093- ‘offset’: The function on AutoCAD of drawing a lateral line of
a certain length. - ‘fillet’: The function on AutoCAD to round out corners.
- José Rafael Moneo Vallés, trans. Lee Byungki, Sobre el
concepto de arbitrariedad en arquitectura, (Seoul:
architwins, 2014). - Although cases exist, such as Kim Seok Cheol’s Milan Expo
Korea Pavilion (which resembles a moon jar) and Moon
Hoon’s ‘Rock It Suda’ (which features bull horns), it is
doubtful whether they can be recognised as products of
formative freedom in the Korean context.
조한은 홍익대학교 건축학과, 예일 대학교 건축대학원을 졸업했다. 현재 홍익대학교 건축대학 교수이자, 건축철학 연구소의 대표로서 ‘건축적
감동’에 관한 다양한 인문학적 연구를 진행하고 있다. 대표 저술로는 『서울, 공간의 기억 기억의 공간』(돌베개, 2013), 논문으로는 「1960-70년대
한국 건축계의 공간-담론에 관한 연구」(2018), 「몸의 공간, 눈의 공간 - 건축가 김수근의 (구) 공간사옥」(2015), 「들뢰즈의 감각-운동 도식에
의한 건축적 감화 연구」(2015)가 있다.
Joh Hahn graduated from the department of architecture in Hongik University and the Yale School of Architecture. He is presently a
professor at Hongik University School of Architecture and the Principal in the Architectural Philosophy and Theory Lab, conducting
various liberal arts studies on ‘architectural sensation & affection’. His publications include Seoul, Memory of Space and Space of
Memory (Dolbaegae, 2013), and papers such as ‘A Study on the Spatial Discourse of Korean Architecture in the 1960s-70s’ (2018),
‘Embodied Body-Space, Ocular Eye-Space: Kim Swoo Geun’s SPACE Group Building’ (2015), and ‘A Study on the Architectural
Affection with G. Deleuze’s Sensory-Motor Schema in Cinema’ (2015).that dissolve necessity into the architect’s
creative desire or notional arbitrariness. A
problem remains, however; even though
we live in an era in which necessity can
be shown to be arbitrary, we still try to
diffuse this arbitrariness into an apparent
necessity. While Moneo says that western
architecture clings to necessity because
of the prevailing desire of architects to
conceive of architecture as a positive
science, it is questionable whether we have
such an overriding desire. Additionally, it is
questionable whether we here observe form
in the context of what Moneo describes as
a formative freedom.▼^4 In lieu, our necessity,
unlike western architecture’s obsession
with positive science, is the product of
paranoia concerning what is natural. In
much the same way that we seek beauty in
our temples and for hanok to be in harmony
with nature, we also pursue natural forms
that seemingly evade the invisible hand of
laws and profit, considering them beautiful
in a time when the force of nature has been
replaced by architecture laws and market
principles.0931.‘offset’:ThefunctiononAutoCADofdrawingalaterallineof
acertainlength.
2.‘fillet’:ThefunctiononAutoCADtoroundoutcorners.
3.JoséRafaelMoneoVallés,trans.LeeByungki,Sobreel
conceptodearbitrariedadenarquitectura,(Seoul:
architwins,2014).
4.Although cases exist, such as Kim Seok Cheol’s Milan Expo
Korea Pavilion (which resembles a moon jar) and Moon
Hoon’s ‘Rock It Suda’ (which features bull horns), it is
doubtful whether they can be recognised as products of
formative freedom in the Korean context.
조한은 홍익대학교 건축학과, 예일 대학교 건축대학원을 졸업했다. 현재 홍익대학교 건축대학 교수이자, 건축철학 연구소의 대표로서 ‘건축적
감동’에 관한 다양한 인문학적 연구를 진행하고 있다. 대표 저술로는 『서울, 공간의 기억 기억의 공간』(돌베개, 2013), 논문으로는 「1960-70년대
한국 건축계의 공간-담론에 관한 연구」(2018), 「몸의 공간, 눈의 공간 - 건축가 김수근의 (구) 공간사옥」(2015), 「들뢰즈의 감각-운동 도식에
의한 건축적 감화 연구」(2015)가 있다.
Joh Hahn graduated from the department of architecture in Hongik University and the Yale School of Architecture. He is presently a
professor at Hongik University School of Architecture and the Principal in the Architectural Philosophy and Theory Lab, conducting
various liberal arts studies on ‘architectural sensation & affection’. His publications include Seoul, Memory of Space and Space of
Memory (Dolbaegae, 2013), and papers such as ‘A Study on the Spatial Discourse of Korean Architecture in the 1960s-70s’ (2018),
‘Embodied Body-Space, Ocular Eye-Space: Kim Swoo Geun’s SPACE Group Building’ (2015), and ‘A Study on the Architectural
Affection with G. Deleuze’s Sensory-Motor Schema in Cinema’ (2015).that dissolve necessity into the architect’s
creative desire or notional arbitrariness. A
problem remains, however; even though
we live in an era in which necessity can
be shown to be arbitrary, we still try to
diffuse this arbitrariness into an apparent
necessity. While Moneo says that western
architecture clings to necessity because
of the prevailing desire of architects to
conceive of architecture as a positive
science, it is questionable whether we have
such an overriding desire. Additionally, it is
questionable whether we here observe form
in the context of what Moneo describes as
a formative freedom.▼^4 In lieu, our necessity,
unlike western architecture’s obsession
with positive science, is the product of
paranoia concerning what is natural. In
much the same way that we seek beauty in
our temples and for hanok to be in harmony
with nature, we also pursue natural forms
that seemingly evade the invisible hand of
laws and profit, considering them beautiful
in a time when the force of nature has been
replaced by architecture laws and market
principles.