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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.
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.
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 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.