°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 2011³â 12¿ù

³í¹®¸í Çö´ë°ÇÃàÀÇ ÆÐ·¯´ÙÀÓ Àüȯ¿¡ µû¸¥ Áö¿ªÁÖÀÇÀû ´Ù¾ç¼º¿¡ °üÇÑ ¿¬±¸ / A Study on the Diversity of Regionalism in Modern Architecture, Followed by a Paradigm Shift
ÀúÀÚ¸í ¼Û¼®Çö(Song, Suk-Hyun)
¹ßÇà»ç ´ëÇѰÇÃàÇÐȸ
¼ö·Ï»çÇ× ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è, v.27 n.12 (2011-12)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(227) ÃÑÆäÀÌÁö(8)
ISSN 12269093
ÁÖÁ¦ºÐ·ù ÀÌ·Ð
ÁÖÁ¦¾î Áö¿ªÁÖÀÇ ; Àå¼Ò¼º ; Áö¿ª¼º ; ÆÐ·¯´ÙÀÓ ; ÀºÀ¯ ; À¯Ãß ; ÀüÀÌ ; ¾Ëµµ·Î½Ã ; ¿õ°Å½º ; Å×¶ó´Ï ; ÇÁ·¹µ¶ ; Regionalism ; the Sense of Place ; Regionality ; Paradigm ; Metaphor ; Analogy ; Transfer ; Aldo Rossi ; O.M.Ungers ; Giuseppe Terragni ; Antoine Predock
¿ä¾à2 Architecture is characteristic of the age. It is a artistical-technological indicator that include not only material aspects but also immaterial aspects, such as history and society. As a synthetic art, modern architecture have changed for convenience and functional rationality, consequently, It's spatial composition and expression was by and by conforming to a single standard. Modern architecture proposed a new aesthetic concept of technical engineering, but traditional, regional characteristics are feathered out by conformity. The sense of place is the site for structures. also It has some visual node and experienced by many contextural relationships. On the other hand, The regional characteristic is more comprehensive key word. and It is concerned with immaterial factors, such as, culture, tradition, and natural context. The sense of place and regional characteristic have various and distinctive identities, also It means not only simply building's location, but also modern architecture's oneness and individuality. On this study, at the start, we establish the basic concept of paradigm and transfer, according to general understanding about 'recovery of the memory'. then analyze the identities of regionalism by the analogical visual cue and metaphorical abstractness, through the key example, such as Aldo Rossi, O.M.Ungers, and Giuseppe Terragni, Antoine Predock.
¼ÒÀåó ´ëÇѰÇÃàÇÐȸ
¾ð¾î Çѱ¹¾î
ºÐ¼®¼­Áö
°ÇÃ࿪»ç ¹× ÀÌ·Ð > °ÇÃà·Ð ÀϹÝ

º» ¿¬±¸´Â ±â¾ïÀÇ È¸º¹À̶ó´Â Ãø¸é¿¡¼­ ÆÐ·¯´ÙÀÓ ¹× ÀüÀÌÀÇ °³³äÀ» ÅëÇØ Àå¼Ò¼º°ú Áö¿ª¼ºÀ» Á¤ÀÇÇϰí, ´Ü¼øÇÑ ¹°¸®Àû ´ÜÀ§ÀÎ À§Ä¡ ÀÌ»óÀÇ µ¶Æ¯ÇÑ Á¤Ã¼¼ºÀ» ÀÌÇØÇϵµ·Ï ÇÏ¿´´Ù. À̸¦ ¹ÙÅÁÀ¸·Î ½Ã°¢Àû ´Ü¼­¿Í Ãß»óÀû ¿¬¼Ó¼ºÀÇ Ãø¸é¿¡¼­ »ç·Ê¸¦ ºÐ¼®ÇÏ¿© Á¤¼Ò¼º°ú Áö¿ªÁÖÀÇÀû °³³äÀ» °´°üÀûÀ¸·Î ¼³¸íÇϰíÀÚ ÇÏ¿´´Ù.
¡á Ãßõ¹®Çå (ÀÌ ¹®Çå°ú °°ÀÌ º» ¹®Çå)
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)
·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)
Áö¿ªÁÖÀÇ °ÇÃàÀÇ Çö´ëÀû ÇØ¼®°ú Áö¼Ó°¡´É¼º ¿¬±¸
ÀÓ¿µÈ¯(Lim, Yeong-Hwan) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.29 n.1 (201301)
°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)
[ƯÁý] ±¹³» ģȯ°æ °ÇÃ๰ »ç·Ê ºÐ¼®
Á¤Áö³ª ; ±è¿ë¼® ; À̽¹Π- ±×¸°ºôµù(Çѱ¹±×¸°ºôµùÇùÀÇȸÁö) : v.9 n.1 (200803)
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)
Àúź¼Ò ½Ã´ëÀÇ Ä£È¯°æ°ÇÃ๰ ±â¼ú/»ç·Ê
Á¶¿íÈñ - (»ç)Çѱ¹±×¸°ºôµùÇùÀÇȸ ⸳ 10Áֳ⠱â³ä´ëȸ : (201004)
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)
±¹³» ÆÐ½Ãºê°ÇÃ๰ ¼³°è ¹× ½Ã°ø»ç·Ê
À̸íÁÖ - Çѱ¹±×¸°ºôµùÇùÀÇȸ Ãß°èÇмú°­¿¬È¸ ³í¹®Áý : (200911)