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주거공간의 조형요소로서 벽난로 분석 -모더니즘 작가의 주택작품에 나타난 벽난로를 중심으로-
김용립 한국기초조형학회 2008 기초조형학연구 Vol.9 No.5
Even though its importance has rapidly decreased due to the development of diverse heating systems using petroleum and natural gas, the fireplace has taken on the role of a formative element to create forms and of a symbolic element to arouse emotions as well as serving as a supplementary heating facility in a contemporary house. This study has analyzed the forms of fireplaces focusing on houses of Le Corbusier and the modern architects who accepted the principles of Le Corbusier and developed his principles. The purpose of this study is to investigate the properties of the formative principles of fireplaces in these houses. As a result, the characteristics of the formative principles represented in the fireplaces designed by modernist architects can be summarized as follows. First, is the active utilization of geometrical elements as shown by cutting or combining simple solid geometries that include a cubic box, a quadrangular pyramid, a triangular prism, and a cylinder as the basic volume. Second, is the utilization of a carving method that cuts the basic volume or adds some additional elements to a basic volume of a fireplace. Third, is the form creation through combining furniture such as closets, book chests and shelves, or the architectural elements such as columns, beams, banisters, and walls with fireplaces. Forth, is the composition of the front view by utilizing an application of symbolic details and changes in layers. Fifth, is the exaggeration of the forms of lintels or keystones which adorn the upper part of a firebox, or the application of color on them for embellished effects. Even though its importance has rapidly decreased due to the development of diverse heating systems using petroleum and natural gas, the fireplace has taken on the role of a formative element to create forms and of a symbolic element to arouse emotions as well as serving as a supplementary heating facility in a contemporary house. This study has analyzed the forms of fireplaces focusing on houses of Le Corbusier and the modern architects who accepted the principles of Le Corbusier and developed his principles. The purpose of this study is to investigate the properties of the formative principles of fireplaces in these houses. As a result, the characteristics of the formative principles represented in the fireplaces designed by modernist architects can be summarized as follows. First, is the active utilization of geometrical elements as shown by cutting or combining simple solid geometries that include a cubic box, a quadrangular pyramid, a triangular prism, and a cylinder as the basic volume. Second, is the utilization of a carving method that cuts the basic volume or adds some additional elements to a basic volume of a fireplace. Third, is the form creation through combining furniture such as closets, book chests and shelves, or the architectural elements such as columns, beams, banisters, and walls with fireplaces. Forth, is the composition of the front view by utilizing an application of symbolic details and changes in layers. Fifth, is the exaggeration of the forms of lintels or keystones which adorn the upper part of a firebox, or the application of color on them for embellished effects.
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김용립 상명대학교 논문집 1993 상명대학교논문집 Vol.31 No.-
Alvar Aalto was an architect who concentrated on interior space more than any other modern architects. The interiors by Alvar Aalto are not only convenient but also comfortable to use because of functionally will being settled. Aalto applied free curved forms inferred from nature and referred to his projects as borrowing the forms from either ancient Greek and Renaissance Italian architectures or vernacular architectures. 'This approaching method is communicating with one of contemporary architectural movements which is taking a serious view of architectural historicism and provinciality. Aalto who had spent his childhood in Jyvaskyla, Finaland , was influenced on the National Romanticism as a disciple of Armas Lindgren and while going by way of ideal itinerary from Classicism to Functionalism, he established his own peculiar architectural world. In his projects, the rationality of Functionalism and the lyricism of Romanticism are shown with a harmony. Aalto designed from building to furniture, lighting fixtures and door knobs to create harmonious entire environment. As inviting quiet and restful atrium which is enclosed with structures into interiors, he made a communication between interiors and exteriors. Also, in his plans, he contrasted free curved lines and fan shapes with regurally arranged rectangural shapes. Curved walls, rather complicatedly treated ceilings and differences of floor levels are working complexly and shaping various interior spaces. Fixed furnishings such as cloakroom counters in the entranced hall or check conters in the library are shown rather free curved shapes due to little structural limitations. Various shapes of skylights are used not only as light sources but also as elements which vitalize on ceilings. Before Aslto presented the furniture of modern concept, during many years , he designed a lot of furniture which can be seen as Classicism. In this period, he acquired the knowledge about classical styles and awaked to the beauty of historical styles. By introducing bentwood in furniture manufacturing, Aslto could produce high quality standardized wooden furniture in a great quantity. His furniture, with the development of wood bending technology, showed new forms. On the basis of profound learning about historical styles and of wide understanding about various architectural movements, Aalto synthesized the concepts lead from them and embodied his independent working world. His works present a direction which today's architecture and interior design should take in future.
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리챠드 마이어의 작품에서 보여 지는 옥외구조물에 관한 연구
김용립 한국공간디자인학회 2010 한국공간디자인학회논문집 Vol.5 No.1
본 연구의 목적은 마이어의 작품에서 보여 지는 옥외구조물의 역할과 형태적 특성을 분석하여 그 특성을 파악하는 데 있다. 연구의 결과, 다음과 같은 사실들을 이끌어 낼 수 있었다. 먼저, 옥외구조물의 역할은, 1)구성적 관점에서, 공간을 한정하고, 축의 시발과 교차, 종결을 명확히 하며 배치구성 상 균형을 유지하는 역할을 한다. 2) 형태적 관점에서, 외부공간에 형태를 부여하고 외부공간을 형태 지으며 건축외관에 조형적 활기를 불어 넣는다. 3) 기능적 관점에서, 외부전망을 조망하는 전망소로 사용되고 앉아 쉴 수 있는 공간을 제공하며 때로는 승차장으로 쓰여 지기도 한다. 다음으로, 마이어의 옥외구조물의 형태적 특성은, 1) 건축구조요소들을 솔직, 간결하게 표현하고, 2) 기하학적 곡선을 적용, 절제된 부드러움을 표현하며, 3) 벤치나 분수, 조각과 같은 요소와 결합하여 새로운 형태를 창출하며, 4) 두터운 지붕이 가는 기둥에 의해 가볍게 들려있게 보이게 하며, 5) 닫힘과 열림, 면재와 선재, 수평재와 수직재의 절묘한 조화를 통해 조형성을 획득한다. The purpose of this study is to investigate the role of outdoor structures seen in the works of Meier and their characteristics by analyzing the formative properties. The findings of the research are as follows. First of all, the role of outdoor structures may be classified in terms of composition, form, and function. 1) From the viewpoint of composition; it restricts space, maintains balance, and defines start, cross point, and ending of the axis. 2) In terms of forms; it forms outdoor space, gives form to the space and provides formative energy to the elevations. 3) In terms of function; it takes on the role of an observatory, provides a space in which you may take a rest sitting on a bench, and may be utilized for a cab/bus stand. As for the formative characteristics of the outdoor structure in the works of Meier, it 1) expresses elements of architectural structure; 2) expresses moderate softness by applying geometric curves; 3) creates a new form by combining with a bench, fountain, and sculpture; 4) emphasizes formative characteristics, which make you feel a heavy roof floating in the air supported by slim columns; and 5) obtains formative characteristics with excellent combinations of closing with opening, plane materials with linear materials, and horizontal elements with vertical elements.
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