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논문 기본 정보

자료유형
학술저널
저자정보
박영태 (동양미래대학교)
저널정보
한국실내디자인학회 한국실내디자인학회 논문집 한국실내디자인학회 논문집 제24권 제1호
발행연도
2015.2
수록면
12 - 22 (11page)

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초록· 키워드

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When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in ‘gentle architecture’, ‘three lows principle’, ‘natural architecture’, and ‘connecting architecture’, he clearly expresses the objective nature of architecture design in those terms. In this respect, the purpose of this study is to make a close inquiry into the meaning, effect and characteristics of objectivity. In particular, we try to identify the contents of ‘impure architecture’, which has a clear ambivalence to be an instrumental expression strongly settled in the objectivity, in an aesthetic standpoint. To do that, we systemized the concept of mimesis and the theory of subversive appropriation by Walter Benjamin and Theodor Adorno in to a frame of interpretation. By systemizing translation, subversion, verbalization and the dialectic structure of the aesthetics of negation, we interpreted the features of his works as an objective work and ‘impure architecture’. His objectivity leads the situation by subversively appropriating the inherent elements of architectural conditions based on a dialectic solution in which inquiries on logical and scientific materials have played a critical role. Above all, through all these processes, he tried to suggest a language as a new technique for materials and structures. Ultimately, we could find out that this object oriented design sublates a subject oriented way that is monolithic and repetitive regardless of objects. Rather, it is a way that is effective in creating a new way of design by making a different approach to a new object rather unfamiliarly, yet deeply.

목차

Abstract
1. 서론
2. 미메시스와 객체성
3. 쿠마 켄고 디자인의 객체성
4. 객체성과 전복적 전유의 작품 해석
5. 결론
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UCI(KEPA) : I410-ECN-0101-2016-619-001163042