‘유기적’ 관념에서 라이트의 낭만주의 유산 탐구와 그 의미에 관한 연구 - F. L. 라이트의 동서양 범재신론의 종교철학적 관념의 통일과 그 해석의 현상적 특성을 중심으로 -

오장환 대한건축학회지회연합회 2020 대한건축학회연합논문집 Vol.22 No.2

When it came to the creation of modernity in the realm of building art, it goes without saying that a foremost pioneer figure was Frank Lloyd Wright. About the intimate triangle of the Orientalism, Universalism and Froebelianism for modern ‘creativity’ particularly in regards to the significance and influence of Froebel, Wright realizes and acknowledges very accurately on that more than others. By extension, Wright understood the fact that such three elements are fundamentally as religious, which also are related to the new religion of humanity. But, ironically, his creative originality as strong insistence of only his own was badly hidden according to his relationship with the Far East, particularly with the Japan, moreover, it seems that a philosophical or religious implication of his idea ‘Organic’ was not easily grasped in popular recognition. Therefore, this study focuses on Wright’s discourses on a religious philosophical meaning of existentialism as universal thoughts in spirit of modernity, included not only on the Eastern but also on the Western, that is, focuses on a religious philosophical thought inherent in both, so-called Panentheism. Because the all that Wright searches for belong to so-called legacies of romanticism which are intimate with modern existentialism and thought of humanity that are plainly objects in long discourses under category of modern universalism. Ultimately, which triggers him make an existential time-space as his ‘Organic’ idea. As a result, Wright is capable to reach naturally to more broaden and profound understandings than anyone else at that time because he have a faith in Panentheism from his religion of Unitarianism and have a training by Froebel.

택견의 歷史考

吳章煥 한국외국어대학교 1984 한국외국어대학교 논문집 Vol.17 No.1

身體의 形態와 心肺機能과의 相關關係에 對한 硏究

吳章煥 한국외국어대학교 1983 한국외국어대학교 논문집 Vol.16 No.1

해항도(海港圖)

오장환 새얼문화재단 1996 황해문화 Vol.13 No.-

가압연소소결(HPCS)법에 의한 TiC-Cr$_3$C$_2$ 복합체의 제조

오장환,조원승,최상욱,최장민 한국세라믹학회 1998 한국세라믹학회지 Vol.35 No.3

Cr3C2 -dispersed TiC composites were prepared via HPCS(high pressure-self combustion sintering) pro-cess using mixtures of Ti, Cr and a carbon source for the purpose of increasing the facture toughness and sinterability of TiC. In this study the microstructure and properties of the composites were investigated in terms of relation to the carbon source the particle size of Ti and the amount of Cr. It was found that car-bon black was the most effective carbon source among the various carbon sources tested and the reaction was more effective as the particle size of Ti decreased. Among the sintered composites of Ti-C-Cr system the one with 30wt% Cr showed the best physical properties with 0.5% in apparent porosity 98.8% in re-lative density 18.2 GPa in hardness and 4.46 MPa.m1/2 in fracture toughness. In addition it was observed that the lattice constant of TiC decreased gradually with increasing the amount of Cr.

데스틸의 보편주의 종교철학 관념과 근대 창조성-예술에 관한 연구

오장환 대한건축학회지회연합회 2015 대한건축학회연합논문집 Vol.17 No.4

Even not only in the pictorial concepts of Neoplasticism but also in De Stijl group in Nederland was exposed definitely the search for the universality as such a unity of the opposites in Russian Suprematism and Constructivism. That is to say, the quality of universal thoughts in Neoplasticism had a common ground with Russia, as well as had greatly influenced on the Neoplasticists and Destijl architects, particularly including such case as Van Doesburg in case of materialism. Thus, this study treats it in central these three issues; Orientalism, Universalism, and Froebelianism, which are intimate. Importantly here, through a research on the universal religious philosophy in all three objects, as keeping a quality not of Pantheism but of Panentheism, this study deepens the understanding on the adventure of Creativity-art in modernity. To sum up, when an abstract idea proceeded to take a form, the ideological consideration that Neoplasticists have was a dialectical, which interpretation of the individual and the universal makes the abstract idea progress at first into a representation of two-dimensional pictures, finally into the architecture of modernity as the existential ideas of four-dimensional space beyond three dimensions. In a word, although De Stijl‘s search for a new style as ideo-plastic unity is a process of the existential struggle toward the universal immanent in the individual, however, the universal that they found by deconstructing the particular is conversely come to be a new particular: namely, on such struggles is based the very religious philosophical thoughts of the existential panentheism.

[발굴시] 비행기 위에서 외 5편

오장환 실천문학 2000 실천문학 Vol.60 No.-

르 꼬르뷔지에의 형태로의 ‘응시’와 낭만적 유산에 관한 연구

오장환 대한건축학회지회연합회 2016 대한건축학회연합논문집 Vol.18 No.6

본 연구는 르 꼬르뷔지에의 형태로의 ‘응시’와 그의 낭만적 유산에 초점을 맞춘 것이다. 이러한 연구의 목적을 위해 근대성을 향한 그의 디자인 영감의 근원들로서의 낭만적 사상들이 주로 논의될 것인데, 즉 보편주의 사상에서, 특히 범재신론의 그의 종교철학적 관념과 낭만적 교육의 영향들을 살펴 볼 것이다. 즉 근본적으로 르 꼬르뷔지에 가족의 종교적 신념과 어린시절의 경험들 뿐만 아니라 그에게 관념을 시각적 재현으로 바꾸게 훈련시킨 낭만적 교육사상으로서 프뢰벨의 영향을 통해 르 꼬르뷔지에의 디자인의 특징들을 살펴 볼 것이다. 궁극적으로 르 꼬르뷔지에를 형태로 ‘응시’하게 만들고 근대 이상적 도시라는 ‘유토피아’를 꿈꾸게 만들었던 중요한 배경들이 기술될 것이다. This study focuses Le Corbusier’s ‘Seeing’ into Form and his Romantic Legacy. For the purpose, the romantic ideas as sources of his inspiration toward modernity are discussed largely: in Universal thoughts, above all, his religious philosophical idea of Panentheism as well as such an influence of Romantic Education are looked at, that is, the characteristics of Le Corbusier’s designs through the influence of Froebel as a romantic educational thought which gives him a training that exchanges the idea for a visual representation as well as his, fundamentally his family’s religious faith including his childhood’s experiences. Ultimately, an insistence that such religious philosophical backgrounds fundamentally make him ‘seeing’ into form and ‘dreaming’ an utopia of his modern ideal city are described. As it were, the romantic legacies are indispensable to an existential struggles for a new human’s free will toward modernity, especially, for the individual’s artistic volition as the case of Le Corbusier; in the same context, the meaning of ‘dwelling’ for him are indispensable to the ‘self’ in the existential meaning. Ultimately, this study argues that not only the exposed aspects of so-called the ‘rational’ but also the hidden and paradoxical facts that Le Corbusier’s religious philosophical thoughts belong to the realm of the irrational and the mystic also have to be at the same time apprehended.

Prony 방법을 이용한 시간영역 유한차분법 계산효율 개선 ( Improvement of Computational Efficiency of FDTD by using Prony`s Method )

오장환,장상건,박재석,이병선,방성일,진년강 한국통신학회 1996 한국통신학회 학술대회논문집 Vol.19 No.2

근대 새로운 ‘자아’ 인식과 실존주의적 예술-의지의 표현에 관한 연구 - 근대 실존주의적 창조성 탐구와 개인 주거에서의 ‘정방형’의 표현적 특성을 중심으로 -

오장환 대한건축학회지회연합회 2019 대한건축학회연합논문집 Vol.21 No.2

근대에 접어들어 새로운 창조성-의지를 지닌 많은 아방가르드 예술가들의 작품에서 보이는 정방형에 대한 표현적 특징들처럼, 건축의 근대성을 만든 근대 건축가들의 주택작품에서 나타나는 정사각형의 표상들에 대한 의미를 근대성과 관련지어 고찰할 필요가 있다. 즉, 본 연구는 이러한 근원적 형태들에 대한 의미를 근대 실존주의적 의미의 ‘자아’ 인식과 관련지어 논하여 그 의미를 파악하고자 한다. 새로운 근대성을 지향하는 과정에서 아방가르드 예술가들은, 과학자들, 철학자들 혹은 신학자들과 마찬가지로, 신과 인간이라는 근원적 문제에 대한 지성사적 탐구를 시작한 이래로, 근본적으로 그들이 공통적으로 새로운 실존적 자아를 발견하였던 것처럼 보인다. 그래서 당연히, 그들은 궁극적으로 신과 동일한 ‘자유-의지’를 지닌 인간으로서 자신을 자각하고 있었고, 근대 실존적 자아의 ‘신적’ 창조성에 대한 새로운 자각과 확신에 이르렀을 것이다. Undoubtedly, like scientists, philosophers or theologians in the process toward a new modernity, Avant-garde artists seems to find fundamentally new existential self in common since the beginning of intellectual quest on the underlying problem of God and Humane. Thus naturally, they were awakening themselves as human having ‘free-will’ ultimately like God, and they reached a new recognition and confidence in the ‘divine’ creativity of modern existential self.