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한명식(Han, Myoung-Sik) 한국실내디자인학회 2009 한국실내디자인학회논문집 Vol.18 No.6
In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.
한명식(Han, Myoung-Sik) 한국실내디자인학회 2015 한국실내디자인학회논문집 Vol.24 No.5
The visual expression system of space realized in Baroque aesthetics is basically grounded on the philosophical view to the world of the time, that is to say the changes of the thinking system in the Renaissance and ontology based on it. Structural aesthetics in Baroque freed from Plato`s system of harmony but grounded on Leibniz`s process philosophy formed a crucial background to highlight the formal nature of the whole and build a structure based on the inclusive principle of formativity. Also, to solve problems to realize the order and consistency of forms from the whole, Baroque adopted the nonlinear and nonphysical formative system as the principle of building space in world of art. Combining the order system of nature in the Renaissance with manneristic dynamicity as well as formative principle taking shape geometrically, it did establish a variety of aesthetic concepts based on the results of infiniteness and exaggeration expressed from the two forces, the Renaissance and mannerism. This study has found that such Baroque aesthetics did overcome classical planeness and draw continuous mobility from the structures and forms based on that with the transborder concepts of structures, the components of space, as an ultimate system of formative expression. Moreover, this author has drawn and analyzed with the cases of the 17th-century art and archiecture the transborder elements manifesting the nature of diverse formative visual elements produced in artistic expressions with that principle of aesthetics, that is the intangible concept of baroque. Based on that, this researcher intends to come up with technical solutions to solve a lot of environmental, physical, and emotional aspects with the theoretical clues and results acceptable to this contemporary era.
한명식(Han, Myoung-Sik) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.1
Eugenio D’Ors, the writer of ‘Lo Barroco’ called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men’s emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.
한명식(Han, Myoung-Sik) 한국실내디자인학회 2013 한국실내디자인학회논문집 Vol.22 No.3
Baroque is fundamentally in contrast with renaissance style classicism, which attempted to fix a world view itself as the value of perpetuity. Furthermore, it is interpreted as a topic of incompletion or transformation that is not defined or is not exemplary and which may be enjoyed by people in the classical life, which requires a microscopic concept in contrast with dualism, the central axis of western civilization, namely, rational lucidity. Also, such characteristics are estimated to serve as a lubricant in life while going beyond the formal aesthetic level of art even from a contemporary perspective, and to play a productive role and to have potential. Consequently, this paper assumed that the concepts expressed by the 20th century US contemporary architect Richard Meier of a complex space, namely architectural formative vocabularies such as overlapping, interpenetration, collision, and collage style mixture created by a layered structure, in his architecture are in common with the double surface technique and juxtaposition of a flat structure of Baroque architecture. Then, the paper analyzed and considered the characteristics. The paper considered the following two issues: Such Baroque style formal principle is reinterpreted against a backdrop in which his architectural flow based on the domino theory of Le Corbusier became established as his own unique architectural feature, and it may be proposed as one big flow that enables us to seek again modernistic architecture that attempts to make an architectural space absolute as an atypical formal contour.
Computed Tomographic Findings of Anomalies of Intestinal Rotation in Adult Patients
Ki Byung Song(송기병),Myoung Sik Han(한명식),Seung Mun Jung(정승문),Hyuk Jai Jang(장혁재),Yong Ho Kim(김용호),Jin Ho Kwak(곽진호),Yong Pil Cho(조용필),Youn Baik Choi(최윤백) 대한외과학회 2005 Annals of Surgical Treatment and Research(ASRT) Vol.69 No.5
Primary Splenic Tuberculosis Presenting as a Large Solitary Mass
Ji Hoon Kim(김지훈),Myoung Sik Han(한명식),Gil Hyun Kang(강길현),Seung Mun Jung(정승문),Yong Pil Cho(조용필),Hyuk Jai Jang(장혁재),Yong Ho Kim(김용호),Jin Ho Kwak(곽진호),Youn Baik Choi(최윤백) 대한외과학회 2005 Annals of Surgical Treatment and Research(ASRT) Vol.69 No.2