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남성택(Nam Sung-Taeg),이상진(Lee Sang-Jin) 대한건축학회 2011 대한건축학회논문집 Vol.27 No.9
The study focuses on ‘Simple Construction’, which can be explained as use of simple means and methods for the construction. Though Simple Construction and Minimalism might share numerous similar cases, they are clearly distinguished in terms of focus on the procedure versus emphasis on the final result, form. The cases of Simple Construction are often the results of limited means under ultimate environment, and are usually constructed by ordinary people. During such a simple construction process with poor means and methods, most unnecessary ornaments have to be reduced, and paradoxically, these become the basis for architectural theories by recognizing architectural substances. Simple construction has also generated diverse contemporary design trends, and influenced new aesthetics, such as Art of catalogue, Minimal Art, Ready-made construction, etc.
근/현대에서 나타나는 ‘서프라이즈 박스’ 건축 전략에 관한 연구
남성택(Nam Sung-Taeg) 대한건축학회 2011 대한건축학회논문집 Vol.27 No.8
The main purpose of this paper is to introduce the strategy of ‘surprise box’ in modern and contemporary architecture. The surprise box is against the architecture of absolute transparency. The outside reveal nothing. The hidden mystery can be discovered only when the inside is opened. In the case of Le Corbusier, Innovation trunk, that he considered like the surprise box, became the reference for an new architectural design. The astonishment, intentioned by the surprise box architecture, provoke the intensification of the perception, such as the lesson from the art of provocation of Marcel Duchamp and his objects. Alison and Peter Smithson manifest also “concealment and display”, another expression of surprise box. The article also tries to analyze the selected examples of contemporary architects like Rem Koolhaas, Herzog & de Meuron, Jean Nouvel, SANAA, to show that the theoretical line continues and spreads now more than ever.
남성택(Nam Sung-Taeg),이상진(Lee Sang-Jin) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.5
Is Minimalism frugal? This question may expand the discussion on Minimalism, which has usually been discussed from formalistic and aesthetical perspectives because of its influence from Minimal Art. Of course, it is hard to deny the minimality or simplicity of form, ‘the final output’. Since architecture is clearly distinguished from other arts by process and means of construction, it requires discussion and . The discussion on Minimal Architecture needs to focus on both result and process/means. Sustainability becomes one of the most important issues, and the process or means of construction are as important as the final result from the perspective of sustainability. This paper aims to analyze Minimalism from the perspective of ‘Frugality', which is one of principles for sustainability. Reflecting Mies van de Rohe, `Less is More', he emphasized importance of minimum means to maximize architectural expression. If Minimalism is emerged from repulsion against the past excessive formalism, such as Postmodernism or Deconstructivism, its strategies shall focus on 'minimal means', instead of `minimal form'. Analysis on Minimalism from the perspective of frugality revealed contradiction between 'means' and 'result', and this may take a role to expand the discussion on Minimal Architecture beyond its form.
르 코르뷔지에의 빌라 사라바이에서 드러난 경계 모호성 연구 - 빌라 사보아와의 비교 분석 -
전태규(Jun, Tae Gue),남성택(Nam, Sung-Taeg) 대한건축학회 2019 대한건축학회 학술발표대회 논문집 Vol.39 No.2
The purpose of this study was to analyze the boundary ambiguitiy of Villa Sarabhai with Comparative analysis with Villa Savoye. As studying Villa Sarahai, Le Corbusier"s housing work, which is in harmony with nature, give a glimpse of Le Corbusier"s architectural inclinations after the 1940s. In this study, we could analysis ambiguious boundary of Villa Sarabhai by comparison with Villa Savoye. In result, Villa Sarabhai shows boundary ambiguity in the relationship between outside and inside, structure and function. At the end, we bring to the conclution that boundary ambiguity is the property of "another free plan", which is different from Villa Savoye"s "free plan".
라이트의 유기적 단순성 이론과 상자의 파괴의 방식에 대한 연구
이세나(Lee, Se-Na),남성택(Nam, Sung-Taeg) 대한건축학회 2017 대한건축학회논문집 Vol.33 No.4
The purpose of this study was to reveal that Frank Lloyd Wright’s “the Destruction of the Box” is related to “Organic Simplicity” through examining his early prairie houses. Wright’s architectural concept which started from “Simplicity” was ultimately to create organic spaces. In order to achieve Organic Simplicity which means a structure that became a form, the notions of Plasticity and Continuity were applied. They were realized with the development of the structural materials. Wright who regarded space more importantly than matter tried to destroy the conventional box in order to make organic spaces to be the part of the nature. The wall-as-screen which was made by destroying the corner allowed the horizontal expansion. There were two ways for the box to be destroyed: grafting and overlapping. In detail, it can be classified as one, two, or three dimension. With wall-as-screen, grafted or overlapped spaces became empty and integrated into a single space.
알테스 뮤지엄과 퐁피두 센터의 입면에서의 성과 속 - 성과 속의 다층적인 전이 경계로서의 미술관 입면 비교 -
이단비(Lee, Dan Bee),남성택(Nam, Sung-Taeg) 대한건축학회 2020 대한건축학회 학술발표대회 논문집 Vol.40 No.2
Is an art museum a sacred place? A museum as a purpose-built institution, which started to be actively erected to display and store artworks since the 19th century, has transformed into a place that symbolizes "cultural sacredness,’ separating itself from the profane surroundings. In this paper, it is inferred that the boundary that distinguishes the sacred from the profane may consist of multi-layers. Entitled as a multi-layered transitional boundary, this boundary is judged to trigger a gradual transition rather than a radical and instantaneous shift between the sacred and the profane. In the case of an art museum, its elevation is viewed as a multi-layered transitional boundary between the exterior and the interior. Selected layers of this boundary inherent in the elevations of the Altes Museum is analyzed and compared to that of the Centre Pompidou.