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건축의 문화적 현대화에 있어 신화와 기호의 의미에 관한 연구 -철학가 카시러와 기호학자 퍼스의 사유방식을 중심으로-
변태호,Byun, Tae-Ho 한국건축역사학회 2003 건축역사연구 Vol.12 No.4
Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.
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변태호,Byun, Tae-Ho 한국건축역사학회 2002 건축역사연구 Vol.11 No.4
If we compare socio-cultural aspects of the two historical periods known as 'pre-modern' 'modern,' it would seem that the Aristotelian understanding of technology has difficulty explaining techno-cultural phenomenon of modern society. The problems are first that the discourse of scientific technology in the modern period has proceeded without a metaphysical base, and second that nothing in present culture regulates the limitations of scientific technology. The clear distinction between means and ends in the traditional approach is no longer valid in the jumble of interrelationships. Such complexity forces us to acknowledge that means and ends are relative and interchangeable, and that neither has a clear moral superiority over the other. Technology in modern society is no more a neutral means. The products of science do not always exist to serve human ends. In modem architecture and urban design, both its productive and destructive tendencies leave man and his society in an endless confusion of complexity and opposition. These problems of technology still result in unsolved question today. On this point, the discussion another currently prevalent attitude to technology, especially Heideggerian thinking in the below could give a somewhat clearer answer to the problem of modem architecture and technology, although it also comprises limited contemplation in itself.
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기술(技術)'의 본질(本質)과 건축적(建築的) 조건(條件)에 대한 연구(硏究) - 아리스토텔레스와 오르데가 이 가세트의 사유방식(思惟方式)을 중심(中心)으로 -
변태호,Byun, Tae-Ho 한국건축역사학회 1998 건축역사연구 Vol.7 No.2
It seems obvious to the contemporary eye that modern technology has finally brought chaotic abundance to the present world, and provided a superficial civilization over the last century. Nevertheless, such an argument about the external phenomena of present culture does not help constitute the right track of modern technology and architecture. Rather, this discussion comes to re-signify the importance of critical metaphysics as a part of man's cultural activities, especially the ontological meaning of them. In this point, the research is intended both to re-certify the essential nature and mythic value of technology through reviewing the ancient and modern philosophical contemplations, and to examine its architectural condition against the rapid expansion of commercial material-culture.
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변태호,Byun, Tae-Ho 한국건축역사학회 2004 건축역사연구 Vol.13 No.2
In terms of the way we perceive the world, the history of human beings might be said to be a history of two incompatible forces -'science' and 'myth.' Until today, both indispensable aspects have made human existence possible and characterized human culture. Nonetheless, an essential definition of myth has never been clearly explained. What is the general philosophical thought about myth? Current well known interpretations are so called Enlightenment and Romanticism of myth, which both has same criticism that they has not generally considered myth in terms of its technical function or specified contents. One who overcomes the limit of two current extreme beliefs on myth and also who concerned more with the ultimate origin of myth and its relation to the structure of poetry than the source of its vital accomplishments is philosopher Hans Blumenberg. For him myth is an artificial means and an answers to overcome the 'absolutism of reality.' On this point, the research concerns basically two issues. One is to investigate the functional and structural characters of myth through philosopher Hans Blumenberg's anthropological reflections. The other is to analyze architect Tadao Ando's works and thinking. The intention of the paper is not only to explore the relationship between philosophical theory of Blumenberg and Ando's architectural works, but also to suggest a new critical understanding on architecture from mythological point of view. I also expect that this research will suggests a concrete theoretical idea for constructing and construing artistic form and cultural space.
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이상진,변태호,Lee, Sang-Jin,Byun, Tae-Ho 한국건축역사학회 2002 건축역사연구 Vol.11 No.1
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.
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변태호,엄기일 大韓成形外科學會 1995 Archives of Plastic Surgery Vol.22 No.4
Cleft lip is an anomaly with variable expression ranging from complete cleft and palate to minor abnormality of the nose or lip. Microform cleft lip is the mildest expression of cleft lip and may be difficult to repair. A microform cleft lip has 3 major component: 1. A deformity of the nostril, 2. A narrow ridge of tissue or a depressed groove of upper lip from vermilion to nostril, 3. A minor defect of the upper vermilion border. The continuing attempt to improve results with the surgical repair of cleft lip is clearly evident by the frequent appearance of new methods or modifications of old techniques. However, there is little mention of the microform cleft lip. 35 microform cleft lip patients were operated between Jan. 1991 and Dec. 1993 in our department(15 males and 20 females). The ages of the patients ranged from 3 months to 38 years(Mean 8 years). We classified and treated the microform cleft lip as follows; Type I: Cleft lip nose without lip deformity or with slight short lip of cleft side. Type II: Mild lip deformity with blurring of Cupid's bow, vermilion notching and skin striae. Type Ⅲ. Mild lip deformity including Cupid's bow, deviation. The goals in the correction of a microform cleft lip are to obtain an esthetically pleasing upper lip and nose, and to reestablish muscle continuity for improved function. To try to attain these goals, we used above classification, and satisfactory results were obtained by treating the cleft following the classification.
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변태호,엄기일 大韓成形外科學會 1994 Archives of Plastic Surgery Vol.21 No.3
Bilateral cleft lips are clefts on both sides of the premaxilla. These clefts may be complete, incomplete or microform, Bilateral cleft lips vary their menifestation, however, the typical, complete type bilateral cleft lip show a distinct premaxillary malformation characterized by a protrusion of the entire premaxillary bone wits respect to the cartilaginous nasal septum and a protrusion of the tooth-bearing alveolar process. The protrusive premaxilla obliterates the columellar area of the nose so that the lip attaches directly to the nasal tip. There is loss of the intact alveolus, and there is an unlined labial sulcus. The orbicularis oris muscle usually is not present in the prolabium, and there is loss of the central dimple, the symmetrical philtral column, and the midline tubercle at the inferior vermilion border. In the prolabium, white roll is diminuted. In the nasal area, the alar bases are flared, the alar rims usually are aymmetrical and the airwaus usually are partially obstructed. In addition to all of these findings there is an abnormal nasolabial angle. As summarized by McCarythy, approximately 14-15% of surgically treated cleft lip reported by many authors were bilateral cleft lips. In authors' recent experience, twenty-seven cases of bilateral clefts were operated on between Jan. 1990 and Oct. 1992 among 310 primary operated cases of the cleft lips(8.7%). At the first step in correction, we applied the presurgical orthodontic appliance, in the second month of life. After the premaxilla and maxillary arches are in natural alignment, the appliance is removed and, gingivoperiosteoplasty and lip adhesion are carried out. With muscle reorientation beneath the prolabium the function of the lip was relatively good and fork flaps could be stored into the nostril sill to lengthen the short columella. Long-term follow-up observation and the lip scar was natural-looking from the protruded maxilla even after lip adhesion, making the proabium expanded and lengthened. By using the fork flap between the age of 3-4 to lengthen the columella and at the same time performing a bilateral cheiloplasty, an almost defintive lip can be obtained. We therefore report 27 cases of bilateral cleft lip repair by lip adhesion.
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