건축조형에 나타난 시각정보의 동시성에 관한 연구

Abstract

Synchronicity has emerged as a new physical concept for the time and space since Einstein introduced the concept in the theory of relativity. Considering that synchronicity contains dimension of both time and space, we sense that the contemporary architecture is biased toward the spatial dimension heavily. This can be attributed to the difficulty of concept of time itself, and to a fact that time is hard to be expressed in the form of architecture. Also, the theory of synchronicity did not develop into architectural theories. It is because despite that the architectural space is three dimensional unlike paintings of the Cubism, the painting methods were applied to the architecture as it is. Especially, it is unfortunate that the visual information of a human body was not actively reflected in the architecture, which would have allowed us to naturally perceive the dimension of time. Due to optical characteristics of human eyes, illusion and distortion occurs as shown in the perspective. When eyes move, the visual image consists of a series of instant memory, and naturally the image is perceived in multiple view. Nonetheless, in regard to synchronicity, the modern architecture adopted multi view based on 'transparency' of the Cubism, and thus the three dimensional perspective that is naturally created was dealt in passive manners. Consequently, the synchronicity of the modern architecture failed to acquire singular value like the perspective of the Renaissance era, and remained in the realm of avant-garde originated from the Cubism. The transparency which was influenced by the Cubism showed following tendency in the precedent researches. The existing researches on the theory of transparency endeavor to criticize and revise the theory, or create new architectural space by using the theory as a medium. The progress of transparency was more centered on the dimension of space than time. The researches commonly dealt with the dimension of time passively, and neglected to address on the synchronicity. On the other hand, the researches on transparency has given insight to understand expression of depth in the architecture. The research examines the theory of synchronicity from the aspect of physics, psychology, and philosophy, brings a common flow of visual information to the systematized synchronicity, and pursues to induce 'synchronicity of visual information' that consists of 'instant, phenomenal, and flux synchronicity.' The analysis of contemporary architecture draws physical sense, psychological consciousness, and philosophical meaning from the synchronicity of visual information, synthesizes the outcomes with the dimension of time, and suggests meaning of time from the three perspectives that can be applied to the architecture. Moreover, the research is expected to provide a perspective that combines the theory of time with space to architects so that they could express the dimension of time more extensively, and thus letting spectators experience synchronicity in perceiving aesthetic value of the form of architecture. Synchronicity of visual information is approached from the viewpoint of systematized synchronicity and neurobiological visual information. For visual information, elements of visual perception and memory are added to the 'three visual systems' perceived by an eye and brain. They are systematized as 'instant, suggestive, and continuous visual information' and processed as below. The first step is to bring 'instant, suggestive, and continuous visual information' to the synchronicity in three realms of physics, psychology, and philosophy, to analyze contemporary architecture. The analysis drew the following outcomes. 1. The approach of instant visual information to the physical synchronicity produced 'extension of interior and exterior space with visual transparency,' and this characteristic was named 'instants synchronicity' 2. The approach of suggestive visual information to psychological synchronicity enabled perception of 'suggestive space with overlapped objects from the fixed perspective,' and this was named 'phenomenal synchronicity' 3. The approach of continuous visual information to philosophical synchronicity led to 'understanding of integrated architectural space as the perception of many images is linked by memory,' and this was named 'flux synchronicity' Thus 'synchronicity of visual information' encompasses three concepts: instants synchronicity, phenomenal synchronicity, and flux synchronicity. The second step analyzed figures of contemporary architecture from the perspective of synchronicity of visual information, which drew the following results. 1. Instants synchronicity is closely related to the 'physical sense' of surface materials of architecture that involves quick visual reaction. 2. Phenomenal synchronicity systematically perceives unconscious architectural space, and related to 'psychological consciousness.' 3. Flux synchronicity forms continued flow of the past, present and future, and related to 'philosophical meaning.' As such, the analysis of contemporary architecture from the perspective of synchronicity of visual information revealed that the 'interior and exterior environment of a building is reflected on the surface with instant senses,' and 'suggestive space can be perceived with a person's consciousness of phenomena,' and that the 'architecture is blended into a city and nature as it bridges the past, present and future in continuity.' The result of synchronicity expressed in the form of architecture could be interpreted in a medium of 'visual information' that belongs to the synchronicity of other systems than architectural theories. The third step is synthesis that interprets realistic, relational, and ideological dimension of time in synchronicity of visual information expressed in the form of architecture in its three forms: instant, phenomenal, and flux. The interpretation drew the following results. 1. In terms of instants synchronicity, the perception of a 'sensible instant' lasts from the moment an eye perceives the object with the light and to the present, which takes approximately three seconds. In this analysis, the time is understood as 'real time' of the conventional physical sense, not of the theory of relativity. 2. In regard to phenomenal synchronicity, the 'presentness of consciousness' should be exclusively understood from the perspective of 'relational time' that spans from the unconsciousness to the consciousness without including the past and the future. The concept of memory should be understood from the viewpoint of time that only interprets phenomena that are not granted additional meanings by other sensible signals. 3. Perceiving 'meaning of continuation' by adding the transformed past to the present in flux synchronicity indicates that the dimension of time in a person who observes the space bridges restructured memory of the past and the present, which gives continuity to the past, present and future. In this regard, the time should be understood from the 'ideological' perspective. Thus, in analyzing the form of architecture through synchronicity of visual information, the dimension of time can be variated to provide visual information from the realistic, relational, and ideological perspectives. In the final analysis, synchronicity of visual information and dimension of time that are applicable to the form of architecture are as below. 1. 'Perception of synchronicity' can be a vehicle for spectators to appreciate the form of architecture. To perceive synchronicity, an observer should physically move in a space to evoke sensible effect, figures out a phenomenon with consciousness, and acquires synchronicity as meaningful activity that continues from the past, present to the future. 2. 'Expression of time' can be a creative tool for the form of architecture. From the perspective of physics, psychology, and philosophy alike, the dimension of time should include effort, activity, and struggles of architects to reach consciousness and invest meaning, in addition to the sensible movement of objects that merely change physical locations. Thus, it is only natural that sensible, conscious, and significant movement is interpreted from the perspective of time, and the value of time should be aesthetically invested to emerge as being that has 'sensible, formal, and symbolic value.' The aesthetic value of time allows focusing on 'expression,' and thus invites the viewers to grip the aesthetics of sense, form, and symbol combined with the synchronicity. In summary, in designing architectural space, considering the presence of time provides viewers aesthetic interpretation, application, and perception of 'physical sense of realistic time,' 'psychological consciousness of relational time,' and 'philosophical meaning of ideological time.' Therefore, the synchronicity of visual information assists to include dimension of time in the compositional principle of architecture that has solely focused on spatial dimension so far, and by adopting three forms of applying the dimension of time, the synchronicity can be a norm of value in improving the quality of architectural design.