피터아이젠만의 주택작품에 나타난 데 스틸 적 특성에 관한 연구

표응석 한국문화공간건축학회 2009 한국문화공간건축학회논문집 Vol.- No.28

There were various attempts to break exsiting frame in the beginning of modern architecture. Like Art-nouveau architecture, there was a case that an architect's inspiration became designed motivation and also like International Architecture's case, that focused on technical development and function of architecture. On the other hand, there were movements pursuing principles of pure plastic art that started from art and studying principles of architecture plastic. Destijl, Constructivism, Elementalism are representative examples of the movement. These movements pursuing principle of plastic art lasted today throughout modern society. For example, House projects of Peter Eisenman. The reason why this study chose Peter Eisenman' housing series for my study is, he'd done purely theoretical study and experiment of plastic art without architectural function and structure that similar to Destijl's design work principle. To understand design process of two architecture methods as a methological example of architect design is meaningful. This study shows priority theories and experiments were not only in history. We could rediscover usage of them in future architecture. Therefore, it is based that they are worthwhile to reuse. The purpose is that this study recover Destiil's architecture characters and two of their relationship among peter Eisemann's architecture works that was one of representative design principles.

피터 아이젠만의 주름건축에 나타나는 풍수지리사상에 대한 연구

임용만,강훈 사단법인 인문사회과학기술융합학회 2019 예술인문사회융합멀티미디어논문지 Vol.9 No.12

Peter Eisenman's architecture is based on philosophical thinking. Deleuze's reason for folding, in particular, deeply penetrates his works. His work based on the reason for folding is a process of stacking up the layers of the elements of the landscape, the user, and the continuity of time. These compositions have similarities with the feng shui geography that has been the basis of our architectural thinking. Folding include time elements such as the existing landscape, users, and the future, and the same elements exist in the feng shui geography. Therefore, the construction shown in architecture shows similarity. The folding that form the cause of folding are based on the Monadologie of Leibniz, Gottfried Wilhelm. Monadologies are folding that contain not only matter but also souls, metaphysical and religious elements. The feng shui geography absorbs most of the Eastern philosophy through indigenization, but its keynote lies in the background of all materials and its operation is in harmony with yin and yang according to the flow of energy. Although this study may mean that Peter Eisenman's architecture is examined from the perspective of feng shui geography, this study suggests the perspective of interpreting modern architecture from the perspective of Eastern philosophy, I think it is meaningful to explore the possibilities. 피터 아이젠만의 건축은 철학적 사유를 바탕에 두고 있다. 특히 들뢰즈의 주름사유는 그 작품에 깊이 스며 있다. 주름 사유를 바탕으로 한 그의 작업은 주변의 경관, 사용자, 시간의 연속성 이라는 요소의 층을 쌓아 올리는 과정으로 작업을 하며 주름 사유를 통해 나타나는 건축 과정의 결과물은 특정한 구성을 가지고 있다. 이 구성들은 우리의 건축 사유의 기반으로 삼아왔던 풍수지리사상과 유사성을 갖고 있다. 주름에는 기존 경관, 사용자, 미래라는 시간적인 요소들이 포함되어 있고 풍수지리사상에도 이와 동일한 요소가 있다. 따라서 건축으로 나타나는 구성도 유사성이 보이는 것이다. 주름 사유의 틀을 이루고 있는 주름은 라이프니치의 단자론에 기초 하고 있다. 단자론은 주름이고 이 주름은 물질뿐 아니라 영혼 곧 형이상학적이고 종교적인 요소를 포함하는 것이다. 풍수지리사상은 토착화과정을 통해 동양철학의 대부분을 흡수 하고 있으나 그 기조는 모든 물질의 바탕을 오행에 두고 있으며 그 운용은 기의 흐름에 따른 음양의 조화에 두고 있다. 본 연구는 피터 아이젠만의 건축을 풍수지리사상의 관점에서 살펴본다는 의미도 있겠으나, 넓게는 현대 건축을 동양철학의 관점으로 해석하는 관점을 제시 하는 것이며, 동양 철학의 내용을 바탕으로 하는 건축 디자인에 대한 가능성을 타진하는데 의미가 있다고 본다.

피터 아이젠만 建築作品의 形態論的 特性에 關한 硏究

문정필,이규봉 동의공업대학 2001 論文集 Vol.27 No.1

The purpose of this paper is deduction analysis and synthesis with morphologic through the form of architectural work. Generally, It also Arrange Peter Eisenman's architectural work which out of formal design of architectural work in this paper. The early architectural works of Peter Eisenman is show up conjunction, rotation, elimination tendency of grid and surface via mixed factor of grid and developed regularize formation. Deep(conceptual) structure and surface(perceptual) structure joined with architectural subject by syntax of architectural language. Finally these are appeared liberty characteristics form after developed and expended. As above, general tendency of Eisenman's morphologic characteristic effected by Le Corbusier and Giuseppe Terragni than deconstructive trends and accident or impromptu property. Also his architectural philosophy built on with logical composition and established interest party of morphological architecture formation based on view of architecture.

피터 아이젠만의 평면형상문법에 따른 웹기반 건축평면생성 프로그램 개발에 관한 연구

권영숙,이광희 대한건축학회 2006 대한건축학회논문집 Vol.22 No.1

This study used shape grammar theory to analyze the architectural structures of Peter Eisenman and to develop a computer program for the Mass study of the architectural design process on the basis of the defined rules. Shape grammar is a theory of analyzing and specifying the architectural designs from a linguistic approach. This was used to analyze House I, II, IV, and VI, the four similar plane styles of Eisenman's house series, and to applied the defined rules to House III and X that had distinctive plane styles. In result, it was found that the defined rules were applied sequentially and that, unlike the findings from preceding studies, the deformation of the latter two houses had been formed by move and rotation functions. The computer program that was developed based on the analysis is: first, it creates varieties of shapes fast following the intentions of the designer. Therefore, creative approach to the formation of shapes is made easier and the design options are made more expansive. Second, the shapes created in the program can be applied to the arrangement of architectural planes in the given space. Third, the defined rules follow the geometric information and therefore, do not require professional architectural knowledge to create new shapes for improved convenience. Fourth, the environment is online Web space and takes advantage of the internet's user-friendly interface and broad connection to be easily accessible for the users from any location.

형상문법이론에 따른 피터 아이젠만의 평면구성원리에 관한 연구 : 주택작품을 중심으로

권영숙,이광희 대한건축학회 2005 대한건축학회논문집 Vol.21 No.1

The purpose of this study is to analyze the architectural characteristics of plan composition by using shape grammar theory and to examine It's possibility for computerization of the process The study selected Peter Eisenman's House series for the analyses and verified he used some kind of formal composition rules Which were based on the theory The study found out four rules Rule 1 is the folding of quadrangle Rule 2 is the adding of two Quadrangles toward the wing shape Rule 3 isi also adding of quadrangle along X axis of every quadrangle, while rule 4 is adding along X axis of the quadrangle The study simulated the process of plan compositions by using ObjectARX In AutoCAD, and proved that It was so effective to create various alternatives with repetitive usages In the design works

아이젠만 建築의 構築性에 관한 硏究

권정훈,이경훈 한국문화공간건축학회 2013 한국문화공간건축학회논문집 Vol.- No.44

Digital Architecture is able to produce innovative and attractive forms than ever, Despite the superficial novelty, it is important to observe the underlying logic, especially form-generating process. Fundamentally, Digital architecture is a classic in terms of that it is based on the form derived from technology. It is a Baroque as well due to the attitude stressing on the form and pursuing changes from that. Kenneth Frampton, who has developed a techno-deterministic theory, has a contemptuous view towards Digital Architecture as empty play on the monitor rather than a result derived from the process to build a space in the form of ‘tectonic’. In this background, Eisenman's Architecture can be an important implication and an illustrative example to overcome Frampton’s view. Eisenman has explored aspects of criticism and theoretical work simultaneously utilizing digital technology and develop a dramatic evolution with the process of logical system. The study is evaluate his architecture as well as his theoretical background and found autonomous architectural construction as his major achievement. Digital technology is became a main tool to implement his life-long pursuit towards ‘autonomous architecture’. Digital Architecture is able to produce innovative and attractive forms than ever, Despite the superficial novelty, it is important to observe the underlying logic, especially form-generating process. Fundamentally, Digital architecture is a classic in terms of that it is based on the form derived from technology. It is a Baroque as well due to the attitude stressing on the form and pursuing changes from that. Kenneth Frampton, who has developed a techno-deterministic theory, has a contemptuous view towards Digital Architecture as empty play on the monitor rather than a result derived from the process to build a space in the form of ‘tectonic’. In this background, Eisenman's Architecture can be an important implication and an illustrative example to overcome Frampton’s view. Eisenman has explored aspects of criticism and theoretical work simultaneously utilizing digital technology and develop a dramatic evolution with the process of logical system. The study is evaluate his architecture as well as his theoretical background and found autonomous architectural construction as his major achievement. Digital technology is became a main tool to implement his life-long pursuit towards ‘autonomous architecture’.

피터 아이젠만 건축의 색채사용특성에 관한 연구

이선민(Lee, Seon-Min),유연숙(You, Yeon-Sook) 한국실내디자인학회 2009 한국실내디자인학회논문집 Vol.18 No.2

Architectural color would be understood as a essential tool to be reflected the architect’s value criteria, thinking process and the specific methodology. This study was established the characteristics of color use correlated with Eisenman’s architectural features based on his point of view. At first, it could be organized with data and use the color in view points with the becomming process. Especially it would be expressed the color as a trace of unsynchronized formation. Second, it was introduced the color by graphics engaged with form, to be expressed the dividing, folding, reiteration for deliver of escape from graphic thinking process. Third, it was analyzed to be imported the color to have a multi-lateral space experience in center of user’s space recognition and behavior by introduction of color. Finally, it could be inducted the consistent color by viewpoint of interfacial between interior and exterior environment, communicated with strong meaning by conversion from interior elements to color from these processes. A characteristics of Eisenman’s architecture color is reflected his thinking process in architecture color as it is and can be understand of ‘becomming process use of color’ as a tool that is corresponded in form creation. Specially, it would be kept continuous viewpoint of interior and exterior space, giving user color as a viewpoint of linking space, enable many-sidedness experiences through space.

피터 아이젠만의 ‘자율적 건축’에 관한 연구

김선란(Kim Sun-Ran),유재우(Yoo Jae-Woo) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.3

The purpose of this study was to analyze the form of architecture on the basis of the self-reference that is formal concept suggested from Russian formalism. The Russian formalists formed an autonomous system that had various meaning of language with adapting rhetorical device to language. In other words, it discovered the interior rule of the form that created new meaning to refer meaning itself. In view of the concept, it was commonly called self-reference. The Famous architect, Peter Eisenman applied the self-reference to his works; the house series and contemporary architecture. Accordingly this study analyzed what means and limits about the formalization of architecture and suggested diverse way of architectural looking both inside and outside. Ultimately, Peter Eisenman's self-referential form is the formalization of architecture. So this study explains what it mean and limit for the formalization of architecture.

건축 작품에 대한 사회학적 해석의 존재론적 의미

송종은(Song, Jong-Eun),박용서(Park, Yong-Seo) 대한건축학회 2016 대한건축학회논문집 Vol.32 No.2

Sociological Interpretation on architectural works and design thinking, and architectural critics could be an approach for social sustainable architecture. In the sociological perspective, the paper explores the characteristics of two architectural works and architectural design thinking of Louis I. Kahn’s Richards Medical Research Laboratory(1975-60) and Peter Eisenman’s House Ⅵ(1972-75) and a sociologist Robert Gutman’s reviews on two architectural works. The sociological interpretation based on “sociological being” derived from two sociological theories, “Symbolic Interactionism and ”Habitus”, approaches to the architecture as the world of experience and existence of human being. “Sociological being” based on the definitions of symbolic interaction, habitus, circumstance, social action and practice, reflective ego, and etc. is participated in to interpret two architectural works, design thinking, and architectural reviews. The findings describe the negatives of architectural philosophy(Louis I. Khan) and conceptual architecture(Peter Eisenman) and the ontological meaning of sociological interpretations on architectural works.

들뢰즈의 주름론으로 본 해체주의 건축

박하나(Park Ha-na) 현대미술사학회 2009 현대미술사연구 Vol.25 No.-

Deconstructivist Architecture is a trend of architecture that has a striking contrast to Modernist Architecture which represents clarity and perfection. Deconstructivist Architecture combines heterogeneous elements and is characterized by the induction of instability through physical tilting and distortion. Deconstructivist Architecture became a global trend in the 1980s. The term, ‘Deconstructivist Architecture’ was first used in an exhibition ‘Deconstructivist Architecture’ at the Museum of Modern Art, New York in 1988. The curator of this exhibition, Mark Wigley, related Deconstructivist Architecture to the Russian Constructivism which is known to break the traditional composition of architecture using asymmetrical geometry. He created the term ‘deconstructivist’ by adding the prefix ‘de-’ to ‘constructivist’ to imply that Deconstructivist Architecture drew from Constructivism, yet constituted a radical deviation from it. Contrary to his argument, however, many architectural theorists considered that Deconstructivist Architecture derived from Jacques Derrida’s philosophy known as ‘Deconstruction’. The opinions introduced above accurately explained some parts of the traits of Deconstructivist Architecture, however Mary McLeod contended that these views could only be restrictively applied to few of the architects among the seven architects who attended the Deconstructivist Architecture exhibition. Furthermore, due to Deconstructivist architects shifting to a new trend of architecture called ‘Folding Architecture’ in the 1990s, a new theory was needed to read the works of Deconstructivist Architecture. In this thesis, I tried to look into the new architectural trend of Deconstructivist architecture through Gilles Deleuze’s ‘Fold’ theory, concentrating on Frank O. Gehry, Rem Koolhaas, and Peter Eisenman - the three most extremist Deconstructivist architects. The concept of Deleuze, ‘The Fold’, comes from Leibniz’s philosophy which contends that the smallest unit in the World is a fold and not a point, and that it is categorized into ‘the pleats of matter’ and ‘the folds in the soul’. Folds of a surface wall of a cave, origami and waves of water are examples of the pleats of matter that is visible. On the other hand, ‘the folds in the soul’ are those that are not visible-the folds that are inherent but not seen until they actually unfold. I have remarked that when these folds (‘pleats of matter’ and ‘folds in the soul’) appear in spatial environment they translated into organic space, space of ‘event’, and ‘affective’ space. Gehry’s designs such as ‘bentwood furniture’ and the ‘Guggenheim Museum’ in Bilbao are representations of ‘organic’ space, where the concept emerges from curvilinear, harmonious and inseparable forms. Koolhaas’ design concept of the ‘Seattle Public Library’ and the ‘House in Bordeaux’ is to create an indeterminable space by leaving the space changeable and/or empty. This can give rise to unpredictable ‘events’ in architecture. Eisenman’s project like ‘Alteka Office Building’ is architecture in movement. The concept is to create an ‘affective space’ rather than to pursue an effective space. The affective space can not be seen through a perspective view, but it can only be perceived through a different sense ‘the aura’. In summary, the works of the Deconstructivist architects, Gehry, Koolhaas and Eisenman, in post 1990 are architectural works that are based on the concept of infinitely continuous folds rather than the concept of separable points. Deleuze’s concept of visible and invisible folds can be seen in these specific works as organic space, space of ‘event’ and ‘affective’ space. The new approach analysis of the Deconstrutivists Architecture proposed in thesis allowed the reinterpretation of ‘Folding Architecture’, once treated separately, in relation to the Deconstructivists Architecture. Furthermore, the significance of this thesis is the provision of a somewhat