°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

Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ|³í¹®Áý 2008³â 4¿ù

³í¹®¸í ¾Èµµ Ÿ´Ù¿À °ÇÃà¿¡ ³ªÅ¸³­ »ç»ö °ø°£ÀÇ Ç¥Çö Ư¼º¿¡ °üÇÑ ¿¬±¸ / A Study on the Characteristic of the Speculation Space of Architecture find on Tadao Ando
ÀúÀÚ¸í ±èµµÀÌ ; ±èÁÖ¿¬
¹ßÇà»ç Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ
¼ö·Ï»çÇ× Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý, v.17 n.2(Åë±Ç 67È£) (2008-04)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(102) ÃÑÆäÀÌÁö(9)
ISSN 12297992
ÁÖÁ¦ºÐ·ù ÀÌ·Ð / °èȹ¹×¼³°è
ÁÖÁ¦¾î ¾Èµµ Ÿ´Ù¿À ; »ç»ö °ø°£ ; °ø°£±¸¼º ; Tadao Ando ; Speculation ; Space composition
¿ä¾à2 Construction space of Japan suggests the factor of speculation to human and reveals tradition. The speculation can be embodied in the aspect of space and human's mental aspect is expressed as a main factor of tradition space of Japan. The purpose of this study is to research expression characteristic of speculation space, shown in the architecture of modern architect, Tadao Ando, who succeeds the concept. His works surveyed through research contain the emotion of nature and human, which are traditional factors of Japan. Moreover, it is reinterpreted by modern space, delivers its function of space and physical factor to user and grants value to activity and behavior of user residing in the space. Users recognize movement, create new meaning of space and accept physical barrier in the space. In conclusion, it can be said that the space of speculation is not a simple visual thing but a frame of visual structure, which is invented for embodiment. The factors show the Japanese architecture, real and contemplating one, which is positive in real life and allows experience. Through the conditions above, the researcher can find the meaning from the aspect that modern architecture of Japan is planned on the basis of concept of speculation.
¼ÒÀåó Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ
¾ð¾î Çѱ¹¾î
ºÐ¼®¼­Áö
°ÇÃ࿪»ç ¹× ÀÌ·Ð > Çö´ë°ÇÃà ÀÇÀå·Ð

ÀÌ ¿¬±¸´Â ÀϺ» ÀüÅë °ø°£ÀÇ ÁÖ¿ä¼Ò·Î¼­ Àΰ£ÀÇ ½É¸®ÀûÀÎ ¸éÀ» Ç¥Ãâ½ÃŲ »ç»öÀÇ °³³äÀ» Çö´ëÀûÀ¸·Î °è½ÂÇϰí ÀÖ´Â ¾Èµµ Ÿ´Ù¿À °ÇÃà¿¡ ³ªÅ¸³­ »ç»ö°ø°£ÀÇ Ç¥ÇöƯ¼ºÀ» °íÂûÇϰí ÀÖ´Ù. ¿¬±¸¸¦ ÅëÇØ ¾Èµµ´Ù´Ù¿À°¡ ÇÔÃà, Á¤³ä, ¿©¹é, À½¿¹, À§À¯ÀÇ 5°¡Áö Ãø¸éÀ¸·Î »ç»öÀÇ °³³äÀ» ÀÚ½ÅÀÇ °ÇÃà¿¡ Àû¿ëÇÏ¿´À½À» º¸¿´´Ù. ±¸Ã¼ÀûÀ¸·Î, ÇÔÃà°ø°£Àº µ¿¼± ¹æÇâÀÇ À¯µµ¿¡ µû¶ó »óÈ£ÀÛ¿ëÀ» ÇÒ ¼ö ÀÖ´Â °ø°£¼º ƯÀ̼ºÀ¸·Î, Á¤³ä°ø°£Àº ºÐÀýµÈ °ø°£¿¡¼­ ´Ù½Ã °ø°£°ú ÀÌ¿ëÀÚµéÀ» ¿¬°áÇØÁÖ´Â °ø°£±¸¼º¿¡¼­, ¿©¹é°ø°£Àº °£°áÇÑ ±âÇÏÇÐÀû °ø°£°ú ÅëÇÕµÈ Àå½Äµé°úÀÇ °ü°è¼º¿¡¼­, À½¿¹°ø°£Àº °ø°£¿¡ ¿ÏÈ­µÈ ºûÀ» µµÀÔÇÏ¿© ºÎÀ¯°¨À» Á¦°øÇÏ´Â Ãø¸é¿¡¼­, À§À¯ÀÇ °ø°£Àº Á¤ÀûÀÎ °ø°£¿¡¼­ ÀÌ¿ëÀÚµéÀÇ ¿òÁ÷ÀÓÀ» °ø°£ ¾ÈÀ¸·Î À¯µµÇÏ¿© üÇèÇÏ°Ô Çϴ¹æ½ÄÀ¸·Î ¾Èµµ Ÿ´Ù¿ÀÀÇ °ÇÃà¿¡¼­ ¹ßÇöµÇ°í ÀÖÀ½À» Á¦±âÇϰí 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)
°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)
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)
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)
¾Èµµ Ÿ´Ù¿À °ÇÃàÀÇ ¿ÜºÎ°ø°£¿¡ ³ªÅ¸³­ ÁøÀÔ½ÃÄö½ºÀDZ¸¼º¹æ½Ä
¹®Á¤¹Î ; ¾È¿ìÁø ; °í¼º·æ - Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ ³í¹®Áý : NO.29 (200112)
·çÀ̽º Ä­°ú ¾Èµµ Ÿ´Ù¿À °ÇÃà¿¡¼­ ºûÀÇ ¿¬±¸
ÀÌÇýÁø ; ±èµ¿¿µ - ´ëÇѰÇÃàÇÐȸÁöȸ¿¬ÇÕȸ ³í¹®Áý : v.09 n.04 (Åë±Ç32È£) (200712)
[ƯÁý] ±¹³» ģȯ°æ °ÇÃ๰ »ç·Ê ºÐ¼®
Á¤Áö³ª ; ±è¿ë¼® ; À̽¹Π- ±×¸°ºôµù(Çѱ¹±×¸°ºôµùÇùÀÇȸÁö) : v.9 n.1 (200803)
¾Èµµ Ÿ´Ù¿ÀÀÇ ¹Ú¹°°ü¿¡ ³ªÅ¸³ª´Â °ÇÃàÀû Ư¼º°ú ±× ÀǹÌ
À̰ü¼®(Lee Kwan-Seok) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.21 n.11 (200511)
SANAAÀÇ °ÇÃà¿¡¼­ ¡®ºÐÀ§±â¡¯ÀÇ °³³ä°ú ±¸Çö¹æ½Ä
¼­Á¤ÀÏ(Seo Jeong-Il) ; ÀÓ¸®»ç(Lim Lisa) - ´ëÇѰÇÃàÇÐȸ³í¹®Áý °èȹ°è : v.26 n.10 (201010)