- Hongik School of Architecture
72-1 Sangsu-dong, Mapo-gu, Seoul Korea
Hahn Joh
Hongik University, Architecture, Faculty Member
- Gilles Deleuze, Architectural Theory, Philosophy of Film, Philosophy of Time, Space and Time (Philosophy), History Of Body, Time And Space, and 9 moreDeleuze & Cinema, Deleuze and Religion, Henri Bergson, Synaesthesia, Theory, Bergson, Neuroscience, Architectural Design, Promenade Architecture, Phenomenology, and Architecture and Phenomenologyedit
- Hahn Joh was born in 1969 in Seoul, Korea. Graduated from Yale University School of Architecture and studied archite... moreHahn Joh
was born in 1969 in Seoul, Korea. Graduated from Yale University School of Architecture and studied architecture at Hongik University in Seoul. Received the 2009 Young Architect Award, 2010 Seoul Architecture Award in Korea. Presently a professor at HSA(Hongik School of Architecture) and the head of HAHN Design to research/perform architectural/philosophical experiment at the liminal space/time among Architecture/Philosophy/Cinema/Religion. Main built works include M+, P-house, LUMA, ,White Chapel, and major written works include 'Deleuze and Sejima...', 'Time-Image in Kill Bill', 'Spatial City and Temporal City...', etc.edit
The modern society have faced rapid transformation since the mid-1960s. In the center of such change, so-called Post-structuralists played an important role to promote new paradigm based upon the 'Philosophy of difference', which... more
The modern society have faced rapid transformation since the mid-1960s. In the center of such change, so-called Post-structuralists played an important role to promote new paradigm based upon the 'Philosophy of difference', which toppled the long hold hegemony of the metaphysics based upon 'identity'. At the same time, Modern architecture also faced massive challenge from the new architectural trend which emphasized the concept of 'event', 'chance', 'relation', 'contingency', 'indeterminism', 'uncertainty', 'disjunction, and etc. Interestingly these series of concepts are also shared by the philosophers of 'difference' at the same time. So, this study is to find the correlation between the 'Philosophy of difference' and 'Avant-Garde architecture in 1950s to 1970s', which believed to play a pivotal role to transit from Modern architecture to contemporary architecture. First to examine the various aspects of 'difference' by Deleuze's 'Disjuctive Synthesis', Foucault's 'difference', and Derrida's 'diffrance', and next to delve into the concept and design of Team10, ARCHITGRAM, Metabolism, and Situationalsim, to discover how the 'Philosophy of difference' affected the architectural discourse and practice in the 'Avant-Garde architecture in 1950s to 1970s'.
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The concept of space is one of the many concepts of architecture that distinguishes architecture from other disciplines. Notwithstanding its current ubiquitousness, the concept of space was actually created by handful of art historians in... more
The concept of space is one of the many concepts of architecture that distinguishes architecture from other disciplines. Notwithstanding its current ubiquitousness, the concept of space was actually created by handful of art historians in 19C Europe, and since then has changed its meaning and scope as a rather strategic maneuver for architecture to establish its theoretical and professional autonomy among competing fields. However in Korea, 35 years of forced modernization by Japanese colonial rule, and subsequent Korean war, the emergence of spatial terms in korean architectural discourse is quite late in 1960-70s. So, the focus of this study is to investigate how the concept of space emerged, what kind of spatial concepts were particularly developed, and how they are utilized in the post-war social reconstruction era, especially through 〈SPACE〉 and 〈ARCHITECTURE〉, the leading architectural medias since 1960.
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According to Merleau-ponty, our body is defined as being-in-the-world. As our body is actively engaged with its surrounding environment, the body creates its own body-schema with daily habitual experiences. This body-schema synthesizes... more
According to Merleau-ponty, our body is defined as being-in-the-world. As our body is actively engaged with its surrounding environment, the body creates its own body-schema with daily habitual experiences. This body-schema synthesizes corporal senses and embodied consciousness, and creates own body-space suited to survive in a changing environment. This study intends to explore Kim Swoo-Geun's architecture with the body-space of Merleau-Pony. Through his early life in a maze-like neighborhood, study under such prominent Japanese modern architect as Kenzo Tange and Junzo Yoshimura, and the architectural journey with Korean art historian Choi Sun-Woo, Kim Swoo-geun's unique body-schema has been nurtured and the SPACE Headquarter is the embodiment of his body-schema. A traditional study space, a cozy open theater, a maze-like internal circulation, multi-sensory materials, and the sense of poetic depth, all tribute to the Kim Swoo-Geun's body-schema, which culminates in his concept of 'Ultimate Space' and 'Negativisim' as well.
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In the ‘Cinema 1: The Movement-Image’ and the ‘Cinema 2: The Time-Image’, Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links... more
In the ‘Cinema 1: The Movement-Image’ and the ‘Cinema 2: The Time-Image’, Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links of a film. According to Deleuze, the transformation from classic to modern cinema is the transition from closed to open structure due to the breakage of the Sensory-Motor links, which is very similar to new architectural trend after the Modernism. As the classic cinematic world, governed by the Sensory-Motor Schema(SMS), is based upon the linear temporality and causal relationship of the deterministic world, the Modern Architecture obsessed with the conceptual transparency has the architectural SMS of hierarchial organization and perspectival spatiality. Like the cinematic breakage of SMS excited special sensation and affection, the dismantling of perspectival space allows to appreciate 1) the sensuous haptic space, the distructure of conceptually transparent space gives birth to 2) the poetic opaque space of embodied affection, and as pure power and quality 3) the space without function makes oneself feel the ultimate affection of sense of oneself.
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............................................................................................................................................. Abstract The goal of this research is to present the applicability and feasibility of... more
............................................................................................................................................. Abstract The goal of this research is to present the applicability and feasibility of BIPV(Building Integrated Photovoltaic) system in residential building type. As one of green and clean alternative energy, lots of study has been done based on the engineering aspect of photovoltaic system, but only recently the mainstream architectural designers have accepted the design aspect of it. To propogate and populate this system to public, it is critical for our architectural designers to present not only energy‐conscious design proposals, but also aesthetically and economically acceptable proposals. With current construction method and encouraging building policy, BIPV system can be easily incorporated either as weather screen or daylighting device into existing or new building envelope in a economically feasible manner. ............................................................................................................................................. 키워드 : 태양광발전, 건물통합형 태양광 발전, 건물일체식 태양광 발전, 주거형 태양광발전
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The goal of this research is to find a theoretical base of the ecological paradigm, and explore the architectural ramification of the paradigm. To understand the paradigm in a historical and philosophical context, the paradigm is... more
The goal of this research is to find a theoretical base of the ecological paradigm, and explore the architectural ramification of the paradigm. To understand the paradigm in a historical and philosophical context, the paradigm is comparatively analyzed with the contrasting, Descartes-Newtonian paradigm to reveal the influence of each respective paradigm in various fields of science, such as logic, physics, bio-medical sciences, psychology, social sciences, and architecture. The affect in architectural ream is studied to find out the patterns of how the two contrasting paradigms have been materialized since the era of modern architecture and later. At the end, this paper proposes the possible architectural application methods of ecological design process.
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In the ‘Cinema 1: The Movement-Image’ and the ‘Cinema 2: The Time-Image’, Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links... more
In the ‘Cinema 1: The Movement-Image’ and the ‘Cinema 2: The Time-Image’, Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links of a film. According to Deleuze, the transformation from classic to modern cinema is the transition from closed to open structure due to the breakage of the Sensory-Motor links, which is very similar to new architectural trend after the Modernism. As the classic cinematic world, governed by the Sensory-Motor Schema(SMS), is based upon the linear temporality and causal relationship of the deterministic world, the Modern Architecture obsessed with the conceptual transparency has the architectural SMS of hierarchial organization and perspectival spatiality. Like the cinematic breakage of SMS excited special sensation and affection, the dismantling of perspectival space allows to appreciate 1) the sensuous haptic space, the distructure of conceptually transparent space gives birth to 2) the poetic opaque space of embodied affection, and as pure power and quality 3) the space without function makes oneself feel the ultimate affection of sense of oneself.
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The theories of optical/haptic perception provide us contrasting insights into the perception of space in movie and architecture. Through the lenses of these theories, this study aims to analyse the optical and haptical aspect of the... more
The theories of optical/haptic perception provide us contrasting insights into the perception of space in movie and architecture. Through the lenses of these theories, this study aims to analyse the optical and haptical aspect of the medieval library of the film, The Name of the Rose. The dominance of vision over the other senses has been maintained by many philosophers, such as Plato, Aristotle, and Aquinas, and this trend leads to the development of the hierarchical and perspective space of Renaissance and Modern Architecture. Those conceptions of optical space help us not only identify space as clear and distinct three-dimensional entity but also separate the subject and the object. However, tactile/haptic perception is more useful to explain the experience of film and contemporary architecture than optical perception. This haptic space is developed by Alois Riegl, Walter Benjamin, and Gilles Deleuze. This study intends to search for the difference between two perceptions on the architectural space of the movie, examine the relation between architecture and human, space and user.
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The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture... more
The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.
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The goal of this research is to study the topological relationship between Gilles Deleuze's philosophy and Rem Koolhaas' architecture. As the mechanical & deterministic & hierarchial & transcendent paradigm is no more valid in the... more
The goal of this research is to study the topological relationship between Gilles Deleuze's philosophy and Rem Koolhaas' architecture. As the mechanical & deterministic & hierarchial & transcendent paradigm is no more valid in the pluralistic & multifarious contemporary society, a new trend of thinkers have demanded more relational & non-linear & non-hierarchial & immanent paradigm. In this context, French philosopher Gilles Deleuze had tried to substitute his immanent vitalism of Becoming for the transcendent essentialism of Being of western metaphysics, as he has analyzed contemporary society and culture based upon heterogeneous multiplicities and disjunctive synthesis. As Holland Architect Rem Koolhaas has also seen the essence of our contemporary city life as the uncertainty and fluidity of people and goods, his theoretical agony and architectural and urban experiments are well resonated with Deleuzian philosophical experiments as well. So in this Deleuzian context, Koolhaas' design strategies have accommodated the uncertainty and fluidity of contemporary life, and utilized 1) the void of multiplicity 2) the surface of becoming 3) the disjunctive programming to overcome the deterministic functionalism and hierarchial composition of Modern Architecture, for the new urban and architectural possibilities.
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With the global warming and environmental crisis, ecological paradigm shift happens throughout various fields of study such as philosophy, science, art, and theology. In the spirit of the second Vatican Council to embrace philosophy and... more
With the global warming and environmental crisis, ecological paradigm shift happens throughout various fields of study such as philosophy, science, art, and theology. In the spirit of the second Vatican Council to embrace philosophy and science and the recent ecumenical movement, an ecological theology comes to the fore to create an ecological discourse within Christian denominations and also to facilitate ecological interfaith communication between different religions. This ecological trend in the theological field tends to criticize the hierarchical dichotomous Platonist thought structure within Christianity and emphasizes the immanent inter-relational aspects, which the modern philosophy of Felix Guattari and Gilles Deleuze shares great similarity with. The goal of this research is 1) to compare the ecological thought system within various trends of ecological theology and modern philosophy, and 2) to study the various inter-relational aspects of modern religious architecture, and 3) to review the possibility of the architectural discourse based upon the ecological thought system from the ecological theology and the modern philosophy.
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Each human era has its own unique architectural embodiment of religious philosophy at the time. Though, many modern religions have developed their own architectural expression based upon each own religious doctrine, one of the main native... more
Each human era has its own unique architectural embodiment of religious philosophy at the time. Though, many modern religions have developed their own architectural expression based upon each own religious doctrine, one of the main native Korean religions, Won-Buddhism, has not developed its own proper architectural expression yet. So, the goal of this research is to find the probable architectural design methods for Won-Buddhism doctrines. 1) The history of Won-Buddhism architecture is comparatively analyzed to find the architectural trend of Won-Buddhism. 2) Modern religious architectural cases are analysed and compared between plastic expression and spatial expression types. 3) Won-Buddhism doctrines are analysed to find key characteristics to be used as architectural design concepts and method. Based upon analyses, the main characteristics of Won-Buddhism doctrine are synchronicity, circularity, and liminality, which are found to be similar to the trans-boundary characteristics of contemporary architecture. In the future, more study on these characteristics and how they are materialized, the probable design methodology for Won-Buddhism Doctrines can be proposed.
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This study is to lay foundation for the ecosophical architectural discourse based upon the non-representational ecological 'image of thought' of Gilles Deleuze's philosophy. Deleuze's non-representational ecological 'image of thought' is... more
This study is to lay foundation for the ecosophical architectural discourse based upon the non-representational ecological 'image of thought' of Gilles Deleuze's philosophy. Deleuze's non-representational ecological 'image of thought' is the becoming-thought image based upon the non-hierarchial becoming between philosophy/science/art/architecture/etc. This ecological 'image of thought' also demands non-hierarchial architectural becoming, which can be found in many modern architectural design process and buildings. In Kazuyo Sejima & Ryue Nishizawa(SANAA) architecture, non-hierarchial architectural becoming are rhizomatic becoming between 1) diagrammatic design process, 2) multiplicitic/virtual spatial organization, 3) becoming/differential/relational boundary/limit, 4) neutralized structure/architecture. In SANAA's architecture, there are no pre-existing hierarchy set either by architect, society, culture, or nature, as users can set themselves their own epistemological/psychological boundaries, spatial organization, rhizomatic relationship in every becoming fashion. SANAA's architecture is the becoming-thought itself of architecture.
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This research is to find the philosophical and historical base of the ecological paradigm, and explore the architectural ramification of the paradigm. To understand the effect of the paradigm shift in a historical and philosophical... more
This research is to find the philosophical and historical base of the ecological paradigm, and explore the architectural ramification of the paradigm. To understand the effect of the paradigm shift in a historical and philosophical context, the contrasting, Descartes-Newtonian mechanical paradigm and ecological paradigm are comparatively analyzed to reveal the influence of each respective paradigm in various fields of science, such as logic, physics, bio-medical sciences, psychology, social sciences, and architecture. The affect in architectural ream is studied to find out the patterns of how the two contrasting paradigms have been materialized since the era of modern architecture and later. At the end, this paper proposes the possible ecological design process in architecture.