bregenz was a significant exhibition which Zumthor and Eliasson’s notion of atmosphere came together. It is an exmple that shows how both architecture and art can influence each other.
이단비(Lee, Dan Bee),남성택(Nam, Sung-Taeg) 대한건축학회 2021 대한건축학회 학술발표대회 논문집 Vol.41 No.1
In the 19th century, museums as purpose-built institutions were designed to display and store artworks. For such museum design, architectural devices of religious buildings were used as the elements for the composition of space. For instance, a dome and colonnade –architectural devices that originated from the ancient era when religious ideas prevailed – can be found in the museum design by Jean-Nicolas-Louis Durand in the early 19th century. This paper examines the idea that the use of architectural devices of religious buildings in 19<sup>th</sup> century art museums also resulted in the introduction of the sacred and symbolic character inherent in those devices. The use of a rotunda in Durand’s museum design and Karl Friedrich Schinkel’s Altes Museum are interpreted and analyzed.
박종진(Park, Jong-Jin),남성택(Nam, Sung-Taeg) 대한건축학회 2013 대한건축학회논문집 Vol.29 No.5
The purpose of this study is to elaborate “EPFL Rolex Learning Center” in the process of adaptation, from campus development background to building realization. Mainly, the proposed “Free curved shell structure” by SANAA was adjusted more precisely to the futuristic multi-use library by changing its dimension and structural strategy. In addition, the passive mechanical installations corresponding to “Minergie” energy consumption label make sense of sustainable tendencies. It helps not only to expend its range of understanding beyond the avant-garde concepts but also to demonstrate new way of realization of grand public facility.
알테스 뮤지엄과 퐁피두 센터의 입면에서의 성과 속 - 성과 속의 다층적인 전이 경계로서의 미술관 입면 비교 -
이단비(Lee, Dan Bee),남성택(Nam, Sung-Taeg) 대한건축학회 2020 대한건축학회 학술발표대회 논문집 Vol.40 No.2
Is an art museum a sacred place? A museum as a purpose-built institution, which started to be actively erected to display and store artworks since the 19th century, has transformed into a place that symbolizes "cultural sacredness,’ separating itself from the profane surroundings. In this paper, it is inferred that the boundary that distinguishes the sacred from the profane may consist of multi-layers. Entitled as a multi-layered transitional boundary, this boundary is judged to trigger a gradual transition rather than a radical and instantaneous shift between the sacred and the profane. In the case of an art museum, its elevation is viewed as a multi-layered transitional boundary between the exterior and the interior. Selected layers of this boundary inherent in the elevations of the Altes Museum is analyzed and compared to that of the Centre Pompidou.
김준혁(Kim, Jun-Hyuk),남성택(Nam, Sung-Taeg) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.1
The purpose of this study is to analyze the reason why the Superstudio’s grid is chosen in the collage of Exodus by Rem Koolhaas. Since the Exodus was proposed with Superstudios guidance, it is obvious to analysis Exodus with Superstudio simultaneously. As a result, the grid of Superstudio is found in the Exodus’ collage. Also, in the collage of Exodus, the new form of grid appear that is different from Superstudio’s grid, furthemore Exdodus is itself a grid and collage. This study is meaningful in understanding in various ways the reason and role of Superstudios grid in Exodus, which is the first start of Koolhaas grid use, and studying the difference between Superstudio and Koolhaas concept of grid.