Ikseon-Dong 166 is one of the traditional urban resident area developed during 1930’s. The purpose of this research is to analyze the structural relationship between a conventional housing unit plans and modern block plans based on orthogonal geometry. To fully explore the selling point of the new urban development, the planner or real estate developer in private sector did not abandon or compromise the conventional house layouts, consists of single layer of rooms keeping the main room facing south. This study concludes the following factors connecting the urban and architectural plans. Oblong block plans following east-west direction did not allow the southern exposure of courtyard and main room, which was the absolute requirement for traditional house units, the longer side of block plan followed north-south direction as a result. Considering the possibility of rent, having entrance at the east or west side of individual site enables two separate household maintain their spatial privacy. In addition to the factors mentioned above, when the blocks are to be divided into individual addresses, north-south oblong block plans maintained the length to face the front road minimum while the southern exposure maximized. These factors explains why the private developers maintained their blocks elongated to north-south direction when the block plans laied out by public sectors which did not care that much of southern exposure show random orientation in the view point of solar exposure.
This research takes as its object a body of historical researches by a new generation of French architects in the 1970s, who tried to confront the deep crisis in architecture since the years 1960. The research begins by noting that the ideology of the architect as an autonomous and transcendental subject, an ideology held by the architects of the previous generation, was a main target that young architects wanted to criticize and overcome. From this observation, the research focuses on a antihumanistic project which gave basis for a significant number of historical researches on modern architecture and was the result of a reappropriation of the French structuralism intensively developed in the human and social sciences of that time in France. After a series of textual analyzes, we argue that a new perspective on the city and the relationship of the latter with the architecture on the one hand, and the proposal for an "modest" architect as an alternative figure after rejection of the autonomous and transcendental one on the other hand, have been derived as the outcome of anti-humanist historiographic works. Finally, we assume that these historical adventure gave conceptual basis for postmodern architecture in France, freed from the modern myth of unity of author and that of work of art, but tinted by a moralism requesting modesty to architects.
The purpose of this study is to analyze the process of lots-subdivision within the block of Gaeksa at Dongnae-bu under the rule of Japanese Imperialism. Gaeksa of the old government office was the sanctuary that symbolized the sovereignty. Therefore it was naturally a main object of demolition and then the site was converted to other purpose. And Gaeksa was not only converted into the elementary school and the public market but the historic site also processed to break down for opening the road through Japanese Occupation of Korea. The main reasons of lots-subdivision were the transfer from state property to private ownership and the urban development project. Needless to say, the particular major reason was derived from the intention of Japanese Imperialism to destroy the traditional urban. As a result, Gaeksa can not be recognized the traces of today and contributes to the demolition of the remaining ancient building. Finally the deformed urban structure was left over from destroyed building.
The purpose of this study is to evaluate Aldo Rossi's work as representation or non-representation, for some hold that the works of Aldo Rossi are representative and others say that they are non-representative. According to the three kinds of novelties appearing after Stephen Pepper's concept, “the breaking of reference” happens, and Aldo Rossi's concept, “the sense of deposition” Rossi's work is uncovered as non-representation. In order to clarify Rossi's work as non-representation, we are going to borrow Pepper's terms, intrusive novelty, emergent novelty, and naive novelty. The breaking of reference accompanies intrusive novelty to bring a sense of representation, emergent novelty to intuit a sense of non-representation, and naive novelty to a sense of newness of disorder. We hope to verify a hypothesis that Aldo Rossi's architectural thought and the architecture come from ‘emergent novelty’ on the basis of his two books, A Scientific Autobiography and Architecture of the City. Also this paper discusses qualitative aspects rather than visual aspects. The main concepts of emergent novelty are applied to Aldo Rossi's works and his thought. Finally this paper verifies 'the hypothesis' through revealing what Aldo Rossi means by the quality of suspension, the sense of deposition, and idea of the unfinished(repetition). Rossi's work is not textural reference of representation appearing after blocking, but qualitative reference of non-representation.