1960년대 말 김수근의 도시건축에 나타난 인공대지에 관한 연구

최림(Choi, Lim),김현섭(Kim, Hyon-Sob) 대한건축학회 2015 대한건축학회논문집 Vol.31 No.1

The purpose of this research is to analyse Kim Swoo Geun"s concept of the artificial land illustrated in his article "Urban Image of the Future" (1962) and to consider how the concept was applied to the proposals of his two urban architecture projects in late 1960s - Sewoonsangga (1966~67) and Yeouido Master Plan (1969). His article shows that the causes of his adoption of the artificial land were related to "segregating a pedestrian road from a motor way", "increasing a building floor area along with securing a large green space", "giving dwelling units flexible sizes", and "longing for futurism", but of course the artificial land idea was applied to the two projects in varying degrees. Nevertheless, "segregating a pedestrian road from a motor way" was the most clear factor of the artificial land in the two projects, and "longing for futurism" was a fundamental inspiration for both of them. Also, because the size of the projects was enlarged from one building to an urban plan, if comparing the two, this paper argues that Yeouido Master Plan came to closer to Kim Swoo Geun"s "Urban Image of the Future" than Sewoonsangga. Even though Kim"s acceptance of the artificial land concept could be criticized for its limitation in execution, especially owing to the gap between ideal and reality; it can be considered significant enough to weigh up both Kim"s and Korean architecture"s developmental phases within the world architectural geography and to expose the deep strata of Korean modern history.

후지모리 테루노부 건축의 돌출기둥에 관한 연구

김현섭,Kim, Hyon-Sob 한국건축역사학회 2012 건축역사연구 Vol.21 No.6

This paper aimed at investigating into the origin and meaning of the Japanese architect Terunobu Fujimori's 'piercing column', and drew a conclusion as follows. First, the piercing column that made its first appearance in his architect debut work Jinchokan Moriya Historical Museum (1991) was conceived unexpectedly from pencil lines on a sketch that went through over the building's roof. And the tree-like natural treatment of the column's surface was influenced by Takamasa Yoshizaka's description of a Mongolian mud-house. Second, most of piercing columns in his later works have nothing to do with a structural role as in Jinchokan, but were designed for a visual effect and as a symbolic gesture. Again, they allude to a tree in nature through a roughly peeling treatment of the surface. Third, considering his ideas in History of Humankind and Architecture (2005), his column could be related to a universal origin of architecture and a symbol of the sun-god faith, and in particular to independent columns of Japanese Shito shrines, such as 'Onbashira' in Suwa and 'Iwanebashira' in Izumo. That is to say, the Fujimori column is a medium that implies the animistic nature-faith of Japan. Nevertheless, Fujimori's naturalism hints at a disquieting quality through an intentional artificiality and a provocative conflict between structure and finish of a building, which might be one aspect of the modern condition, 'uncanny'.

현대 건축의 언캐니와 탈역사 논의 - 앤서니 비들러의 『The Architectural Uncanny』 (1992)를 중심으로 -

김현섭,Kim, Hyon-Sob 한국건축역사학회 2015 건축역사연구 Vol.24 No.4

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire, on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.

후지모리 테루노부 건축의 동굴 개념에 대한 고찰

김현섭,Kim, Hyon-Sob 한국건축역사학회 2014 건축역사연구 Vol.23 No.4

This paper aims at researching the cave concept of the Japanese architect Terunobu Fujimori and the result could be summarised as follows. First, a cave is Fujimori's only theme related to the interior space. He set some design guidelines for practice concerning openings of the wall and finishing materials of the interior, following the two major characteristics of a cave: 'comfortability' and 'homogeneity in material'. And 'fire' was also the premise in the cave as a 'spirit' of the space. Second, Fujimori applied the concrete guidelines to Tanpopo House (1994~95), which had in fact borne the ideas. Yakisugi House (2005~07) that took the cave as its design theme showed the transition of his cave concept, from closedness to openness. Third, though his cave concept might deserve the criticism that it is inclined to 'image' rather than 'essence', it illustrates that he seeks after an archetype of human dwelling before the purity of the original space was tarnished with rationality and abstraction. And the cave idea allows the seemingly contradictory 'sachlich' and 'surrealistic' features to coexist. Summing up, Fujimori's cave concept proves that his architecture is a rejection of the Cartesian modernist ideal and the contemporary architects' desire for dematerialisation. In a fundamental level, however, it is a result of his strategic choice induced by his own primary principle that his building must not be similar to any styles in history or any other architects' works in the world.

민족 정체성의 건축적 구현: 1900년 전후의 핀란드 민족낭만주의 건축에 관한 고찰

김현섭,Kim, Hyon-Sob 한국건축역사학회 2005 건축역사연구 Vol.14 No.4

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

알토의 마이레아 저택 미술전시개념에 나타난 일본주택 도꼬노마의 영향에 관한 연구

김현섭,Kim, Hyon-Sob 한국건축역사학회 2006 건축역사연구 Vol.15 No.3

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

미학적 놀이 개념과 알바 알토의 건축

김현섭,Kim, Hyon-Sob 한국건축역사학회 2010 건축역사연구 Vol.19 No.2

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is "Man the Player" as well as "Man the Thinker", of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjo Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

고전주의의 재토착화와 구축적 논리의 문제 - 군너 아스플룬트의 우드랜드 채플(1918-20)에 관한 연구 -

김현섭,Kim, Hyon-Sob 한국건축역사학회 2011 건축역사연구 Vol.20 No.4

The purpose of this paper is to research Gunnar Asplund's Woodland Chapel (1918-20) in terms of the revernacularization of classicism and to investigate into the matter of the constructional logic. The term 'revernacularization of classicism' was used by Alan Colquhoun to explain the process to return to the pure sources of classical architecture, and the case of a successful fusion of classicism and vernacular traditions was suggested by Demetri Porphyrios through Scandinavian Doricist sensibility in the early 20th century. Porphyrios's classicism, not as style but as sensibility, is premised on a constructional logic of vernacular, and is to achieve an aesthetic quality by its mythical elaboration. Woodland Chapel, a representative of the Scandinavian Doricism according to him, illustrates characteristics of the revernacularized classicism as in the fact that it thickly displays vernacular images at the same time as relying on classicism; in the return to primitive simplicity; and in the mythopoeic power. However, the constructional logic of this building was obscured in the capital of the portico columns, the interior dome, and the whole structure of the roof. Confronting this paradox, we have to remember that although Porphyrios emphasized the constructional logic he opened an aesthetic exit of the mythical elaboration, which is in accord with the concept of the tectonic as the poetics of construction. Woodland Chapel assumes atectonic features but is never anti-tectonic. Asplund intensified a poetic effect by setting the myth over construction in the chapel, and so it can be seen as a key example of the revernacularized classicism with the Doricist sensibility.

보성전문학교 도서관(1935~37)의 건축적 연원 탐구

김현섭,Kim, Hyon-Sob 한국건축역사학회 2012 건축역사연구 Vol.21 No.4

The purpose of this paper is to trace the architectural origin of the Bosung College Library (1935~37), which is currently used as Graduate School Building of Korea University. So far, numerous books have repeatedly described that the library was modelled on a Duke University library, but without any serious consideration. Through literature review, field-trip and archives investigation, this research discovered new critical facts concerning the origin of the building. First, Dong-Jin Park, the architect for Bosung College, saw a photograph of the Duke library in a Duke University catalog possessed by Chun Suk Auh, Professor of the college at that time. Second, the Duke library that he saw in the catalog, which might possibly be Bulletin of Duke University (Feb. 1931), is certainly the present Perkins Library (1930) in Duke University West Campus. Third, the architect probably referred not only to the library but also to other Duke buildings such as School of Medicine and The Union, of which photographs were also published impressively in the Bulletin. Although the Bosung College Library was inspired by the Duke buildings, however, it is undoubtedly a creative design work by the architect Park. Arguably, these findings broaden our view of Korean architectural history in the modernization period, and it is more than a confirmation of just one building's origin.

폐허와 소생의 환시(幻視)

김현섭(Kim Hyon-Sob) 대한건축학회 2012 대한건축학회논문집 Vol.28 No.9

This paper aims at researching the Japanese architect Terunobu Fujimori’s (1946~) diploma design 〈Bridge: The Method of Ledoux for Giving Reality to Images through Illusion〉 (1971) and its relation with the present works, focusing on the scenario of ‘City ruined->Nature reborn->Building reconstructed’ and on Claude-Nicolas Ledoux’s method of illusion. Fujimori’s suggestion of totally ruining the existing city Sendai to solve pollution problems caused by its industrialization is a strong reaction to modern civilization. Yet his design of the machine-like bridge on the ruined city revealed a dilemma that he was still bound to the technology-oriented idea of the time. On the other hand, the reason for his adopting the concept of Ledoux’s illusion is to give reality to the metaphoric scenario of ruin-rebirth-reconstruction. Now it looks certain that Fujimori continues this ruin & rebirth metaphor for his present design though often invisible, but the technotopic gesture of the Archigram-inspired bridge in the diploma project was rejected, with being dramatically satirized in case. And the concept of illusion was replaced by fantasy elements or a reference to surrealist paintings. In conclusion, this paper argues that the ruin & rebirth metaphor in Fujimori’s architecture is a symbolic clue indicating a civilization after technological utopianism.