°ÇÃ൵½Ã°ø°£¿¬±¸¼Ò

Architecture & Urban Research Institute

pdf¿ø¹®º¸±â ¿¡·¯ ÇØ°á¹æ¹ý ¹Ù·Î°¡±â



¹®ÇåȨ > ¿¬±¸³í¹® > »ó¼¼

[¿ø¹®º¸±â½Ã ¼ÒºñµÇ´Â Æ÷ÀÎÆ® : 100 Æ÷ÀÎÆ®] ¹Ì¸®º¸±â Àοë

´ëÇѰÇÃàÇÐȸ|´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è 2009³â 12¿ù

³í¹®¸í ·Î¿ì¿Í ½½·¯Ã÷ŰÀÇ Åõ¸í¼º °³³äÀÇ ÇØ¼®°ú È®Àå¿¡ °üÇÑ ¿¬±¸ / A Study on the Interpretation and Expansion of the Concept of Transparency by C. Rowe and R. Slutzky
ÀúÀÚ¸í ÀÌÁ¾°Ç(Lee Jong-Keun)
¹ßÇà»ç ´ëÇѰÇÃàÇÐȸ
¼ö·Ï»çÇ× ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è, v.25 n.12 (2009-12)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(269) ÃÑÆäÀÌÁö(10)
ISSN 12269093
ÁÖÁ¦ºÐ·ù ¿ª»ç
ÁÖÁ¦¾î Åõ¸í¼º ; Äݸ° ·Î¿ì ; ·Î¹öÆ® ½½·¯Ã÷Ű ; Á¸ ÇìÀÌ´ö ; Transparency ; Colin Rowe ; Robert Slutzky ; John Hejduk
¿ä¾à2 The purpose of this study is to carve out the architectural meanings and values of C. Rowe and R. Slutzky's concept of 'Transparency', thereby making it as a foundation for the study of the new architectural theories and practices. For this, this study critically examines the newest study on the concept, reinterprets it within the context broader than previous studies. and discusses how it was evolved after it was released, leading to further valuable architectural findings. Argued here are four points: First, the designatory term "Rowe's Transparency" must rightly be replaced by "Rowe and Slutzky's Transparency." Secondly, it basically concerns a poetics of spatial form that aims at ambiguity and consequent possibility of open readings, standing against S. Giedion's materialism based on literal transparency of glass. Thirdly, it is also a poetics of temporality that operates in contradictory relationship between two different spaces, opposing itself against simultaneity that occurs in literal transparency. Lastly, it still has architectural meanings and values that might be employed in the analysis/embodiment of such architectural qualities as invisible space, infinity, and abstractness as it is approached from the dimension of temporality.
¼ÒÀåó ´ëÇѰÇÃàÇÐȸ
¾ð¾î Çѱ¹¾î
ºÐ¼®¼­Áö
°ÇÃ࿪»ç ¹× ÀÌ·Ð > Çö´ë°ÇÃà ÀÇÀå·Ð

ÀÌ ¿¬±¸´Â ÀÌÀüÀÇ ¿¬±¸µé°ú ´Þ¸® ·Î¿ì¿Í ½½·¯Ã÷ŰÀÇ Åõ¸í¼º °³³äÀÌ Çü¼ºµÈ ¸Æ¶ô°ú ±×·ÎºÎÅÍ ÆÄ»ýµÈ ¿¬±¸³ë¼±µéÀ» Æ÷°ýÇÏ´Â »õ·Î¿î ¿¬±¸¹æ¹ýÀ» ÃëÇÏ¿© ±âÁ¸ ¿¬±¸µéÀÇ ÇѰ踦 ³Ñ¾î¼­´Â ½Ãµµ¸¦ Çϰí ÀÖ´Ù. ¿¬±¸¹æ¹ýÀ¸·Î´Â ´ÙÀ½°ú °°´Ù. ù°, ·Î-½½ÀÇ Åõ¸í¼º °³³ä¿¡ °üÇÑ ÃÖÈÄÀÇ ¿¬±¸ÀÚ°¡ Á¦±âÇÏ´Â ·Î-½½ÀÇ Åõ¸í¼º °³³äÀÇ Çٽɹ®Á¦ÀÎ ½Ã°£¼ºÀÇ ¹®Á¦¸¦ °ËÅäÇÑ´Ù. µÑ°, ·Î-½½ÀÇ Åõ¸í¼º °³³äÀÇ Àǹ̸¦ ±× °³³äÀÇ »ý»ê¿¡ °øÇåÇÑ Çì½½¸®¿Í ±× »ý¼ºÀÇ ¿ª»çÀû ¹è°æ°ú ÇÔ²² °íÂûÇÔÀ¸·Î½á ÀçÇØ¼®ÇÑ´Ù. ¸¶Áö¸·À¸·Î, ·Î-½½ÀÇ Åõ¸í¼º °³³äÀÌ Â÷ÈÄ, ±×°Í¿¡ °ü¿©ÇÑ ¼¼ »ç¶÷ÀÎ ·Î¿ì, ½½·¯Ã÷Ű, ±×¸®°í ÇìÀÌ´ö¿¡ ÀÇÇØ ¾î¶»°Ô Àü°³/È®ÀåµÇ¾î ³ª°¬´ÂÁö ÃßÀûÇÏ¿© ³í±¸Çϰí ÀÖ´Ù.
¡á Ãßõ¹®Çå (ÀÌ ¹®Çå°ú °°ÀÌ º» ¹®Çå)
·½ ÄðÇϽº¿Í Ä«Áî¿ä ¼¼Áö¸¶ °ÇÃà¿¡¼­ ³ªÅ¸³ª´Â ÇÁ·Î±×·¥ÀÇ Á¶Á÷°ú °ø°£±¸¼º ¹æ¹ýÀÇ ºñ±³ºÐ¼®
±Ç°æ¹Î ; ±èÁ¾Áø - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : v.16 n.6(Åë±Ç 65È£) (200712)
[³í¹®] Á¸ ÇìÀÌ´ö °ÇÃà¿¡¼­ÀÇ ½Ã¼±°ú ÀÀ½Ã
ÀÌÁ¾°Ç - °ÇÃ࿪»ç¿¬±¸(Çѱ¹°ÇÃ࿪»çÇÐȸÁö) : v.14 n.3(Åë±Ç 43È£) (200509)
ÇÁ·Î±×·¥°ú ´ÙÀ̾î±×·¥ÀÇ Àû¿ëÀ» ÅëÇÑ °ÇÃà ÇüÅ »ý¼º ¿¬±¸
À±Çý°æ(Yoon Hae-Kyung) ; ±èÁÖ¿µ(Kim Ju-Young) ; È«¿øÈ­(Hong Won-Hwa) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.26 n.02 (201002)
Á¸ ÇìÀÌ´ö °ÇÃà¿¡¼­ ¡®¸ÞµÎ»çÀÇ °¡¸é¡¯ÀÇ Àǹ̿¡ °üÇÑ ¿¬±¸
ÀÌÁ¾°Ç(Lee, Jong-Keun) ; ±è¼öÇö(KimSoo-Hyun) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.28 n.01 (201201)
[³í¹®] Äݸ° ·Î¿ì(Colin Rowe) ¡®Åõ¸í¼º(transparency) À̷С¯ÀÇ ºñÆÇÀû °íÂû
±ÇÅÂÀÏ - °ÇÃ࿪»ç¿¬±¸(Çѱ¹°ÇÃ࿪»çÇÐȸÁö) : v.15 n.2(Åë±Ç 46È£) (200606)
°ÇÃࡤµµ½Ã°ø°£ÀÇ Çö´ëÀû °ø°ø¼º¿¡ °üÇÑ ±âÃÊ ¿¬±¸
¿°Ã¶È£ ; ½É°æ¹Ì ; Á¶Áعè - ¿¬±¸º¸°í¼­(±âº») : 2008 n.8 (200902)
[½Ã·Ð] 4Â÷ »ê¾÷Çõ¸í ½Ã´ë, °ÇÃàÀÇ ´ëÀÀ
À̸í½Ä(Lee, Myung-Sik) - °ÇÃà(´ëÇѰÇÃàÇÐȸÁö) : Vol.61 No.05 (201705)
Çö»óÇÐÀÌ °ÇÃàÀ̷п¡ ¹ÌÄ£ ¿µÇâ°ú Çö»óÇÐÀû °ÇÃ༳°è ¹æ¹ý·ÐÀÇ °¡´É¼º¿¡ ´ëÇÑ ¿¬±¸
±è±¤¹è(Kim Kwang-Bae) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.23 n.12 (200712)
Äɳ׽º ÇÁ·¥ÅÏÀÇ ºñÆÇÀû Áö¿ªÁÖÀǰ¡ Áö´Ï´Â ÇѰèÁ¡°ú Çö´ëÀû ÀÇÀÇ
±è½Â¹ü(Kim Seung-Bum) ; ±è±¤Çö(Kim Kwang-Hyun) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.27 n.8 (201108)
[³í¹®] Äݸ° ·Î¿ìÀÇ °ÇÃà·Ð
°­Çõ - °ÇÃ࿪»ç¿¬±¸(Çѱ¹°ÇÃ࿪»çÇÐȸÁö) : v.17 n.1(Åë±Ç 56È£) (200802)