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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.
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.
서정연(Suh, Jeong Yeon) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.4
Interior space of modern society has a request for non-functional considerations as well as a need for function. French sociologist Jean Baudrillard defined this phenomenon as a dialectical relationship between the functional system and the non-functional system in his book 「The System of Objects」. The main goal of interior design is the pursuit of non-functional aspects which can satisfy emotional needs of human being without ignoring functional side. This means that designer should exceed the limitation of the functional system and overcome it by his own idea and method. Under this recognition, this paper tried to understand how Shiro Kuramata and Takashi Sugimoto accomplished the overcoming successfully. Sugimoto breaks through mechanical monotony introducing the non-functional objects into the functional system. His objects have power and form of the nature.They also shows traces of manufacture and labor. They works as media transferring old life and values. Sugimoto sometimes adopts the non-functional system such as collection, so it reveals time of collecting and arrangement of various objects. In contrast to Sugimoto, Kuramata erased the form of functional object and turned over the everydayness of the functional system. Instead, aesthetical phenomena substitutes form. Having doubts about the geometrical order of functional system, he opened a discourse for its meaning and limitation. However they have something in common which works as a blueprint for establishing subject"s discourse. This discourse is comprised of their own memories of scenes. These subjects" discourse institute worlds through their design works based on each methodology. From the Heideggerian point of view, the worlds offer a foundation which allows the establishment of art in interior design.