Bernard Tschumi의 초기 작품을 중심으로 본 움직임 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2009 한국실내디자인학회논문집 Vol.18 No.1

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday"s behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body"s and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper"s discussion are as follows; First, Tschumi"s movement concept is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi"s movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

스기모토 타카시의 디자인에 나타나는 흔적의 의미에 관한 연구

서정연(Jeong Yeon Suh) 한국가구학회 2015 한국가구학회지 Vol.26 No.1

Interior designer Sugimoto Takashi uses salvaged material and natural thing for aesthetical purpose. These material performs not just as fun stuff but as design tool in order to set up cultural meaning which modern society always lacks for. The method of communicating the meaning is the multi-layered trace on them. There are three types of trace. They are harsh texture of surface, untrimmed outline, and gathering & arrangement. Through these formation methods of trace, Sugimoto can suggest various curtural meanings such as vanishing value of old-fashioned lifestyle, primitive energy of nature, and sincere touch of somebody. As a result, the trace in Sugimoto’s design is an endeavor to exist tradition(the long ago) and nature(the far away) in here-and-now interior space.

테오 판 두스부르흐의 반-구축적 조형특성에 관한 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2010 한국실내디자인학회논문집 Vol.19 No.3

Dutch artist, Theo van Doesburg had shown short but strong experimental aesthetics in his works through De Stijl movement. He played a leading role for editing De Stijl magazine and performed various formative works such as painting, sculpture, and architecture. In 1923 he opened the first De Stijl exhibition cooperated with Cornelis van Eesteren. In this architecture exhibition he showed rich formal spirits of counter-construction in his major design works, that is Maison Particuliere and Maison D’artiste among three houses projects. Formal characteristics of counter-construction can be summed up under two categories, time and space. Analytical results are as follows; First, the characteristics of counter-construction related to time category include two types of two mode. One is linear aspect of time based on the viewer’s movement. The other aspect is simultaneity caused by synoptical effect. These could be proved by the analysis of arrangement of color planes. Secondly, the spatial aspects of counter-construction are produced through two different ways of formal strategies. Van Doesburg arranged cubes in very irregular pattern. This treatment induces ambiguous void and creates feeling of subject’s space. And, through deleting, shifting, and extending he could make dynamic spatial effect by interpenetration between in and out. This fluid space thus introduces movements of one’s gaze and circulation. He denied traditional classical values which had ruled the western aesthetical discipline for centuries and believed that mankind can reach the realm of universal equilibrium by contrast and tension created by counter-construction. In this vein Theo van Doesburg was an avant-garde artist of Hegelian thoughts who adopted the dialectical method without following the formal characteristics from ancestors.

초등학교 실내안전사고의 특성연구

서정연(Suh Jeong-Yeon) 한국실내디자인학회 2003 한국실내디자인학회논문집 Vol.- No.36

베르나르 츄미의 사건개념 연구-『Architecture and Disjunction』을 중심으로-

서정연 ( Suh Jeong Yeon ) 대한전시디자인학회 2019 전시디자인연구 Vol.16 No.1

1968년 5월 혁명에 영향 받은 베르나르 츄미는 근대건축의 실패한 기획인 계몽적 이성과는 다른 길을 추구한다. 그는 국제상황주의자운동의 혁명실천방법과 조르주 바타이유의 에로티시즘적 접근을 기반으로 새로운 건축적 개념들을 주조하였는데, 그 중의 하나가 사건개념이다. 근대건축의 이념인 기능과 달리 사건은 그 성격과 내용이 명확히 규정되기 어렵다. 이에 츄미의 이론서인『Architecture and Disjunction』를 근거로 사건개념을 분석한 바, 다음과 같은 이해를 얻을 수 있었다. 첫째, 사건은 신체적 움직임을 통한 내면적 의미의 갱신이다. 둘째, 사건은 근대건축의 규율을 넘나드는 위반의 기획을 통해 공간의 새로운 가능성을 탐색하고 의미를 발견한다. 셋째, 사건은 신체의 일탈적 움직임을 기반으로 신체-공간의 관계를 질적으로 변화시키며, 격렬하고 급진적 속성으로 인해 폭력에 비유된다. 이상과 같은 사건의 개념적 속성은 그의 Glass Video Gallery와 Le Fresnoy Art Center등의 예시를 통해 확인할 수 있다. Influenced by the May Revolution of 1968, Bernard Tschumi pursues a different path from the enlightening reason, a failed project of modern architecture. He casts new architectural concepts based on the revolutionary practice of the Situationalist International movement and the erotic approach of Georges Bataille, one of which is the concept of event. Unlike function, which is an ideology of modern architecture, event is difficult to define clearly its character and content. After analyzing the concept of event based on Tschumi's theoretical book 『Architecture and Disjunction』, I could understand the followings. First, an event is a renewal of the inner meaning through physical movement. Second, events will explore new possibilities of space and discover hidden meaning through planning violations that go beyond the discipline of modern architecture. Third, events are based on the deviant movement of the body, changing the body-space relationship qualitatively. The events of this change are likened to violence because they must be intense and radical. The conceptual properties of events like this can be found through his exhibition space design Glass Video Gallery and Le Fresnoy Art Center as examples.

'빛과 공간예술'에서 빛에 의한 공간의 표현특성에 관한 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2005 한국실내디자인학회논문집 Vol.14 No.4

현대건축의 공간구성에서 나타나는 현상학적 중심성에 관한 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2006 한국실내디자인학회논문집 Vol.15 No.2

Gerrit Rietveld 가구디자인의 조형특성연구

서정연(Suh Jeong Yeon) 한국가구학회 2009 한국가구학회지 Vol.20 No.4

Gerrit Rietveld who is Dutch architect and furniture designer had explored the plastic abstractness based on the universality of De Stijl principle. He had tried to expand the boundary of furniture design bound to traditional form and decorative aesthetics. Beginning of 20th century, he opened the new aesthetic realm of pure and abstract value for furniture design for the first time. Through this research, the results can be summarized as follows. The characteristics of his deign are abstractness, spatial consideration and tectonic construction. The abstractness is attained by simplifying constructional material into geometrical forms such as straight line, rectangle and square. And he adopted unconventional way of construction in order to increase this abstractness. The space included in his furniture can be expressed in the new technology of joint, the visual transparency using linear material, and the destruction of corners. All these aspects harmoniously helped the feeling of architectural space of flow. Through the exposed frame of furniture, Rietveld emphasized on the tectonic construction by methodological treatment such as piling-up or overlapping material. The characteristics of Gerrit Rietveld's design are abstract, spatial and tectonic. These aesthetical tendencies could be understood as a junction between De Stijl's principles and modern architecture's spatial preferences-flow and extension of space-.

베를린 홀로코스트 메모리얼에서 추상성의 조형적 역할과 의미

서정연(Suh Jeong Yeon) 한국가구학회 2021 한국가구학회지 Vol.32 No.4

Berlin Holocaust Memorial is said to show a new direction in the design of the memorial space. Generally speaking, in addition to exhibitions and educational facilities that specifically inform the historical facts of the Holocaust, a series of figurative sculptures have been created for the memorial itself, with few exceptions. However, Berlin Holocaust Memorial, which is main theme in this work, deviates significantly from this context. Not only is there no figurative or semi-figurative representation of murdered Jews, which is the object of memory to be remembered and memorialated, but it is also difficult to find any expressive image that is expected to show even abstract expressions to some extent. Nevertheless, the memorial has been completed through two design competitions and numerous controversies, leaving a deep impression on many visitors. In this study, I would like to analyze how the abstractness of the project, which has no figurative image of the memorial object, evokes and calls for reflection on the memory of the Holocaust, a tragedy in human history. The Berlin Holocaust Memorial went through a complicated and lengthy construction process, but today it has become a place for many people to visit and remember the tragedy of history. The abstractness shown here reveals that it is not just a visual attribute, but an abstraction that causes spatial and physical experiences, allows open interpretation inside visitors, and an attribute that can never be easily created.

Kuramata Shiro의 가구디자인에서 나타나는 선의 현상학적 이해

서정연(Jeong Yeon Suh) 한국가구학회 2012 한국가구학회지 Vol.23 No.3

Kuramata Shiro’s design has been evaluated as an unseen type of beauty. He created totally different aesthetics from functional furniture by utilizing glass, acrylic, and expanded steel mesh which usually are inappropriate for making furniture. Kuramata told that his design always starts from zero status. By doing so, he could be free from the existing notion and form of furniture. This means that every function and every form must be based on his own understanding and experiment in order to produce newness. Owing to these efforts, we can regard his design as artworks. Kuramata tried to bring forth formative lines inside contour of furniture rather than to deform only the formal outlines of furniture. These lines are very delicate and sometimes ephemeral. But they establish formal potentiality of phenomenological being of beauty. Also those lines are built from humble industrial material but they open the truth of thing itself and introduce the beauty to field of aletheia. At the same time, transcending limitation of function and use, they leave pure form and temporariness. So, lines become a field of Heideggerian rift which produces embodiment of form. We can appreciate his design through these lines that are relatively thin but vivid enough to follow his original world of art.