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형형칠(Hyung, Hyung-Chir),조한(Joh, Hahn) 대한건축학회 2013 대한건축학회논문집 Vol.29 No.4
Today, we know that it is hard to define architectural theories as one concept. In addition, they continually enlarge the areas of thought through the synthesis of other fields. In this way, this study explores the connection between modern movies and modern architecture. Especially, this understands three kinds of the time-images in the cinema 2 such as a purely optical situation, a crystals-image, and the powers of the false through each cinematic example. First of all, in order to understand the purely optical situation, this paper analyzes the "Pierrot goes wild" of Jean-Luc Godard and then verifies the time-image by the projects of the deconstruction. The case of this purely optical-image is the Kunsthal Museum of Rem Koolhaas. To be sure, the indoor spaces consist of a variety of the wandering paths by connecting inclined plates. It follows that this Museum make the purely optical-image since the architecture creates ambiguous, loosed and unexpected spaces. Moreover, this study also expounds a crystal-image in the "8,1/2" of Federico Fellini and then confirms the theory with architectural work. The best example of the crystal-image is the Jewish Museum of Daniel Libeskind. The interior forms the various factors that communicate the painful memory from the past with a sense of space from the present through the rough concrete, the cold air and the metallic sculptures in the floor. This shows that the places have the characteristic of the crystal-images in the designed indoor spaces. Finally, for the power of the false, it investigates "Mysterious Object at noon" of Apichatpong Weerasethakul. What’ s more, this paper elucidates Wexner Ceneter for the arts with this time-image. The site was recovered to create the powers of false by old vestiges such as the previous bases and facades.
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몸의 지각론에 의한 유휴시설의 건축도시 재생에 관한 연구
형형칠(Hyung, Hyung-Chir),조한(Joh, Hahn) 한국실내디자인학회 2017 한국실내디자인학회논문집 Vol.26 No.6
First, we can define how our body perceives the external world and embodies its senses through the philosopher Merleau - Ponty. These philosophical orientations of Merleau-Ponty also appear to urban theorists such as Jane Jacobs, Gordon Cullen, and Juhani Pallasmaa. In other words, after the Second World War, people began to pay attention to human emotions and perceptions while opposing human rational thinking. Especially, they reject the abstract space of modernism and explore the everyday city space where the local character of the area lives. This place is a space where the collective memory of the group is shared over several generations. So, in this space, people"s active perceptual system works actively. In the sense of this continuity of time, their ideas intersect with the concept of urban. Specifically, Jacobs criticizes massive development and proposes the development of a small block-based city with a commonality of old and new. In addition, we argue that urban space can be a visually interesting object through the continuous visual concept of urban theorist Cullen. In particular, he rediscovers the value of traditional urban space through visual experience between architecture and urban facilities. Finally, the architectural city theorist, Pallasmaa., criticizes the visual centrality of modern cities and thinks about the value of multidisciplinary space that can be experienced in architecture. This study examines the space of reproduction in detail on the perspective of the body philosophy and urban theorists. In other words, the play space inherits the natural city time, so when our body experiences this play space, we can actively sense and perceive the various senses. So we can invoke the active external actions of our bodies. Through the analysis of the size of the reconstruction space of the architectural city, various types of body senses and responses can be. Yoon Dongju Literary Museum, which renovated the old water tank of the city, can recognize the unfamiliar sense of body in everyday life through the traces and smells of water in the past and the restrained visuality. In addition, Seonyudo Park, which regenerates the waste water purification plant, can experience a phenomenal phenomenon through water space, old concrete and traces of steel. Finally, with the most recently played Seoul Road 7017 can experience interesting urban spaces in terms of a variety of plants, a human scale space creating movement, and a continuous visual.
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메를로-퐁티의 현상학적 `몸의 공간`에 의한 공간사옥 연구
형형칠(Hyung, Hyung-Chir),조한(Joh, Hahn) 대한건축학회 2015 대한건축학회논문집 Vol.31 No.9
According to Merleau-ponty, our body is defined as being-in-the-world. As our body is actively engaged with its surrounding environment, the body creates its own body-schema with daily habitual experiences. This body-schema synthesizes corporal senses and embodied consciousness, and creates own body-space suited to survive in a changing environment. This study intends to explore Kim Swoo-Geun’s architecture with the body-space of Merleau-Pony. Through his early life in a maze-like neighborhood, study under such prominent Japanese modern architect as Kenzo Tange and Junzo Yoshimura, and the architectural journey with Korean art historian Choi Sun-Woo, Kim Swoo-geun’s unique body-schema has been nurtured and the SPACE Headquarter is the embodiment of his body-schema. A traditional study space, a cozy open theater, a maze-like internal circulation, multi-sensory materials, and the sense of poetic depth, all tribute to the Kim Swoo-Geun’s body-schema, which culminates in his concept of ‘Ultimate Space’ and ‘Negativisim’ as well.
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