¶óÆæÆ®¦¢Ä«Æä¦¢ºí·Î±×¦¢´õº¸±â
¾ÆÄ«µ¥¹Ì Ȩ ¸í»çƯ°­ ´ëÇבּ¸½Ç޹æ Á¶°æ½Ç¹« µ¿¿µ»ó°­ÀÇ Çѱ¹ÀÇ ÀüÅëÁ¤¿ø ÇÐȸº° ³í¹®
ÇÐȸº° ³í¹®

Çѱ¹°Ç¼³°ü¸®ÇÐȸ
Çѱ¹°ÇÃà½Ã°øÇÐȸ
Çѱ¹µµ·ÎÇÐȸ
Çѱ¹»ý¹°È¯°æÁ¶ÀýÇÐȸ
Çѱ¹»ýÅÂÇÐȸ
Çѱ¹¼öÀÚ¿øÇÐȸ
Çѱ¹½Ä¹°ÇÐȸ
Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ
Çѱ¹ÀÚ¿ø½Ä¹°ÇÐȸ
Çѱ¹ÀܵðÇÐȸ
Çѱ¹Á¶°æÇÐȸ
Çѱ¹Áö¹Ý°øÇÐȸ
Çѱ¹ÇÏõȣ¼öÇÐȸ
Çѱ¹È¯°æ»ý¹°ÇÐȸ
Çѱ¹È¯°æ»ýÅÂÇÐȸ

Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ / v.37, no., 2003³â, pp.48-48
ÇØÃ¼ÁÖÀÇ ÀÌÈÄ °ÇÃà µðÀÚÀÎ µµ¸éÀÇ Ç¥ÇöƯ¼º¿¡ °üÇÑ ¿¬±¸
( A Study on the Representational Quality of Architectural Presentation Drawings after Deconstructivism )
¹®Àº¹Ì; ´ö¼º¿©ÀÚ´ëÇб³ ¿¹¼ú´ëÇÐ;
 
ÃÊ ·Ï
This study investigates great potential of architectural representation drawings for architects as well as designers to realize their design concept into visual forms. In 1988, an exhibition called "Deconstruction in Architecture" at Modern Art Museum, New York, was an important turning point in design representation. The study examines design drawings of architects of deconstructivism to analyze new attitudes toward building forms and programs in contemporary architecture. The study found in the drawings that initially, collages in many different types are often utilized to express simultaneous time and space. Secondly, section drawings become more important to explain ambiguous and complex floor system than before. Thirdly, cinematic montages are utilized to express indeterminate or loose programs. Fourthly, diagrams are utilized to visualize initial conditions and clues of design solution. The study concludes that design drawings are not only representation media admitting of changes and progress but also tools of design creation.
 
Ű¿öµå
µµ¸é;µðÀÚÀÎ ÇÁ¸®Á¨Å×À̼Ç;Ç¥ÇöƯ¼º;ÇØÃ¼ÁÖÀÇ;
 
Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ³í¹®Áý / v.37, no., 2003³â, pp.48-48
Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ
ISSN : 1229-7992
UCI : G100:I100-KOI(KISTI1.1003/JNL.JAKO200310103478903)
¾ð¾î : Çѱ¹¾î
³í¹® Á¦°ø : KISTI Çѱ¹°úÇбâ¼úÁ¤º¸¿¬±¸¿ø
¸ñ·Ïº¸±â
ȸ»ç¼Ò°³ ±¤°í¾È³» ÀÌ¿ë¾à°ü °³ÀÎÁ¤º¸Ãë±Þ¹æÄ§ Ã¥ÀÓÀÇ ÇѰè¿Í ¹ýÀû°íÁö À̸ÞÀÏÁÖ¼Ò ¹«´Ü¼öÁý °ÅºÎ °í°´¼¾ÅÍ
   

ÇÏÀ§¹è³ÊÀ̵¿