http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
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".
지구르트 레버렌츠의 후기 교회당 건축에 나타난 뉴 브루탈리즘의 의미에 관한 연구
김현섭 한국건축역사학회 2010 건축역사연구 Vol.19 No.5
The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history. 이 연구의 목적은 스웨덴 건축가 지구르트 레버렌츠(1885-1975)의 후기 교회당 건축에 나타난 뉴 브루탈리즘의 의미를 고찰하는 데에 있다. 그의 경력의 대미(大尾)를 장식한 성 마가 교회당(1956-64)과 성 베드로 교회당(1962-66)은 투박한 벽돌의 건축어휘를 사용한 점이 가장 두드러진다. 바로 그 투박한 벽돌의 어휘야말로 레이너 배넘(1966)으로 하여금 레버렌츠를 뉴 브루탈리즘과 관련해 논하게 한 근거로서, 이 연구가 주목하는 바이다. 본고는 개별 건축의 해석적 차원 및 역사성의 차원, 두 가지 측면에서 이 건축물들이 갖는 브루탈한 성격을 탐구한다. 첫째, 개별 건축적 차원에서 두 교회당은 공히 ‘야수성과 성스러움 사이의 유희’라는 표현으로 해석할 수 있다. 거친 벽돌-모르타르 축조법과 예배실 천장의 볼트 구조가 각각 야수성과 성스러움을 상징하며, 투박한 벽돌의 볼트면에서 둘이 교감하고 유희하기 때문이다. 둘째, 역사적 차원에서 볼 때, 두 교회당은 신 경험주의라는 타협으로 인해 교착된 스웨덴 근대건축에 커다란 도약을 보임으로써 새로운 돌파구를 타진하였다고 볼 수 있다. 그리고 이차대전 후 “복지국가의 건축”으로서 영국에 전파된 신 경험주의(혹은 뉴 휴머니즘)의 타협적 태도는 젊은 건축가들의 반발을 야기하며 뉴 브루탈리즘을 태동시켰는데, 이 용어 역시 스웨덴에서 처음 사용된 것으로 보인다. 레버렌츠의 후기 교회당 건축은 독자적 배경 가운데 있었으나 그 흐름을 고국에서 확인했다는 측면에서도 의의를 갖는다. 결론적으로, 성 마가 교회당과 성 베드로 교회당은 그 브루탈한 건축 특성으로 인해 레버렌츠라는 건축가의 개인 경력에 있어서는 물론이고 스웨덴 국내외의 건축사적 측면에서 중대한 의미를 갖는 건물이라 할 수 있겠다.