Eastern and Western architecture

 For ten years by management (經營) worry samgan (草廬三間) I make more than a month for a cool breeze between (淸風) and Gangsan (江山) is to have a liver majjyeo dui eopsseu, barley and around. Personally, I think is best presented works for the building of the East. Gangsan say is that you see around you to spend. Ah, since Cheongpung took up the moment, the architecture would have been formed by the natural and human environment of the West, the humanities of the East with spiritual meaning and expression, the natural environment, and many other factors... Of course, just as civilization communities are formed and developed ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ These days, the invention of form in art, is in your think that the effects of the effects of the West is the pursuit of something new. Also, are said to be creative in the West is sometimes different from the South, that means something else, with a person unique originality of the building, it is implementing the believe. It is relevant to individual concept, of course, implementation, and we instinctively try to represent their own identity by highlighting the difference. However, in architectural novelty of the function and environment and simply to pursue a change for change without monotony of freshness, fashion consumption as a value is to overcome, but not resolve the existential anxiety of the human. In particular, the form of writer and cultural nature and personality to the implementation of the spirit of a deep-rooted desire and lost connection, it is more problematic. Unlike Eastern Art and architecture of originality than tenacity of nature and help interested in the settings of the mental and aesthetic experience by connecting to the gieui. Therefore it is important to identify every location, type, materials and experience in terms of complementary to connect with nature the pursuit of beauty and singularity.Nature is most beautiful and unique. As a result, much of architectural invention and discovery of the possibilities and implications of nature, don't have Oulim interested in a symbiotic relationship. Furthermore, the East is a human existence not rely on a display of wealth and power stability and just aware and accept the existence of himself and forming a unity with nature. Means it's a human self liberation from an object. Therefore, originality in the East is not due to differences from others, but is achieved by itself by encountering the roots, essence, and source of nature. In other words, Oriental creation and beauty are not created by humans, but discovering and highlighting what already exists in nature. Therefore, in order to create, it was necessary to empty the mind and 'naturally' the state of the mind to reach the state of self and nature or the state of good. Unity in Eastern architecture has comprehensiveness, which means unity with the situation and environment, rather than unity of form. In other words, architecture or art may be damaged by changes in the environment, and may change and adapt. Oriental painting is not a closed work that emphasizes the copyright of the artist, but is an open work that the owner or viewer can add poetry. What is important here is not the workability, but the intuitive experience of symbolism. In other words, the essence of painting is not in the painting itself, but in the mind of the person who sees it. ----------------------------------------------------------------------------------------- Aesthetic consciousness of East and West Architecture Eastern cultures, Western cultures Eastern and Western thinking, and comparing each culture's understanding of creation and beauty, will not only help us understand the roots of our traditional culture and art, but also help our architects set the direction high. In this article, for convenience, the East refers to Buddhism and Chinese cultures in East Asia bordering India, and the West refers to Western Christian, Greek, and Roman cultures. I usually feel that the Muslim culture is closer to Christianity than to Buddhism because of its closed nature, to nomadic culture rather than agricultural culture such as East Asia, and to ideological culture rather than emotional culture. Anthropologist Levi Strauss pointed out that the world's cultures are largely divided into Buddhist, Christian, and Muslim cultures, and that they tend to suppress emotional expression as they occur approximately every 500 years. Of course, categorizing cultures in this way may neglect or simplify local specificities, but I think it will be helpful in that you see forests or roots before you see trees. Western understanding of creation and beauty In Jewish and Christian cultures, the concept of creation is an act of producing something out of nothing, as shown in Genesis of the Bible. The concept of creation itself presupposes the absolute god, that is, the concept of creationism, which is premised on the Christian faith. Therefore, it was believed that humans need to be inspired by God to create, that the beauty of nature reflects the providence of God, and that to create beautiful objects, they must follow the principles of absolute beauty, including sacred balance. The Christian worldview also gave birth to a view of history on the premise that there was creation and end, and humans pursued paradise that could only be reached when rescued from this threat of end. So God is eternal, utopia, paraIt was the premise of the same concept as Isis. Therefore, the creative person was viewed as a genius or a son of God, which was interpreted not as being developed or developed by effort, but as being inherited genetically or blessed by God. This attitude led to a tendency to regard artists or talented people as mysterious. So architects like Frank Lloyd Wright convinced themselves of self-superiority with the belief that 'design can't be done by teaching'. The creation made by the perfect God, the creation made by the providence of God, is perfect, so modification or extension is unnecessary and impossible. Another pillar of Western culture is ideological and rationalist thinking, which originated in Greek and Roman cultures, which gave rise to an active and teleological attitude in pursuing social and cultural progress through science and technology with confidence that scientific truth can be pursued. In other words, the concept of progress and development was born in the enlightenment era of the West, which was used to claim Western culture as being ahead of primitive society's culture, and to rationalize Western colonialism policies in conjunction with Christian culture's exclusive superiority. Even now, the use of the words economic development, social development, developing countries, and underdeveloped countries shows how much Western thinking and vocabulary dominate today's world. This progress and development resulted in a mechanical time concept of looking at the past, present, and future on the premise of a linear time concept, a thought structure that emphasizes the causal relationship in the interpretation of phenomena, and a separation of space and time concepts. Scientists who are convinced of the existence of harmony, structure, and order in nature have also tended to ignore or underestimate natural phenomena and social realities that do not fit their theoretical structure or order by chance or accident. In architecture, the concept of 'structure' and 'order' is a prerequisite for almost all architectural theories today, and tends to think of architecture as a form, space, experiential, and ideological structure as well as an engineering structure, and to equate design goals with the pursuit of order. Based on this concept of structure and the above-mentioned concept of creation, the design act of architecture was thought to mean the creation of a new structure and form, and the essence of architecture was seen as existing in objects, that is, buildings. Destructuralism is to feel skeptical about the roots of Western philosophy and science and point out the fiction of this ideological thinking. In addition, the post-Darwin evolutionary theory threatened the Christian Genesis theory and has still created a rift between the scientific world and Christian faith. It is understandable that it is difficult to accept that monkeys and humans are evolutionary cousins and thus reject the concept of evolution itself, as an accident that humans are made by the image of God and animals and plants are made for humans. Destructuralism is to escape the limitations and limitations of this cultural tradition, and has an inseparable relationship with dismantling conscious of the logic using language and the limitations of the pursuit of truth based on it. Interpretation of beauty, explanation of the artist's creative behavior, and defining the meaning of beauty and art were usually works in the field of aesthetics. However, in the Western philosophical world, the understanding of creation by a philosophical approach was always bound by circular logic and did not obtain satisfactory results.The contradiction that the far-fetched Western culture understands aesthetic experiences, the world of emotions, is also natural considering that analytical and miniature Western science is an unsuitable tool for understanding comprehensive and environmental creative behavior. Therefore, just as Western philosophy, which relies on language, has reached its own limit, aesthetics and art reviews by ideological approaches are always lacking and decisive judgment must be reserved. This state should be seen as simultaneously revealing the problems and limitations of interpreting creation and beauty based on reason-oriented Western culture and language. We must not forget that Western philosophy and modern science are logical structures based on ideas and concepts, not grasping the essence by directly experiencing reality. In order to understand the nature of Korean beauty and the spiritual culture that has been the background of art built by our ancestors, it would be helpful to understand it first in a type of Orient rather than just looking at it as unique to Korea. Oriental culture approaches reality in a fundamentally different way from Western culture.

While Western culture is rational-centered, Eastern culture is an emotional culture, and focuses on grasping total and empirical entities through emotional intuition rather than intellectual logic. In Korea, "jeong" and "han," which are suppressed emotions, are important vocabulary, and both concepts wear the letter "heart." We still consider visiting and showing our faces more important than dealing with things by phone or letter or greeting them. The richness of adjectives and adverbs in Eastern vocabulary than nouns and abstract concepts is also due to the fact that the West is interested in objects and results, while the East is interested in the process of emotions and events. When Western culture emphasizes positivism, Eastern culture seeks to penetrate the essence concisely. A good corresponds to a 'simple look'. Positivism and scientific thinking have contributed greatly to the development of natural science and technological civilization by placing importance on objective evidence and suppressing subjective and psychological judgment, but have created duality between state and guest. The accident of oriental duty rejected the artificial distinction between the main and the guest and focused on experiencing substance and truth in the absence of the distinction between the main and the guest. Therefore, I am skeptical about conceptualizing reality and developing logic in words. In other words, I thought that what can be expressed in words was not a true degree, so the disciple of the Buddha could convey and express the unspoken state and the truth that cannot be expressed in words only with a "smile." Mu's idea is based on the premise of an inseparable yin and yang relationship between the state and the guest, emotion and reason. Therefore, while Western culture conceptualized time and space in a dichotomous manner, each was linearized and considered static, in the East, the ecology in between was prioritized before time and space. Oriental space is 'time composed of space' and time is 'space composed of time'. In Oriental art and architecture, the external form beautifies the empty space in it, and Oriental music makes you listen to silence. Korean architecture places importance on the concept of " The size of 'between' has elasticity influenced by function and social hierarchy. It is also a kind of space, time, and man. If Western scientific thinking viewed objects as parts and sought to grasp the essence by analyzing immutable elements, the East focused on the relationship between them, that is, the elements, and found the source of value and meaning. If Western architecture pursued the form of an object that emphasized internal composition and closed organization, Eastern architecture pursued beauty through the form of the object, the situation in which it was placed, and the natural environment. The architectural composition form of the Oriental Wood Furniture Act is more open to the environment and ventilated in rainy season than the construction method (building method of stacking stones or bricks), as well as refusing to block internal and external spaces and always emphasizing dialogue with nature. In other words, architecture sets a stage or frame and makes you feel like nature is ending. Oriental architecture is densely carried out by the height of the eaves, stepping stones, stylobates, and floors, which have a deep gap between the inner space and the outer space. Even when looking at Gyeongbokgung Palace from Sejong-ro, I believe that the fact that Samgaksan Mountain slightly deflects the axis to fill the space is not a result of chance, but a detailed location setting by feng shui. Oriental architecture has a yard with an empty room to give the beauty of radish or margin, and the essence of architecture is achieved by user participation. Here, Heo is a space that induces thread, and unlike the empty space of the West, it is a space with a sense of humor. In other words, the beauty of oriental architecture is not in the building itself, but in the setting between the building and nature, between the building and the user, and aims for a system that is open to nature and humans. This architecture is not in the building itself, but in the specificity and beauty of the connection between the building and the environment. Therefore, in the oriental and Korean Yeongjo projects, rather than the pursuit of absolute beauty by inventing and creating a new type of invention, they find meaning and beauty by grasping the spirit of nature and linking it to the beauty of nature. When I was a young architect, I wondered why our ancestors had thousands of years of history but did not pursue changes in architectural styles, and felt that we had little to offer compared to the diverse and 'brilliant' architectural styles of the West. These days, the invention of form in art, is in your think that the effects of the effects of the West is the pursuit of something new. Also, are said to be creative in the West is sometimes different from the South, that means something else, with a person unique originality of the building, it is implementing the believe. It is relevant to individual concept, of course, implementation, and we instinctively try to represent their own identity by highlighting the difference. However, in architectural novelty of the function and environment and simply to pursue a change for change without monotony of freshness, fashion consumption as a value is to overcome, but not resolve the existential anxiety of the human. In particular, the form of writer and cultural nature and personality to the implementation of the spirit of a deep-rooted desire and lost connection, it is more problematic. Unlike Eastern Art and architecture of originality than tenacity of nature and help interested in the settings of the mental and aesthetic experience by connecting to the gieui. Therefore it is important to identify every location, type, materials and experience in terms of complementary to connect with nature the pursuit of beauty and singularity.Nature is most beautiful and unique. As a result, much of architectural invention and discovery of the possibilities and implications of nature, don't have Oulim interested in a symbiotic relationship. Furthermore, the East is a human existence not rely on a display of wealth and power stability and just aware and accept the existence of himself and forming a unity with nature. Means it's a human self liberation from an object. Therefore, originality in the East is not due to differences from others, but is achieved by itself by encountering the roots, essence, and source of nature. In other words, Oriental creation and beauty are not created by humans, but discovering and highlighting what already exists in nature. Therefore, in order to create, it was necessary to empty the mind and 'naturally' the state of the mind to reach the state of self and nature or the state of good. Unity in Eastern architecture has comprehensiveness, which means unity with the situation and environment, rather than unity of form. In other words, architecture or art may be damaged by changes in the environment, and may change and adapt. Oriental painting is not a closed work that emphasizes the copyright of the artist, but is an open work that the owner or viewer can add poetry. What is important here is not the workability, but the intuitive experience of symbolism. In other words, the essence of painting is not in the painting itself, but in the mind of the person who sees it. The comparison between the creation of concluding words and the consciousness of the East and the West about beauty is not to discuss either superiority or inferiority, but to highlight the depth and significance of the difference. It is not a coincidence that the West, which focuses on logic and form, has contributed a lot to the development of architectural styles, and the East produces many excellent examples of decorating gardens. Our architect now needs to think about the advantages and limitations of Western architectural techniques through an understanding of the creative process and aesthetic consciousness of traditional Korean architecture. In addition, buildings and environments should be designed so that the architecture we pursue does not lose the sympathy of people living in our society and lose the harmony with the natural beauty of the country, which was called Geumsugangsan. I still see most Korean leading architects objectively comparing and arguing 'entrepreneurial modern architecture' and 'conservative traditional architecture' through analysis of form, style, and space. On the other hand, most architects focus on the pursuit of "works" in authoritarian thinking, and even in architectural decisions, only experts sit around and evaluate photos without considering the user's judgment. And you experience the use of Western language for architectural ingenuity and aesthetic evaluation. We should recognize that the purpose of architecture is not to create works of art or beauty. We evaluate architecture by form, tone, texture, space, etc. because we see architecture as a structure of the conscious world and architecture as a closed genre work. However, it will have a greater impact on the meaningful lives of ordinary Koreans only when our architecture is connected to the symbols and semantic systems of Eastern or Korean culture and is incorporated with national and historical memories. We should remember that the absolute attitude of the West toward originality and beauty and the relativistic attitude of the East are complementary to each other and have different usefulness. Different approaches are needed for public buildings that emphasize authoritative and commemorative, and for everyday environments that emphasize peace and friendship. It can be said that the West has aesthetics in philosophy, and the East has philosophy in aesthetics. If the West tried to grasp truth and beauty rationally, the East felt it emotionally. It can be said that Westerners lived scientifically and Asians lived artistic. Western architecture creates a sense of distance between nature and humans, and Eastern architecture rejected this distinction. Don't our architects now need the courage to focus on enriching their lives by creating ordinary, decent, and good architectures rather than creating unusual "works" and attracting attention and receiving awards? Isn't Oriental architecture making us feel the extraordinary nature in ordinary life? I think that the beauty of oriental architecture cannot be sufficiently expressed in pictures. This may be because it is poetic rather than dramatic. This may be because the meaning and value cannot be fully understood without experiencing and grasping the connection with nature. The essence of Oriental architecture is the beauty of Sanjo or Wajo, which is more generously open than the beauty of strict formality, and is to beautify the connection between the shape of the architecture and the interior space, and the natural landscape.