| Abstract |
| This Study aims to explore the origin and function of patterns in aspect of semiology, and to derive the relativity of architectural material to ornament and characteristics of presentation affects with paradigm. Ornament of urban architecture may start with found imagery or iconography as raw cultural material. Its primary purpose is to render the invisible forces in contemporary culture visible. So that ornament becomes a contingent sign capable of generating an unlimited number of resonances at the best of times. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object of building. Ornament that material and pattern is a composite one, made up of visible as well as invisible forces. Architecture needs mechanisms that allow it to become connected to culture, and achieve new images and concepts continually. A semantic approach, contemporary urban architectural environment communicate over a very wide field, united space and equivocality of boundary, and reflect the culture toward technology that gives newly shape through technical innovation. The study derives three classifications in presentation of ornament: (1) depth orders building components from the deepest to the thinnest (2) compositional material ordered from the most intrinsic to the interior content; (3) interplay between depth and material like differentiation and geometrical pattern. |
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| Key Words |
| 장식, 상징, 패러다임, Ornament, Symbol, Paradigm |
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