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강혁 慶星大學校 1991 論文集 Vol.12 No.3
The main concern of this thesis is on architectural grammer and its characteristics. With a view point of linguistic analogy, grammertical approach makes it possible to have a new insight on the production, communication and use of architecture within a society. As a formal system to define the relationship between part and whole, it plays a critical role as a norm and unconscious device for design. Every achitectural grammar is based upon the universal condition, that is a priori, tectorical, but it also has cultural aspect that is a product of a given historical condition. So it has two characteristics, diacronical and synchronic. The former showes the duration and transformation is architecutral tradition, the letter provides relative autonomy.
텍스트(Text)로서 과거 건축과 건축사 해석에 대하여
강혁,Khang, Hyuk 한국건축역사학회 1992 건축역사연구 Vol.1 No.1
The Main concern of this thesis is on the possibility to apply Hermeneutics to architectural history, with a view point that the past architecture can be seen as a text, this study analyse the relationship between the past building and interpreter, the epistenological tool for interpretation and historian. After reviewing the characteristics of architectural history with regard to text theory, this study can lead to the conclusion that the interpretation of past architecture can be defired as dynamic dialogue which depend upon the time.
특집 - 도시와 대형 실내공간 : 역사속에 출현한 대형 실내공간 ( Grand Interior Space in History )
강혁 대한건축학회 1996 建築 Vol.40 No.4
본고는 고대부터 근대 초기까지 역사 속에 어떤 대형 실내공간들이 출현했으며, 그것들이 어떠한 특성과 의미를 가지고 있었는지를 그 시대적 배경과의 연관 속에서 간략히 기술하고자 한다.
우리 서양건축사 교육의 반성 - 담론으로서 '서양건축사'를 해체하기 위하여 -
강혁,Khang, Hyuk 한국건축역사학회 2011 건축역사연구 Vol.20 No.6
This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.
강혁,Khang, Hyuk 한국건축역사학회 2012 건축역사연구 Vol.21 No.1
The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.
강혁 경성대학교 공학기술연구소 2003 공학기술연구지 Vol.S1 No.2
This study is on Adolf Loos’s architectural discourse in response to the cultural crisis of the fin-de-siecle Vienna. Regarding Loos’ design and thought we regard him as a early Modernist and prophet. But this study focuses on the parallel similarity between the situation of fin-de-siecle Vienna and contemporary culture and try to find out Loos’ ‘critical presentness’ in order to seek useful teaching after Modernism. His fundamentalist thought deep and real