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³í¹®¸í Äɳ׽º ÇÁ·¥ÅÏÀÇ ºñÆÇÀû Áö¿ªÁÖÀÇ°¡ Áö´Ï´Â ÇÑ°èÁ¡°ú Çö´ëÀû ÀÇÀÇ / Limitation and Current Significance of Kenneth Frampton's Critical Regionalism
ÀúÀÚ¸í ±è½Â¹ü½Äº°ÀúÀÚ(Kim Seung-Bum) ; ±è±¤Çö(Kim Kwang-Hyun)
¹ßÇà»ç ´ëÇÑ°ÇÃàÇÐȸ
¼ö·Ï»çÇ× ´ëÇÑ°ÇÃàÇÐȸ³í¹®Áý °èȹ°è, v.27 n.8 (2011-08)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(217) ÃÑÆäÀÌÁö(8)
ISSN 12269093
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ÁÖÁ¦¾î ºñÆÇÀû Áö¿ªÁÖÀÇ ; Äɳ׽º ÇÁ·¥ÅÏ ; ÅØÅä´Ð ; ¸Þ°¡Æû ; »óÇ°È­ ; ½ºÆåÅÍŬ ; Critical Regionalism ; Kenneth Frampton ; Tectonic ; Megaform ; Commodification ; Spectacle
¿ä¾à2 The purpose of this study is to analyze limitation and to search for a current significance of Kenneth Frampton's Critical Regionalism with the object of finding a productive solution to the problem of indulging in spectacle on the comtemporary architecture. Being extended itself to 'landscaped form' and sustainability, Critical Regionalism has been very meaningful to the built environment and related culture since 1980s. But at the same time, it is vague to define the 'region' of Regionalism and dichotomy of the theory is too restrictive to deal with complex urban situation. Therefore, it is necessary to widen a architecture's essentiality to include all the process of production and consumption of the architecture as well as to assert a 'tectonic' value of Critical Reginalism.
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