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- 검색키워드
- 저자 : 鄭寅國 (검색결과 64 건)
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鄭寅國 弘益大學校 1970 弘大論叢 Vol.2 No.-
Since 1950's the world contemporary architecture reveals a sudden transformation which world critics designated such a situation "Transition in Architecture" or "New Baroque in modern Architecture" Its status are more serious in some countries of Europe than in U.S.A., who were the plateau of the world modern architecture. In U.S.A. new monumentalism or sensualism, its striking example are those of the works of Kevin Roche, prevails over the former "International Style". S. Giedeon said on that point as following. "Today the situation is completely different. We stand at the beginning of a new tradition. One needs no longer destroy what the preceding generation accomplished. One has to expand it according to present tradition" Now we have to know what is the new tradition, new tendencies and new prospects on the world prevailed cont emporary Architecture. Europe gave the world this new architecture. And Europe, with its manifold geographical, cultural, material and national variations, has taken it to its most protean and significant heights, In Britain, the highlights of such new movement are the action playing Team- ?? playing Team Brutalist and Archigram groups. One of the leader of Team-X and new Bratalist, Peter Smithson with his wife Alison Smithson proudly anounced their basic principles on Urban theory just as following - Patterns of Association, cluster, movility and Patterns of growth. The most notable avant garde of contemporary architecture, Archigram group presented us some evolutional projects such as "Moving City" and "plug in City" Thier conception on architecture quite different from past one which so called master builders instructed us with strong confidence. Say, pure solid cube, balanced proportion, stable sense, functional usefulness etc. are getting a past nonsense nomination. In German, Frei Otto whose basic idea was in attendance upon Buckminster Fuller concerned with enclosing large spaces with the minimum amount of materials and many brilliant works was made public recently. Eckhard Schultze-Fielitz and Yona Friedman offered to us the remarkable infrastructure of a bridge city over the English channel that would be a new direction on the redeveloping of a old city. In Italy, they demonstrated some characteristic sense on contemporary architecture. First, it is a dialectic between architecture and the notions which have been a continuous inspiration to itself both on the level of architecture and the urban development. The second characteristic is a constant debate and steady interaction between ideology and architectural language. Finally they discovered a compromised expression between technology and high visual language, furthermore they have some notable superior - P. L. Nervi, Gio Ponti, and B. B. P. R. Now young pioneers started out toward new tradition in Italy. The third generation in Italy were Scarpa, Sottas, Sacripanti, and Michelucchi. In France, in the manipulation of technical resou ces, apart from the influences of the masters of reinforced concrete such as Freysssinet, Andre Coyne, and Bernard Lafaille. The work of Jean Prouve is exerting an increasingly more marked effect. And thus a new generation, whose most outstanding representatives have been trained by Le corbusier or who at least acknowuledge allegiance to him has led to a marked change since about 1955. These younger men show a common tendency, which may be traced back to Le Corbusier, to consider all archeitectural problems in the light of a "human total". Hence an original French style is beginning to establish itself, whose principal featuers can already be recognized in numerous buildings. The principal activity center of contemporary architecture gradually move over to the Europe and the outskirts countries. So we have to analyze and investigate all over the European Architechine, and then grasp the new prospects of the future architecture. It would be very effective for some architect who want to create quite new Korean Architecture.
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鄭寅國 弘益大學校 1973 弘大論叢 Vol.5 No.-
This study was concerned with the plot planning method and the wooden construction systems of the buddist temples errected in Korea. Particularly, this paper was dealt with the following items: 1. To proof the processes of development of Korean Architecture which were a continuous phenomenon influenced by each phase of styles, though it was formerly concidered as separate changes in styles. 2. To formulate definite principles in the changing appearance of styles according to the aesthetic theory, which is usually considered as having two origins and periodical cycle in the process of stylistic change. 3. To present unity rules in the numerable variables which could be found on the surface of the whole Korean Architecture. The plot plan of buddist temples was a series oh plain plot, hill plot, and mountainous plot, which were allocated by deep philosophy of buddism. 4. To pursue the fundamental factors which can be indicated as some traditional componants of real Korean Architecture. 5. To decide the meaning of Korean special conception which was the most important constituent for the creation behavior. From the studies based on the analysis of many examples, the following conclusions were made: 1. Formerly in the plot plan method, there were only two fundamental or environmental classifications, one was the plain plot and the other mountainous plot system. But in this study the classification was made into three categories, one is plain, the other mountainous, and the third method is, as a transitional phase, hillside plot plan. 2. The order of wooden constructions is the most intense theme for the study on the Korean Architecture. Although the definite ordering has not been settled untill the present time, this study data analysis on the forty examples can show clearly the order of wooden constructions.
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정인국 대한건축학회 1963 建築 Vol.7 No.2
미술의 총체제양식 표현양식의 발달을 추구한 부르크 할트 (Bruckhart 1919-1897)를 스승으로 하는 벨프린(Wolfrin 1864-1945)은 건축양식의 발전양상에서 주기성과 이원성을 예견하였다. 즉 건축사에서 형식발전의 주기성을 설정하여야 되며, 서구의 어떠한 건축양식도 그 크라식 시대를 가지고 있는 것과 마찬가지로 그 바로크 시대를 가지고 있다. 단지 그것이 완전한 발전을 이루려면 충분한 시간이 주어져야 한다 라고 말하여 로고스(logos)적인 것과 페토스(pathos)적인 것의 주기성을 인정하였고 다시 다음으로 모든 예술분야에서 형식의 이원성은 다음과 같이 분류하였다. 즉 구주의 회화, 조각, 건축의 공통된 특색으로써 선적과 회화적, 평면과 심오, 다양과 통일, 폐쇄형과 개방형, 명료성과 불명료성으로 각기 예술품은 분석설명하고 또 어떤 미술사가는 서구미술사를 구조적 양식과 반구축적인 것의 리즈미칼한 순환현상이라고도 설명하고 있다.
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