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조한(Joh, Hahn),신재(Shin, Jae) 대한건축학회 2015 대한건축학회논문집 Vol.31 No.1
In the ‘Cinema 1: The Movement-Image’ and the ‘Cinema 2: The Time-Image’, Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links of a film. According to Deleuze, the transformation from classic to modern cinema is the transition from closed to open structure due to the breakage of the Sensory-Motor links, which is very similar to new architectural trend after the Modernism. As the classic cinematic world, governed by the Sensory-Motor Schema(SMS), is based upon the linear temporality and causal relationship of the deterministic world, the Modern Architecture obsessed with the conceptual transparency has the architectural SMS of hierarchial organization and perspectival spatiality. Like the cinematic breakage of SMS excited special sensation and affection, the dismantling of perspectival space allows to appreciate 1) the sensuous haptic space, the distructure of conceptually transparent space gives birth to 2) the poetic opaque space of embodied affection, and as pure power and quality 3) the space without function makes oneself feel the ultimate affection of sense of oneself.
영화 ‘킬빌(Kill Bill 1/2)’의 이접(異接)적인 시/공간 구성 연구
조한(Joh, Hahn) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.4
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.
조한(Joh Hahn),김남현(Kim Nam-Hyun) 대한건축학회 2012 대한건축학회논문집 Vol.28 No.8
The goal of this research is to study the topological relationship between Gilles Deleuze’s philosophy and Rem Koolhaas’ architecture. As the mechanical & deterministic & hierarchial & transcendent paradigm is no more valid in the pluralistic & multifarious contemporary society, a new trend of thinkers have demanded more relational & non-linear & non-hierarchial & immanent paradigm. In this context, French philosopher Gilles Deleuze had tried to substitute his immanent vitalism of Becoming for the transcendent essentialism of Being of western metaphysics, as he has analyzed contemporary society and culture based upon heterogeneous multiplicities and disjunctive synthesis. As Holland Architect Rem Koolhaas has also seen the essence of our contemporary city life as the uncertainty and fluidity of people and goods, his theoretical agony and architectural and urban experiments are well resonated with Deleuzian philosophical experiments as well. So in this Deleuzian context, Koolhaas’ design strategies have accommodated the uncertainty and fluidity of contemporary life, and utilized 1) the void of multiplicity 2) the surface of becoming 3) the disjunctive programming to overcome the deterministic functionalism and hierarchial composition of Modern Architecture, for the new urban and architectural possibilities.
조한(Hahn Joh) 현대미술사학회 2015 현대미술사연구 Vol.0 No.38
Kim Swoo Geun’s SPACE Group building has been revered as one of the masterpieces of Korean modern architecture, and Jung Inha’s The Architectural Theory of Kim Swoo-Geun(1996) played a crucial role to crown the building as the quintessence of Korean-ness, with its claim of the plan similarity with traditional Korean spaces, and the dramatic sequential spatial experience. However, Pai Hyungmin claimed in Sensuous Plan: The Architecture of Seung, H-Sang(2007) that it is a matter of our belief of what is Korean, and suggested to see the wall of the building as a sensuous plane to invite multifarious imagination and association. With Pai claim, I would like to re-read the building as the relationship between embodied Body-Space and ocular Eye-Space. As Modern Architecture with the visually and conceptually transparent Eye-Space failed miserably in every aspect, the post-modernism and de-constructivism questioned the validity of the Eye-Space and de-constructed it to make a way for embodied Body-Space. It is possible that the SPACE Group building represents the Korean version of this western Body-Space. However, without any similar Eye-Space being found in traditional Korean architecture, we need to further study the Eye and Body in Korean culture, to develop our own architectural discourse.