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1940, 50년대 미국 사라소타 건축학파의 모더니즘 특성과 21세기 초 사라소타 건물의 보존운동
서명수(Seo, Myengsoo) 대한건축학회 2017 대한건축학회논문집 Vol.33 No.3
The Sarasota School of Architecture was the one of the largest collections of modern architecture in the States between the 1940s and the 1960s. This movement pursued not only modernism which started from European origins through Bauhaus by Walter Gropius, but also vernacular architecture which adapted from the Southwest Florida cultures, such as landscape, climate, and life style through making use of climate controlling design and local or native materials. The overall research evolves from the works of a pioneering and representative Sarasota School"s architect: Paul Marvin Rudolph(1918-1997), who actively practiced his authentic design in Sarasota area. Based on Rudolph, this research chose three buildings which were designed by him and considered the most innovative and representative Sarasota School of Architecture"s characteristics as case studies. Moreover, this research explores historic preservation as critical modernism in the Sarasota School of Architecture, not only revealing the historic preservation of America"s vernacular architecture, but also scrutinizing the historic preservation of Rudolph"s designed buildings.
서명수(Seo, Myengsoo) 대한건축학회 2018 대한건축학회논문집 Vol.34 No.8
This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright’s Florida Southern College and Ludwig Mies van der Rohe’s Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright’s Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe’s Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.