비엔나 로스차일드(Rothschild) 가문의 미술품 수집

송혜영(Haeyoung Song) 서양미술사학회 2015 서양미술사학회논문집 Vol.42 No.-

로스차일드(Rothschild)는 19세기 유럽에서 제일 큰 은행을 소유했던 유대인 가문의 이름이다. 로스차일드가는 대부분의 부호들처럼 거대한 성과 저택을 지었고, 그 안에 소중하고 값비싼 미술품들을 소장했는데, 이들 가운데 상당수는 현재 파리 루브르 박물관, 런던 대영박물관, 비엔나 미술사박물관과 공예품미술관, 뉴욕 메트로폴리탄 미술관 등에 소장되어 있다. 그렇다면 거의 한 세기에 걸쳐 이루어진 로스차일드가 사람들의 미술품 수집은 어떤 과정으로 진행되었는지, 본 연구는 바로 이런 질문에서 출발한다. 특히 로스차일드가는 바로크와 로코코 양식을 선호하는 가운데 상당수의 17세기 네덜란드 그림들을 소장했는데, 본 연구는 여기서 발견되는 귀족적인 취향과 시민의식의 대립된 관점에 문제를 제기하고 그 원인을 규명해보고자 한다. 그리고 마지막으로 나치에 의해 무자비하게 진행된 미술품의 몰수과정과 전후의 회수작업을 살펴보고자 한다. 이를 위해 본 연구는 모든 로스차일드가의 미술품 수집을 잘 대변하는 동시에 나치에 의해 가장 큰 피해를 입었던 비엔나 로스차일드가에 초점을 맞추었다. 비엔나 로스차일드가의 미술품 수집은 세대에 따른 차이점을 보여준다. 초기의 로스차일드가는 무절제한 취향으로 미술품을 사는데 급급했으며, 후대로 가면서 교양인으로서의 예술적인 안목을 지니게 되었다. 특히 로스차일드가는 귀족적인 취향의 바로크와 로코코 양식을 선호했으며, 이와 동시에 시민계급이 중요한 비중을 차지하는 17세기 네덜란드 그림들을 적극적으로 수집했다. 요컨대, 그들은 선조가 누리지 못했던 과거의 부귀영화를 현실에서 재현하고자 했으며, 다른 한편으론 스스로의 힘과 노력으로 부와 명성을 일구어낸 시민으로서의 자긍심을 과시하였다. 그러나 4세대에 걸친 비엔나 로스차일드 가문의 역사는 나치독일에 의해 막을 내렸고, 몰수당한 예술품들 가운데 상당수는 전쟁이 끝난 후에도 강요된 기증의 형식으로 오스트리아 공공 박물관과 미술관의 소장품이 되었다. 그리곤 수차례에 걸친 법적투쟁을 통해 드디어 1998년 5세대의 후손은 선조들의 소장품을 회수할 수 있었다. This study investigated art works collection of Rothschild family that enjoyed wealth and fame in Vienna over 1 century. The 19th century when Rothschild family enjoyed riches and honors in Vienna was an age when the feudal nobility declined and newly-rising bourgeois rapidly emerged. Well grasping such flow of age, Rothschild family took it as a favorable opportunity. Salomon(1774?1855) of the 1st generation was only a great landlord who owned castle and farmland. Anselm(1803-1874) of the 2nd generation as an amateur lover of art strove to increase his possession of priceless works. Nathaniel(1836?1905) and Albert(1844 ?1911) of the 3rd generation built great mansion and collected art works with elegant appreciation. Louis(1882?1955) and Alphonse(1878?1942) of the 4th generation kept appreciation as an expert in art and elegant dignity as nobility. Especially, Louis became versatile in diverse areas. Preferring Baroque and Rococo style in aristocratic taste, Rothschild family actively collected the Dutch pictures of the 17th century which mainly depicted the citizens. Namely, they tried to reproduce the past riches and honors which their ancestor failed to enjoy and showed off the pride as citizen that achieved wealth and fame with their force and efforts. However, the history of Rothschild family in Vienna continuing in 4 generations was terminated by Nazi, Germany. After war, a considerable part of the confiscated art works were possessed by public museum and art gallery of Austria in the form of forced donation. Through several legal disputes, the descendant of the 5th generation redeemed the possessed works of heir ancestor in 1998 at last.

아돌프 로스의 젠더 인식과 주거공간 내에서의 감각 지각적 구현 특성에 관한 연구

김훈 대한건축학회지회연합회 2019 대한건축학회연합논문집 Vol.21 No.1

This study is to identify how sensual perception occurs according to the Adolf Loos’s gender cognition in the interior space of Adolf Loos's residential space and to examine its characteristics. For the study, 16 works are selected, with literature and images to identify finish material properties. The research was conducted by organizing the meaning of cladding and dwelling which are the main concepts of Loos, and then examining the sensual perception characteristics of Loos's apartments and houses at a visual and tactile level with his gender cognition. The results are as follows: 1) The architectural ideas of Adolf Loos also show these characteristics. His cladding theory assumes masculine outer walls and feminine indoors. This is accomplished by spatial experience by sensory perceptual elements. 2)  He set a symmetrical visual axis in the public rooms. And limitations of the viewing angle using devices that can weaken the visual axis - such as setting back, discordance of accessing axes, and reflection by a mirror. This is considered to be a setting for arousing senses other than vision. 3)  On this basis, Loos defined the gender properties of the cladding materials through the degree of rigidity, color and texture. After that, the masculine material and the feminine material were integrated by reinterpreting the properties of the space and the characteristics of the user. This is the nature of the architectural representation of the unification of masculinity and femininity that was developed at that time. 본 연구는 아돌프 로스의 젠더의식이 어떻게 주거공간에 반영되고 있는지를 고찰하고 있다. 연구를 통해 도출된 결론은 다음과 같다. 아돌프 로스의 젠더 인식은 19세기말 근대도시 비엔나에서 진행된 여성담론에 근거를 두고 있다. 특히 그와 교류하고 있던 지식인의 영향이 컸다. 이로 인해 아돌프 로스는 남성우위의 편향된 젠더 인식을 가지게 되었다. 아돌프 로스의 건축사상 역시 이러한 특성을 보여준다. 그의 피복론은 남성적 외벽과 여성적 실내를 상정하고 있다. 이는 감각지각적인 요소들에 의한 공간 체험으로 구현된다. 그는 중요한 중심공간에 대칭적 시각축을 설정했다. 그리고 시각축을 약화 시킬 수 있는 장치들-물러섬, 동선축의 불일치, 거울에 의한 반향 등-을 이용하여 시지각의 한계를 규정하였다. 이는 시각 이외의 감각의 환기를 위한 설정으로 판단된다. 이러한 바탕 위에 로스는 피복 재료의 젠더적 속성을 단단함의 정도, 색채, 질 감등을 통해 규정했다. 이 후 공간의 속성과 사용자의 특성을 재해석하여 남성적 재료와 여성적 재료를 통합적으로 적용하였다. 이는 그 당시 전개되었던 남성성과 여성성의 통합방식을 건축적으로 재현하는 성질의 것이다.

아돌프 로스 주거건축에서 나타나는 근대도시 인식과 경계설정에 관한 연구

김훈(Kim, Hoon) 한국주거환경학회 2015 주거환경(한국주거환경학회논문집) Vol.13 No.2

Adolf Loos is well known for his writings and architectural works. Adolf Loos has often been misunderstood because of complicated logic in his writing. Moreover, his architectural works showing a desire for the traditional/classical style of architecture seemed contradictory with his theory, which declares for the elimination of ornaments in architecture. From this point of view, this study investigates the consistency between his theories and works by starting with the process in which his experience of fin-de-siecle Vienna would be developed into the perception of modern urbanity. Then this study will also investigate the design method of Adolf Loos with Boundary Setting. In conclusion, the modern situations of Vienna leads Loos to the idea that breaks with tradition is a specific condition of modern age, which is both irreversible and omnipresent. Based on this perception of modern urbanity, Loss developed Semper’s Bekleidung into the Principles of Cladding that propose that architecture of modern age should reject the rootless decorations and the inventions of style, which have no relation with tradition. He also argue that only the ‘Dwelling’ would be the last possibility that architecture can achieve, when keeping it in intimacy. For this reason, Loos’s house design became the matter of proper setting of boundary, by which a degree of intimacy would be determined in walls, floors, and ceilings. On outer wall facing urban area, Adolf Loos chose the symmetrical appearance with arranging small windows regardless of function of rooms in order to keep ‘Dwelling’ from the invasion of modernity. It resulted in making the ‘silent wall’. But in the case of walls facing garden, asymmetrical mass operaitons reveals the living and life in the house. Loos used traditonal / classical factors with classical symmetry in outskirts. In interior space, Loos’s Raumplan made contradictory boundaries that would enhance the activity and meaning of life of inhabitants. Silient outer wall and Raumplan, results of elaborated boundary set, dialectically created the feeling of ‘discontinuous continuity’, which represents the breaking cuts in modern urban condition.

아돌프 로스 단독주택의 공간구조 분석 연구

이다연(Lee, Da-Yeon),전병권(Jun, Byung-Kweon) 한국주거학회 2016 한국주거학회 논문집 Vol.27 No.6

공간구문론을 통한 아돌프로스 단독주택의 공간 구조 특성 연구

이다연(Lee, Da-Yeon),전병권(Jun, Byung-Kweon) 한국주거학회 2016 한국주거학회 학술대회논문집 Vol.2016 No.4

Architecture is a field that embodies human behavior, and depending on the function and importance of space, each architecture shows difference in size, variety in height and form. In terms of composing space, among modern architects, Adolf Loos utilizes freedom and interconnectivity the best. In his work Ornament und Verbrechen, he stated that ornaments are relics of barbaric customs and all architecture should be deprived of ornaments. He also wholeheartedly believed that, even by fulfilling only the necessary functions, art form can be achieved. Such philosophy of Adolf Loos, as the first architect to attempt European rationalism in architecture, influenced great architects like Gropius and Le Corbusier. This study set out to explore Adolf Loos’s house, which emphasizes the functional aspect of space, and uses space syntax, a quantitative analytical method, to make a comparison with Villa Savoye, one of Le Corbusier’s representative works. In the process, spatial structure features of Adolf Loos’ house will be studied.

아돌프 로스와 하라 히로시의 주거건축에 나타나는 피복의 조작을 통한 공간구성 기법에 관한 연구

민건희,윤철재,Min, Gun-Hee,Yoon, Cheol 한국주거학회 2014 한국주거학회 논문집 Vol.25 No.3

Adolf Loos and Hiroshi Hara are very well known for their distinctive method of spatial composition. Adolf Loos showed white silent outer facades from his strong aversion to the ornament, whereas dynamic and rich inner space by the principle called 'Raumplan' in his housing design. Hiroshi Hara, one of the most influential architects in modern Japanese architectural history, designed a series of controversial houses with radical design by his 'Yukotai Theory' and the thought of 'Reflection House'. Even they have no common in regional background or the period of their works, both similarly have shown their own focus on cladding surface as an important design language. From this point of view, this paper investigates the design method of those two architects focused on the similar points and also the differences of their approaches to cladding in housing design. In conclusion, in case of Adolf Loos, the cladding is a tool to create completely safe and pure inner space by separating from the outside. On the other hand, the cladding of Hiroshi Hara has the meaning of social ideology that individuals must follow the principles of a dominant structure, which is the reason why the cladding should be removed. However there exists something in common also. They radically denied the outer circumstances and had a firm belief that the requests from the inside living space were the more influential factors.

아돌프 로스와 안토니 가우디의 장식론에 대한 비교 연구

한상훈(Han, Sang-Hoon),장용순(Chang, Yong-Soon) 한국실내디자인학회 2018 한국실내디자인학회논문집 Vol.27 No.3

This thesis is a paper comparing Adolf Loos and Antoni Gaudí’s ‘theory of ornament’, based on their text. Adolf Loos and Antoni Gaudí are architects who had worked from late 19c, just before advent of Modernism architecture, to early 20c. When ‘ornament’ had started to be excluded from architecture according to development of industrialization and capitalism, Loos and Gaudí have both written about ‘ornament.’ Generally, Loos is known to have possessed rational mind and designed modern building with no ornament, and Gaudí is known to have possessed romantic mind and used splendid ornaments. For those reasons, it was assumed that two architects would have contrast opinions regarding ornaments. However, analysis of two architects’ major text reveals that their theories of ornament are fundamentally analogous. Loos and Gaudí both argue dissolution of past normative ‘ornament’ and claims that rational ‘ornament’ that fits modern time is possible. Interestingly, intentionally adopted ornaments exist considerably in architecture of Loos. On the other hand, in Gaudí’s architecture, there are many points where Gaudí had restrained ornaments. This thesis organizes similarity and differences of two architects’ ‘theory of ornament’ through their texts and works. Moreover, this thesis suggests that then today’s architecture aims to restart a debate on ‘ornament’, it is worth reviewing texts of Loos and Gaudí.

아돌프 로스의 아파트먼트 실내공간에서 나타나는 감각적 지각 특성에 관한 연구

김훈(Kim, Hoon),박연정(Park, Yeon-Jeong) 한국주거학회 2018 한국주거학회 논문집 Vol.29 No.5

아돌프 로스의 건축론에서 “예술과 실용품의 분리”에 대한 비판적 소고

이상헌(Lee Sang-Hun) 대한건축학회 2008 대한건축학회논문집 Vol.24 No.3

Adolf Loos' architecture is valued especially in postmodern era when architectural styles are consumed as a commodity like a fashion. He tends to be considered as an alternative to both utopian modernism and stylistic postmodernism. Unlike his comtemporary Art Nouveau artists and architects who attempted to create a new style reuniting art and craft, and art and everyday life, Loos accepted the separation between art and craft in modern industrial society and put architecture in the realm of useful objects. He argued that its style is to be developed by modern cultural life and that the removal of ornament in useful objects is the natural outcome of progress of modern culture. This attitude obviously made his architecture more realistic than that of other modernist architects. However, his theory of radical separation between architecture and art, between useful objects and monuments had contradictions and could not be sustained in reality. Even his positivistic architecture has aesthetic quality which denounces his principle of pure rationality. The fundamental limitation of his theory was manifested in his two projects at diametrically opposite direction: Chicago Tribune Tower and Housing design for Red Vienna. The former was a monument, the latter being architecture without ornaments. However, both examples faced difficulty and could not play out in reality.

아돌프로스 주택의 공간 구조 분석 연구

이다연(Lee, Da-Yeon),전병권(Jun, Byung-Kweon) 대한건축학회 2015 대한건축학회 학술발표대회 논문집 Vol.2015 No.-