Louis I. Kahn의 건축에서 나타난 벽의 개념에 관한 연구

이병욱,이장민 대한건축학회지회연합회 2014 대한건축학회연합논문집 Vol.16 No.5

본 논문은 루이스 칸의 건축에서 보이는 벽의 개념을 고찰하는 것을 목적으로 한다. 칸의 건축은 단순히 기술적이고 합리적인 결과물이 아니라, 정신적이며 형이상학적 의미를 가진 철학적 개념의 건축으로 이해되고 있다. 루이스 칸은 건축의 근원성에 대한 질문에 답하려고 했던 건축가이며, 빈센트 스컬리는 칸을 ‘낭만적 고전주의자’라고 평가하고 있다. 그가 사용하는 단어 ‘폼과 디자인’, ‘측정 불가능한 것과 측정 가능한 것’, ‘침묵과 빛’ 등의 개념적 대립어에는 관념적 개념과 실재적 개념이 상호 연결되어 있음을 알 수 있으며, 칸은 건축적 존재감은 재료와 구축방법 및 과정에 있다고 생각하고 있다. 이런 점에서 본 연구의 내용은 칸의 기록과 작품에서 나타나는 건축적 사고의 개념과 그와 관련된 벽의 개념의 관계를 고찰하는 것이다. 건축요소로써의 벽이 칸의 건축에서 어떤 생각을 바탕으로 구축되었는지를 밝히며, 결과적으로 벽에 대한 개념을 토대로 칸의 건축에 대한 철학적 해석의 지평을 넓힐 수 있는 가능성을 마련하고자 한다. This paper examines the meaning of wall which is reflected in the architecture of Louis I Kahn's Architecture. Kahn's comprehensive work is understood not as a mere technical and rational result of a certain architectural idea but the thing of psychological and metaphysical implications. Louis I, Kahn was an architect striving to find an answer to the question of architectural originality. In particular, according to Vincent Scully valuated Kahn as ‘a romantic classicist.’ The conceptually opposing terms that he often used including ‘Form and Design’, ‘Measurable and Unmeasurable’, ‘Silence and Light’, etc., demonstrate inevitable association of the ideological concept with the physical one, as he believed that the architecture has existence in it presence through the materials and processes. In this context, this paper attempts to analyze the relationship between the architectural idea and the notion of wall which is a physical representation of that idea, appearing in the documentations and works of Kahn’s works. The wall as an architectural element is deconstructed to reveal on what ground or thought it was established in his architectural practice, hoping to be an opportunity to expand the possibility for philosophical interpretation of Kahn’s architecture.

Louis I. Kahn의 건축에서 로마의 영향에 관한 연구

이병욱,이장민 대한건축학회지회연합회 2015 대한건축학회연합논문집 Vol.17 No.6

본 논문은 루이스 칸의 건축에서 로마에서의 건축적 경험에 대한 영향을 고찰하는 것을 목적으로 한다. 칸의 건축에서 보이는 벽돌과 콘크리트의 두터움과 외부형태에서 보이는 매스감은 칸은 건축을 고전적인 인상의 건축으로 각인시키고 있다. 칸 건축의 평가에 있어 역사와 기술간의 조화를 도모하였다는 평가는 칸의 건축에 역사적 건축의 흔적이 내재하고 있으며, 고전 건축이 칸 건축의 기본적 근간이 되고 있음을 말한다. 칸이 유럽으로의 여행을 통해 고대건축의 유적이 보여주는 특징을 자신의 건축에서 재해석하여 표현하였고, 칸이 로마의 여행이 단순히 건축적 답사가 아니라 자신의 건축적 사고 형성의 배경이 되었다고 기록하고 있다. 이런 점에서 본 연구의 내용은 칸의 건축적 개념 및 건축작품에서 보이는 특징과 로마 건축의 인상의 관계를 해석하는 것은 내용으로 한다. 결과적으로 본 논문은 막연하게 칸의 건축에서 보이는 고전적인 인상의 배경을 추적함으로써 칸 건축에 대한 건축적 해석의 지평을 넓힐 수 있는 가능성을 마련하고자 한다. The purpose of this research is to study that the architecture of Louis Kahn is inspired by his architectural experiences in Rome. The thickness and external mass through brick and concrete in the architecture of Kahn gave many people the classical image. Kahn has included the historical trace of architecture into his architecture, and has valuated to harmonize both the history and technology. It means that the classic architecture is the fundamentals of Kahn’s architecture. Kahn re-interpreted the features of the classic architecture remained as ruins through Europe travel, and shows them to his architecture. Kahn’s trips throughout Europe were not exploration, but they provided inspiration for his architecture. Therefore, this study interprets the relation between the architectural concept and features of Kahn and the impression of Roman architecture. Finally, this study provides more extensive potential of the architectural interpretation for Kahn’s architecture as tracing the backdrop of the ambiguous classical impression in the architecture of Kahn

Louis I. Kahn의 건축에서 룸의 의미에 관한 연구

이병욱,이장민 대한건축학회지회연합회 2016 대한건축학회연합논문집 Vol.18 No.3

본 연구는 루이스 칸의 건축에서 드러나는 룸의 특성과 의미를 고찰하는 것을 목적으로 한다. 루이스 칸은 건축을 ‘공간의 사려깊은 창조’로 인식함으로써, 공간이 건축의 중요한 본질적 가치임을 표출하고 있다. 칸의 건축에서 빛과 공간을 상호 연결시켜 감동적인 분위기를 연출하는 것이 칸 건축이 보여주는 깊은 묘미 중의 하나로 평가되고 있는 것도 칸의 건축에서 공간이 중요하게 다루어지고 있음을 암시한다. 칸이 자신의 건축을 설명하기 위해 룸이라는 특정 개념을 사용하고 있다. 이런 점에서 본 연구의 내용은 공간이라는 측면에서 건축에 대한 그의 사고, 룸의 공간적 모습의 특징, 그리고 칸이 룸 개념을 통해 궁극적으로 표현하고자 하였던 의미를 고찰한다. 결과적으로 본 논문은 칸의 건축에서 보이는 건축적 인상이 그의 공간적 개념과 연관되어 있음을 추적함으로써 칸 건축에 대한 건축적 해석의 지평을 넓힐 수 있는 가능성을 마련하고자 한다. The purpose of this research is to study the characteristics and meanings of room revealed in the architectures of Louis Kahn. Kahn expresses a space as an important essential value of architecture by recognizing the architecture as ‘thoughtful making of spaces’ . The impressive atmosphere by interconnecting light and space in Kahn’s architecture is appreciated as a subtlety of his work and this also implies that space is important in his work. Kahn uses a certain concept of room to explain his architecture. In this sense, this study inquires Kahn’s thinking about architecture in the aspect of space, the room’s spatial characteristics of appearance, and the meaning in the concept of room which Kahn ultimately tries to express. As a result, this study is to provide a possibility of expanding the horizon of architectural interpretation in Kahn’s works by tracing that the architectural impression in his architecture is linked to his spatial concept.

루이스 칸 병원건축의 특성에 관한 연구

김지환(Kim Ji-Hwan),임영환(Lim Yeong-Hwan) 대한건축학회 2007 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.27 No.1

The purpose of this study is to research how Louis I. Kahn's architectural concepts are reflected on his hospital architectures and examine the characteristics of them. The methods of this study are, first, examination of Louis I. Kahn's architectural concept through documentary records. Second is an overall research of the hospital architectures of Louis I. Kahn and analysis of his application of his architectural concepts to the three of his architectures which are, Philadelphia Psychiatric Hospital, AFL-CIO Medical Service Center, and the Ayub Central Hospital of Bangladesh. Third is examination of the connections his hospital architectures and his other works. From this study it can be seen that Louis I. Kahn's hospital architectures are some of the beginning works of architecture, and they are deeply related to his architectures of other kinds. Also, his architectural concepts can be clearly seen. On account of this matter, this study can be used as a very helpful document, which can be of a great reference when establishing plans of new hospital architectures, by analyzing Louis I. Kahn's hospital architectures which are very different from the function-based hospitals of the past.

승효상과 Louis I. Kahn의 건축에 나타난 `비어있음(Emptiness)`의 개념에 대한 연구

최지연(Choi, Jee-Yeon),이영수(Lee, Young-Soo) 한국실내디자인학회 2016 한국실내디자인학회논문집 Vol.25 No.5

This study is intended to examine the various kinds of emptiness that are shown in the empty spaces created by Hyo-Sang Seung and Louis I. Kahn. Architecture creates the usefulness of a certain space thanks to its emptiness. The word, ‘Emptiness’ has the following meanings, ‘non-fulfillment’, ‘non-existence’, ‘emptiness’, ‘blankness’, ‘non-visibility’ and ‘non-limitation’, etc. Such concepts of emptiness can be broadly divided into ‘ideological emptiness’, ‘aesthetic’ and ‘architectural spatial’. Comparisons regarding such concepts of emptiness as they are expressed in the architectural spaces created by Hyo-sang Seung and Louis I. Kahn shall be identified in this study. Hyo-sang Seung tried to leave numerous open possibilities which can contain everything into a certain space since ‘emptiness’ is not being used at this moment. Louis I. Kahn tried to contain into a space the essence and silence of that space before something that exists is created. The ‘emptiness’ created by Hyo-sang Seung and Louis I. Kahn is a specific space which can contain more kinds of non-visible spaces than some visible ones. Thus, such spaces may contain various potentials which are possible because they are empty, because of changes in nature and time, and because of silence and intentions going beyond an artist’s original intent.

루이스 칸의 건축에서 ‘빛’의 시간적 의미와 그 건축적 표현에 관한 연구 - 장­프랑수아 리오타르의 ‘숭고’와의 유사성과 그 존재론적 의미를 중심으로 -

송나은,오장환 대한건축학회지회연합회 2023 대한건축학회연합논문집 Vol.25 No.1

This study focuses not only on their similarity between J. Lyotard's ‘sublime’ and L. Kahn's idea ‘light’ but also on its architectural expression of the light as ‘time.’ For this purpose, the historical and philosophical backgrounds of ‘American sublime’ and significances of Kahn's architectural ideas are analyzed. Ultimately, this study finds that the ‘sublime’ is substituted to Kahn's ‘light’ as well as that their architectural characteristics such as 1) Structure - light that makes people realize existence, 2) Exposed Material – the light that reveals an essence, and 3) Relative Size – the light that forms hierarchy of space in Kahn's architecture. To sum up, Kahn's idea ‘light’ are summarized as follows. Firstly, through the structure, L. Kahn intends to catch the ‘time’ and evokes wonder and surprise of experiencing space by an indeterminacy of light. Secondly, Kahn exposes a material to find an essence which reveals an architectural existence, and natural light to catch time by different appearances of materials every moment. Finally, it is Relative Size – the light that forms hierarchy of space. Through the light varied in 'darkness-brightness' depending on relative size of space, L. Kahn creates a hierarchy between spaces and make to experience a changing space, and finally to feel an emotion of surprise and wonder. In conclusion, L. Khan realizes light as a medium for grasping time, and succeeded in restoring an essence of architecture, monumentality of architecture which had been lost in an existential sense.

Louis I. Kahn의 디자인 개념과 형태 요소에 따른 평면구성 SCHEMA에 관한 연구

송석현,차명열,김원갑 대한건축학회 2004 대한건축학회논문집 Vol.20 No.3

Design is a result from representation of visual language by designer's creative thinking and reasoning, and operated only in our internal organization system. Design as ill-defined problem cannot be described logically and perfectly. Depend on situation, design require subjective analysis. and It has the organization of What is Rank character. But because "Concept" is only considered in the designer's thinking system, shape vocabularies that actually can be used for expressions of design are extremely restricted. Sometimes design should start with changing situations, unclear requirements, subjective analysis. But design concept can control design thinking system from starts to productions. Design concepts are stored in our brains and retrieved as three major types such as elements, relationships and schema. One of these words, the schema that formed by problems settlement and process repetitions for the best conclusion, not only play an important part in the designer's thinking system about a specific problem but also appeared by distinctive features and included by connotations as like a designer's ideology. At this point. The purpose of this study is that analyze not only the formative expression but also modeling process of design elements in modern architectural design to establish a clear-system of "Design Operating System" and to show the "Characteristic of Plane Organization" by the he Architectural Design Elements and the Relationship through the Design of Louis I. Kahn. and Design knowledge as elements, relationships and schema have been explained to understand "Design System" operated in our brains. Upon these studies, design of Louis, I. Kahn have been analysed.

Louis I. Kahn의 건축에서 감각의 의미에 관한 연구

이병욱,이장민 대한건축학회지회연합회 2019 대한건축학회연합논문집 Vol.21 No.6

The purpose of this paper is to research the meaning of sense in Louis Kahn’s architectural works. This proves relation the human sense with the emphasis of tactile and visual sense in the mass shown in Kahn’s architecture in the view point of architecture experience. Kahn had revealed that architecture is based on the condition of reality by expressing specific time and place in process of giving form. The kahn’s architecture revealed as a sensual reality is interpreted as the recognition of architectural importance experienced through human’s sense, in the meaning that tactile sense is the way to feel their present physicality with the most primitive sense of humans. This means that Kahn intended to place human beings as the subject of experience through the sensory expression at the root of architecture. As a result, this study is to establish a possibility of expanding the horizon of architectural interpretation in Kahn’s works by seeing that the human and architecture through concept of existence in his architecture is related to his architectural experience.

미학(美學)적 분석으로 본 루이스 칸 건축의 구조주의적 해석 -뤼힝거와 베네딕트의 구조주의적 해석 비판을 중심으로-

권태일 한국건축역사학회 2017 건축역사연구 Vol.26 No.6

One of the reasons why Louis I. Kahn is regarded as a pioneer of Post-Modern Architecture is that his works are interpreted as Structuralism and Post-structuralism in architecture. A. Lüchinger’s interpretation of Structuralism and M. Benedikt’s interpretation of Post-structuralism; especially Deconstruction Theory, in Kahn’s architecture must be proper cases for understanding this context. However, when we precisely analyze their insistence, several fallacies can be found with their incomplete grasp of Kahn’s architectural thinking. The most problematic thing is that they maximize fallibility with focusing only on the analysis of superficial phenomenon, such as formal composition, disposition of space, decorative features, and so on. Therefore, the meaning of architectural essence toward Post-Modern Architecture which Kahn had pursued during his lifetime is sometimes misinterpreted. For this reason, this paper attempt to reanalyze Kahn’s philosophy of architecture deeply with the view of aesthetics which has a key role in both overcoming their fallacies and illuminating the potentiality of Kahn’s architecture. 미국 건축가 루이스 칸이 탈-모던건축의 선구자로 불리는 이유 중의 하나는 ‘구조주의 건축운동’과 칸을 연계하는 뤼힝거의 주장이 하나의 시발점이 되며, 구조주의 사유의 연장선상에 있는 ‘후기구조주의’ 철학, 특히 ‘데리다의 해체철학’으로 칸의 작품을 해석하는 베네딕트의 주장이 또 다른 근거가 된다. 그런데 상기와 같은 주장들을 좀 더 면밀히 살피게 되면, 여러 측면에서 심각한 모순이나 왜곡 또한 존재함을 간파할 수 있다. 뤼힝거는 지나치게 건축 작품의 외형적 유사성 해석에만 치중하고 건축가의 창작(설계) 의도나 작품의 의미 등은 도외시하여, 정작 칸의 건축철학과 구조주의가 본질적으로 무슨 관계에 있는지 알 수 없게 만드는 한계를 보인다. 그리고 베네딕트는 작품의 부분적 현상만을 강하게 부각해 해체론에 적용하면서, ‘해체론적 건축’의 정체성 자체를 왜곡하며, 작품의 해석에서는 건축가로서 칸의 존재(주체의 건축철학)를 배제하면서 논리적 오류를 범하는 모순도 보인다. 이 논문은 이런 문제를 구체적으로 밝혀내기 위해 칸의 건축철학을 심층적으로 분석하고 미학적 분석 체계로 보충하여, 칸의 작품들 중 구조주의적 건축으로 해석된 사례를 중심으로 논리적 왜곡이나 모순점을 정밀하게 밝혀내는 비평적 작품 분석을 진행한다.

Louis I. Kahn의 미술관 건축에 나타난 평면구성에 관한 연구

김홍배(Kim, Hong-Bae) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.3

The purpose of this study is to investigate and analyze the compositional elements of plan of art museums by selecting architectural works, which have strong symbolic meaning when evaluating value, from architectural works by Louis Kahn. First, the centrality of artworks, which are being displayed at the Yale Art Gallery, is complex. It includes three patterns of Void (spatial) Centrality+Symbolic Centrality+Functional Centrality among the five patterns suggested in this study. Second, the ratio system of interior space, which is expressed in the extension of the Yale Art Gallery, can be classified into the floor and walls. The floor used the square 1:1 ratio system. The ceiling used the grid patterns of equilateral triangles (regular tetrahedrons). It was applying a geometric ratio system when creating forms by using one side as a beam and the other sides as decorations of the ceiling. Third, the contours of interior space, which were expressed in Kahn"s works, used the method of forming separate space according to the contouring rule (structural unit) defined by columns, and they were used in constructing the entire space through the integration of separate spaces. Fourth, according to the characteristics that were expressed by artworks displayed within the Yale Art Gallery Extension, the concept of accessibility was not as clear as that of residential buildings, because an approach of respecting existing architecture and context was used, rather than the starting point of interior space, or differentiated circulation, which has the function of a determined position.