Rebuild the Basement Tectonic Framework of the Western South China Sea

보안공학연구지원센터(IJSIA) 보안공학연구지원센터 2015 International Journal of Security and Its Applicat Vol.9 No.10

The west margin fault zone of the South China Sea is a tensional basement fault in the extended segment of the Indosinian Subplate toward the sea. It originally formed in the Mesozoic, and reactivated and developed further in the Cenozoic. It is not appropriate to regard this fault as a regional tectonic line between the Indosinian Subplate and the South China Sea Subplate because it does not exhibit the basic features of a regional boundary fault. A zone of gravity and magnetic anomalies in the southwest subbasin of the South China Sea extends westwards to the Zhongjian Island-Guangya Reef arcuate fault zone, and is the real regional tectonic line between the Indosinian Subplate and South China Sea Subplate. The formation of this basement tectonic framework might be closely associated with tectonic evolution of the ancient arc-trench system from the Proterozoic to the Mesozoic. The major faults are the south margin fault zone of the Qiongdongnan-Shenhu-Dongsha massif, the Red River fault zone, and the Zhongjian Island-Guangya Reef arcuate fault zone, which construct the basement tectonic framework of the South China Subplate, the Indosinian Subplate, and the South China Sea Subplate, and control the development and evolution of basement tectonics.

이소자키 아라타 건축에 나타난 구축성의 표현특성 연구

유시은 ( Si Eun Yu ),윤재은 ( Jae Eun Yoon ) 한국공간디자인학회 2019 한국공간디자인학회논문집 Vol.14 No.7

(Background and Purpose) Isozaki Arata is known to people as an architect who tries to build his own, embracing various architectural ideologies that emerged from his own time. In this study, we would like to study the constructiveness of Isozaki Arata through his first work from the 1960s to the present. (Method) First, I understand his architectural background, architectural characteristics, and architectural ideas, and second, I want to understand the definition of tectonic by period, and then examine how it is expressed in space. Thirdly, through prior study, we analyze and derive how the architectural elements were shown in the works, and based on the construction elements derived from them, we identify the characteristics of the representational characteristics of the tectonic in the Isozaki Arata architectural space. Based on the last elements derived, Isozaki Arata's architectural characteristics are to be defined. The scope of the study was limited to those buildings from 1960 to the present, which were listed on the Pritzker Award List, and four representative examples were chosen. (Results) The analysis was conducted with the focus on the tectonic presented through the works of other architects in order to identify and derive the concept of tectonic. The method of expressing the space of the tectonic was divided by the prior study, and the analysis confirms the place, time and contextual tectonic of the tectonic that was divided through the prior study in his architecture. (Conclusions) Through the above study, tectonic appeared in Isozaki Arata architecture, and it was therefore possible to see that there were three kinds of constructs that appeared in his architecture. First of all, through the non-materiality of light, we can see that through architecture that varies over time, we want to express the timeliness through the atmosphere that changes the location of shadows or the inflow of light. Second, the method of expressing the space of tectonic, which is place, was utilized by the regional aspects through the material properties, the space where the buildings were made, and the local aspects through the material Finally, the traditional aspects of building construction and the trade-off aspects used with the traditional methods were identified through the traditional methods of building construction. Above all, we hope that the contents of this study will not only be used as an application method to activate the architectural aspects of Isozaki Arata, but also to further the research through various and continuous analyses.

러시아 구성주의 조각의 텍토닉(Tectonic)적 공간 특성

김민아(Kim, Min-A),이찬(Lee, Chan) 한국실내디자인학회 2015 한국실내디자인학회논문집 Vol.24 No.6

Today, The representation of the modern space is experimented with shape and surface of the de-structural point of view to make architecture and space, in terms of not being able to make defined by single regulation. However, it can correspond to the rapidly changing modern, but it is easy to fade of architecture fundamental meaning. Along with the need for the rise of the construction of fundamental space, should be built a `tectonic` spatial, which is said to be building of logos. Tectonic, as norms for expressing the fundamental meaning of architecture, as to expression of construction, be unfolded with dualism such as science and art, technology and express, structure and formation, and it was introduced into the architecture through the construction expression of space that was a tectonic discussion of 19c german architects. On the other hand Constructivism which is avant-garde formative movement with Russia revolution, constructed `sculpture` with the formative principles as tectonic. Tectonics`s Formative characteristics can draw a conclusion with of tectonic characteristics of constructivism sculpture, space of logos will be realized through its study. Other hand The pavilion, as symbol space, can be analyze by tectonic properties, Pavilion, meaning the space is expressed in a variety of tectonic expression. As tectonic construction, fundamental ideology and symbolization of space is revealed metaphorically and visually.

Reading The Laramie Project: Ten Years Later as Theatrical Rebuttal

김의영 한국영미문학페미니즘학회 2023 영미문학페미니즘 Vol.31 No.2

This essay provides an in-depth analysis of the Tectonic Theater Project’s The Laramie Project: Ten Years Later. Due to its perceived status as a coda to the Tectonic’s successful earlier play, The Laramie Project: Ten Years Later has received little scholarly treatment. The Tectonic’s response needs to be understood in terms of a different cultural moment and a radically changed discursive landscape. In response to a conservative turn in the political climate, the Matthew Shepard murder was being rewritten as a drug crime rather than a hate crime. The Laramie Project: Ten Years Later stages a rebuttal to this conservative revisionism by employing the dramaturgical tactics of documentary theater. On the one hand, the Tectonic exposes the unreliability of the perpetrators’ testimony by staging firsthand interviews with Russel Henderson and Aaron McKinney. On the other hand, The Laramie Project: Ten Years Later stages discourse analysis that teaches the audience to adopt a more critical approach to the stories that we tell. Ultimately, the critical lens is applied to the Tectonic’s own participation in the creation of the Matthew Shepard story. More sobering than the earlier treatment of Laramie, the follow-up play brings the audience closer to the realities of shifting and competing discourses.

디지털 기술의 구축성에 관한 연구

이상필,전영훈,최윤경 대한건축학회 2007 대한건축학회논문집 Vol.23 No.8

The Primary aim of this study is to overcome the idea that digital technology brings crisis of architecture and to find new value of it. This thesis focuses on the intrinsic attribute of Digital technology, which is consisted of bits, must be converted into atom, which is ruled by the law of gravity, to be used by people. So, ‘tectonic’ is explored to study the characteristics of digital technology. This Study analysis the changes of architecture by digital technology. Then, These changes revealed tectonic in the digital age by comparing with classic and modern architecture’s tectonics. As a result, three main tectonics in digital architecture are revealed and they are as follows ‘Self-referencial codes for making free form’ is developed by non-Euclidean geometry. Digital architects try to establish subjectivities by their own design methods. ‘Developing free-form from structural form’ is possible by ‘digital construction processes.' This means that formal architectural elements by a structural viewpoint is vanished. At the same time, envelope and structure of architecture are unified. ‘Customization production of architectural composition elements included constructability’ shows possibility of a Master Builder for a digital architect. The individuality of customized production of architectural elements by digital master-model affects new method and process of construction. Finally, these three changes are not individual things and tectonics in the digital age is revealed by combination of these aspects.

magnetostratigraphy, 26Al-10Be, Yx02 borehole, tectonic evolution, Daxing Uplift, Beijing Sub-plain

Fubing He,Xiwei Xu,Fang Tian,Zhenhua Liu,Yueze Zhang,Lingyan Bai,Yubin Cui,Kai Wang,Wenzhi Niu,Jingbo Ni,Xiaoyong Liu,Mengmeng Cao 한국지질과학협의회 2024 Geosciences Journal Vol.28 No.2

The buried Daxing Uplift connects the Beijing Sag and Dachang Sag, which is the critical tectonic unit for understanding the structural evolution of the Beijing Sub-plain and its linkages to regional tectonics. This study combines paleomagnetic, 26Al-10Be isochron dates and sedimentary analyses from a new borehole (Yx02) in the northeastern Beijing Sub-plain to shed fresh light on regional tectonic processes and the sedimentary history since the Pliocene. The main findings are as follows: (1) the Daxing Uplift had formed three depositional episodes: alluvial-fan, lacustrine-delta, and alluvial-fan sedimentation since the Cenozoic; (2) The borehole records the Brunhes, Gauss normal chron, and the Matuyama, Gilbert reversed chron in the Daxing Uplift, the corresponding depths are 0–148.9 m, 148.9–315.0 m, 315.0–520.5 m and 520.5–650 m; (3) An important tectonic event started in ~4.3 Ma, disintegrated NE-trending basin and range terrain, reactivated the NW-trending Nankou-Sunhe fault, and formed Shunyi fault in Beijing Sub-plain. Sedimentation occurs exclusively in the Beijing Sag and the northeastern Daxing Uplift during ~4.3–1.77 Ma; (4) During ~1.77–1.07 Ma, a transition from an extension to a strike-slip occurred, and is described not only in a progressively higher increase of the overall deposition rate, but also in a decrease of the relative deposition disparity between sags and uplifts. Since then, the Beijing Sub-plain has been shaped, associated with an overall subsidence depression in the Bohai Bay Basin. This work enhances our understanding of the formation and evolution of the Beijing Sub-plain, the division of tectonic episodes, and the initiation time of the latest tectonic movement in the break-up region, North China Craton, since the Neogene.

Complementary Spatial Characteristics of Stereotomics andTectonics found in Alberto Campo Baeza’s Projects

김자영 한국문화공간건축학회 2018 한국문화공간건축학회논문집 Vol.- No.64

The aim of this study is in identifying the unique spatial characteristics in Alberto Campo Baeza’s residential projects (Olnick Spanu House, De Blas House, Guerrero House, and DBJC House) which exemplifies his use of tectonics and stereotomics. Since the beginning Alberto Campo Baeza’s working life as an architect, his design philosophy has been in the ‘essence’ of architecture, mainly referring to light and gravity. The terms tectonics and stereotomics match with light and gravity in an architectural interpretation, where through the tectonic method one can create a ‘light’ space and structure and through the stereotomic method, one can extend the presence of gravity by piling up of ‘heavyweight’ elements. The study will start with a research into the definitions of ‘stereotomics’ and ‘tectonics’ by four writers of modern architecture, Francesco Cacciatore, Robin Evans, Kenneth Frampton, and C. Norberg-Schulz. Based on the key concepts extracted, the four residential projects will be analyzed in terms of the characteristics of stereotomics and tectonics. The categories are divided into the spatial composition and the light phenomenon. By analyzing Baeza’s recurring theme of stereotomics and tectonics in his residential projects, the importance of the use of the fundamentals and the complementary spatial characteristics will be heightened. The study will conclude that the categories set out by Baeza are clear and useful tools for the understanding of design as well as application in architectural design.

미스 반 데어 로에 건축사무소의 고층 건축물의 입면에서 드러나는 텍토닉 개념과 환경적 대응에 따른 디테일 계획에 대한 연구

전태규 대한건축학회 2024 대한건축학회논문집 Vol.40 No.4

본 연구는 미스 반 데어 로에 사무소의 1950년대 이후 고층 건축물의 디테일에서 드러나는 텍토닉 개념과 환경적 대응에 따른 계획들을 분석하는데 목적이 있다. 미스 사무소에서 계획한 일련의 고층건물에서는 구조의 내재적 논리를 입면에 H형강의 형태를 가진 멀리언으로 드러나는 공통된 어휘는, 다양한 재료와 디테일로 드러나는 양상을 보인다. 또한, 1950년대 이후 미국의 건물 내부환경 관리, 설비기술에 대한 수요 등으로 드러나는 환경적 문제들에 대응하는 과정에서도, 고층 건축물의 디테일은 변화하는 양상을 보인다. 특히 기둥과 설비배관이 통합되는 디테일이나 건축에 통합된 공조기 계획 등은 디자인에서의 환경적 대응에 따라 디테일이 변화하는 사례로 분석된다. 이러한 텍토닉 개념과 환경적 대응에 따른 계획이 통합되어 발전되는 것은, 미스의 시대의 필요에 대응하는 시대정신에 따른 것으로 볼 수 있으며, ‘환경적 텍토닉’ 이라 일컬을만한 것이다. The purpose of this study is to analyze tectonic concept and environmental respond in details of The Office of Mies van der Rohe’sskyscraper cases, after 1950s. In the series of skyscrapers planned by the Office of Mies van der Rohe, the inherent logic of the structure isexposed in a general vocabulary of H-shaped steel mullions on the elevation, which are manifested in a variety of materials and details. Inaddition, the details of high-rise buildings have changed in response to environmental issues, such as the demand for interior environmentalmanagement and machinery and service technology in the United States since the 1950s. In particular, details such as the integration ofcolumns and service piping and the planning of air conditioners integrated into the architecture are analyzed as examples of changing detailsin response to environmental concerns in design. The integration and development of these tectonic concepts and plans in response to theenvironment can be seen as a ‘Zeitgeist’ that responds to the needs of the times, and could be called 'Environmental Tectonics'.

Gerrit Rietveld 가구디자인의 조형특성연구

서정연 한국가구학회 2009 한국가구학회지 Vol.20 No.4

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.

카를로 스카르파의 단편적 건축에 있어서 접합의 의미

이경진(Lee, Kyung-Jin) 대한건축학회 2019 대한건축학회논문집 Vol.35 No.8

According to Kenneth Frampton, the modern architecture starts to be recognized as the poetics of construction and lays a great weight in its value on the technology of making forms and the inherent meaning in the tectonics. The tectonic connotes not only the technological construction of the architecture but also ontological details as the joint of material and texture. The works of Carlo Scarpa are examples to prove the way how the ontological meanings are exposed in the tectonic form of architecture. The purpose of this study was to analyze the connections between Carlo Scarpa"s architectural thoughts and visual logic(schemata) from the characteristic of details in his work during the 1950s to 1970s. Through the analysis, the Italian tradition in the architecture is reinterpreted through isolation and break of recollected montages. Carlo Scarpa makes spatial fragments and aspects of reinterpreting in surroundings and situation with the architectural place in Venezia. As a result, the unique details of his craftsmanship provide lessons on how to reinterpret the traditional architecture. In conclusion, Carlo Scarpa"s architecture emphasizes the passage of its perceptive experience aspects as a dis-joint of tectonic forms. It may imply the significance of his philosophical approach, especially to the ontological architecture and tectonics.