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공간디자인에 있어서 인간의 심리·생리적 특성의 적용에 관한 연구
신태양 호남대학교 2000 호남대학교 학술논문집 Vol.21 No.2
This article explores the possible ways in which human being's perceptional, psychological, and physiological characteristics can be applied to interior or space design. In the article, human beings' perceptional, psychological, and physiological characteristics were reviewed from previous ergonomics studies, then they were connected with environment emphasizing the relationship between human beings and environment. This study tried to discover new role and application of human factors in interior & architectural design, keeping mind on current trend and situation in which various problems are expected, in man-space system or man-environment system of ergonomics. By defining psychological and physiological characteristics in environment, this study will lead to following studies of new concept, research method, and research theme in ergonomics area.
근대 초기의 설계경기 시스템 - 영국 빅토리아 시대의 설계경기 시스템을 통하여 -
신태양,Shin, Tae-Yang 한국건축역사학회 1993 건축역사연구 Vol.2 No.1
I focused my attentation on two points in this paper. Firstly, I explore the relationships between the competition system and the philosophical bases in economic and social doctrines which encouraged, the architectural profession which it supported. Secondly, I intend to describe the development of the modern competition system. The economic theories were applied to architecture; these were natural laws and laissez-faire. The principles of competition and progress were never doubted. Two developments aided architects in attaining both a sense of professional identity and a way of regulating the comprtition system; these were the founding of professional societies and the emergence of a professional architectural press. The first organized effort to control the competition system was made in 1839 by the Competition Committee of the Institute of British Architects, but the problems had remained virtually unchanged by the 1880s. A code of regulations was drawn up by the RIBA in 1872, but this were much like earlier codes and recommendations. From the 1890s, the RIBA established a permanent committee to review the conditions of all competitions and authorize members to participate; the measure was paralleled in various other countries, notably in the 1911 international regulations of the CIAM.
신태양 호남대학교 1997 호남대학교 학술논문집 Vol.18 No.4
This study aims at finding a genealogy of architectural space and form theory. Space is regarded as a twin partner with form in the creation of architecture. We find a number of German writers on aesthetics using the term 'space' in its modern architectural sense from the beginning of the nineteenth century. The best space has been Gidion's analysis of its modern developments. But the kind of space involved in architectural design, and one might contend that 'form' is the largest element that on architect is able to deal with as a unified work of art. Kurt Badt's Raumphantasien und Raumillusionen which provides a useful clue as to new ideas concerning the relationship between space and form.
신태양 호남대학교 1998 호남대학교 학술논문집 Vol.19 No.2
The concern here is with the 'meaning' in architecture. Meaning in a specialized professional community is similar to other forms of meaning-common sense, religious, scientific-in that it is only comprehensible in terms of both cognitive and subjective elements. What are the similarities and differences between 'meaning' and the semiotic concept, 'signified' ? In linguistics signified is the social significance, or idea, that accompanies sound. The signifieds of architecture include social customs and anthropological data and a whole host of possible iconological meanings. According to Panofsky's definition and distinction, iconology must be set off against iconography as the difference between unconscious symbols and symptoms which are conveyed by an art work versus those intended and conventionalised meaning. Charles Jencks and Robert Venturi discuss meaning codes which encompasses individual elements and how these terms apply in architecture. Signified becomes the contents or the abstract concept or meaning of architecture, and the signifier is the form or, more simply, the building. But, the Revi-Strauss version of Structuralism discuss the structuralists would never assume that the community of architects can be described in terms of its own generic framework of meaning.
신태양 대한건축학회 2004 대한건축학회논문집 Vol.20 No.9
This paper is the third part of the thesis on architectural polychromy revivalism in the nineteenth century. George Edmund Street stood at the beginning of one of the successful careers of the Gothic Revival. At First, he was more prolific with theories than with building, with a kind of architectural journalism, opinions and current problem the distinction between vjllage and town churches, the use of color in churches, and the subject of foreign architecture. But more than anything else Street was fascinated by materials and their colors, as the title of "Brick and Marble in the Middle Ages" indicated. Much of his final chapter is devoted to 'Italian Brickwork' and 'color in construction' I focused my attention on two points in this paper. I intend to describe the process of creation on Street's theory of constructional polychromy, and to reconstruct the characteristics of his theory of constructional polychromy through to discover his architectural theory.