후지모토 소우의 ‘부분의 건축’에 관한 연구 - 새로운 형식주의 건축의 모색 -

김병주 ( Kim¸ Byeong Ju ) 한국동양예술학회 2021 동양예술 Vol.52 No.-

2001년 가을 후지모토 소우는 「부분의 건축」이라는 글을 통해 자신의 건축설계 방법을 제시하였다. 이후 여러 매체를 통해 후지모토는 「부분의 건축」이 본인 설계에 나타나는 “공통의 수법”이라고 강조해 왔다. 이에 본 연구는 먼저 「부분의 건축」이라는 설계 방법을 바탕으로 후지모토의 대표적인 건축 사례에 나타나는 특징들을 살펴보았다. 첫째, “원초적이고 원시적인(primitive)” 신체 감각과 새로운 공간 경험을 추구한 건축으로 <프리미티브 퓨처 하우스>(2001), <서펜타인 갤러리 파빌리온>(2013)을 보았다. 둘째, “약한 건축”으로 <아오모리현립미술관 계획 안>(2000)을 보았고, 셋째, 동굴과 둥지 사이의 미분화 공간으로 <세이다이병원 신병동>(1999)을 보았다. 넷째, 떨어져 있으면서 동시에 이어져 있는 공간이자 “인터넷 시대의 거리감”을 표현한 건축으로 < T House >(2005)와 <안나카환경아트포럼 당선 안>(2003)을 보았다. 다섯째, “혼돈으로부터의 질서”로 <도쿄 아파트먼트>(2010)와 <정서장해아단기치료시설>(2006)을 보았다. 이렇게 “단순한 부분들이 다양한 패턴으로 조합되면서 복잡한 전체를 만드는” 「부분의 건축」은 후지모토 소우가 독자적으로 개척한 설계 방법이다. 다음으로 히라타 아키히사, 이시가미 준야를 대상으로 하여 1970년대에 태어난 후지모토와 동세대 건축가들의 건축을 고찰하였다. 그들이 공유하고 있는 건축에 대한 생각 및 접근 방식을 살펴보았고, 그것이 이전 세대의 건축가들과 어떻게 다르게 나타나고 있는지를 함께 설명하였다. 그들은 기존 20세기 건축가들이 중요하게 여겨온 기능(function), 맥락(context) 등의 가치보다는 건축 그 자체의 “새로운 형식(form)”을 탐구하는 일에 몰두한다. 특히 후지모토 건축은 “전체를 결정하지 않는 부드러운 형식주의”라고 할 수 있다. 마지막으로 후지모토의 여러 인터뷰와 대담, 작품집, 논고 등의 분석을 통해, 오늘날 현대건축에서 「부분의 건축」이 가지고 있는 의의를 해명하였다. 레비스트로스의 “브라콜라주(bricolage)”, “건축가 없는 건축”을 비롯하여, 컴퓨터 소프트웨어 설계 분야에서 말하는 가람(伽藍) 모델과 바자르(bazaar) 모델 설계, 워터폴(waterfall) 설계와 애자일(agile) 설계, 그리고 브리태니커 백과사전과 위키피디아의 비유로 논의를 확장하여 「부분의 건축」의 의의를 더욱 분명히 드러내고자 하였다. Fujimoto Sou is an architect that burst onto the scene of global architecture in the 21st century. Today, he is considered as one of Japan's greatest architects and also one of major architects to lead important discourses of contemporary architecture. Graduating from Tokyo University in 1971, he lived a life like a jobless person until opening his architectural design office in 2000. During this period, he made an inquiry into his original methods of architectural design. In 2001, he published his first text to advocate his methods of architectural design titled Architecture of Parts in the architecture magazine JA(The Japan Architect). "My thinking starts with relations between parts rather than the whole. If architectural design is to give some kind of order to space, I connect a small order between local parts instead of a whole big order." This study first offered new explanations about the characteristics of his representative architectural cases based on the keyword of "architecture of parts." The study then clarified the meanings and values of "architecture of parts" in today's modern architecture by analyzing many of interviews, talks, collections of works, and arguments. Furthermore, the study examined ideas and approaches to architecture shared by his contemporary architects born in the 1970s including Hirata Akihisa and Ishigami Junya and investigated their differences from architects of their previous generations.

이시가미 준야 건축설계안의 건축 개념 구현을 위한 구조체계와 공간구성의 특성 분석 - 가나가와 공과대학교(KAIT) 공방과 광장 사례를 중심으로 -

정태종(Jeong, Tae-Jong) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.1

In this study, Ishigami Junya’s architectural characteristics has been conducted through comparative analysis of spatial composition and structural system between Kanagawa Institute of Technology(KAIT) Workshop and Plaza. The result of this research can be summarized as followed. First of all, KAIT Workshop and Plaza are typical cases for Ishigami Junya’s architectural works with architectural concepts such as lightness, transparency, connection with nature, complexity in simplicity. The second one is that KAIT Workshop and Plaza implement conflicting spaces in spatial composition and structural system. KAIT Workshop reveals interior space connected with exterior space using transparency, and KAIT Plaza is internalized exterior space with solid wall structural system. The third one is that structural system of KAIT Workshop is main compressed columns with multiple thin pre-stressed columns for the transparent space, KAIT Plaza uses the catenoids roof surface and wall system without columns. Based on the result of analysis, architectural characteristics of KAIT Workshop and Plaza shows that spatial composition can be realized with modified structure in the existed structural system and architectural concepts will be generated through structural system in architectural design.

준야 이시가미 건축에 나타난 집합적 공간 구축 기법에 관한 연구 - 집합적 공간 결합 방식을 중심으로 -

김승근(Kim, Seung-Geun),전유창(Jeon, You-Chang),김성욱(Kim, Sung-Wook) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.2

The purpose of this study is to analyse the concept and characteristics of collective space and to systematize the method of constructing collective space accordingly. This study analyses the case of Ishigamis Junya through a system of three combined methods for constructing set spaces. By categorizing the examples of Junya according to each method, we discuss the techniques for organizing collective spaces in Junya architecture. Through this, it is possible to understand his collective space construction techniques that emphasize nature and design free and fluid spaces.

일본 현대 건축의 PN-space적 특징에 관한 연구

서성민(Seo, Sung-Min),임영환(Lim, Yeong-Hwan) 대한건축학회 2018 대한건축학회논문집 Vol.34 No.4

The purpose of this study is to analyze common features and methodological differences of PN-spatial characteristics found in architectural theories and works of contemporary young architects in Japan, such as Sou Fujimoto, Yo shimada, Keisuke Maeda and Junya Ishigami. These architects have paid attention to space between nature and inner space and have tried to establish their own architectural theory on that. Such space is ambiguous and PN-spatial in a way that it has features of both nature and inner space. Ambiguousness is a characteristic of modern architecture and PN-spatial characteristics are one of the features of Japanese architecture. This study aims to analyze the architectural theories and works of contemporary young architects in Japan from the perspective of PN-space and to draw methodological differences and common features. Their theories and works have common features in terms of ‘ambiguous spatial boundary’, ‘unregulated spatial territory’, ‘detoured circulation’ and ‘architectural motifs’, but each has their own methodology. To sum up, the works and theories of the Japanese young architects contain the philosophy and discourse of modern architecture in general. To be sure, they clearly have characteristics of Japanese architecture, which needs to be studied constantly.

일본의 포스트버블 시대 미술계로 침공한 건축

이가라시 다로(Igarshi Taro),최재혁(번역자) 한국근현대미술사학회 2017 한국근현대미술사학 Vol.34 No.-

There has been a boom in art festivals in various parts of Japan. Its starting point can be traced back to Christo & Jeanne-Claude’s 〈Umbrella Project〉 (1991) in which artwork was displayed in a rural area. The Art Front Gallery led by Kitagawa FRAM supported the 〈Umbrella Project〉, which served as a precedent to the Echigo Tsumari Art Triennale and the Seto Inland Sea International Art Festival. These art festivals taking place in the empty houses or abandoned schools after renovation provided a common platform for both art and architecture. In conjunction with the opening of the Triennale, new buildings, such as Matsudai Yukiguni Agricultural Culture Village Center and Kyororo, was erected. Benesse Art Site Naoshima sponsored by Fukutake Foundation played a role in transforming the Seto Inland Sea into the center of art by commissioning the world renowned architects including Ando Tadao and SANAA to create wonderful artistic sites. In particular, architect Nishizawa Ryue and artist Naito Rei worked together to realize a miraculous art museum in Teshima. In the post bubble era, as the number of architectural projects decreased, young architects born in the 1960s, such as Atelier Bow Wow and Mikan Gumi, try to find a new venue in the international Biennials or Triennales and the realm of exhibition display. The reason why art festivals have flourished is because they were easy to maintain and cost efficient compared with building new museums and galleries. I would like to discuss the relationship between art and architecture by tracing exhibitions in which I have been involved. From 2002 to 2006, I served as a committee member at the KPO Kirin Gallery in Osaka and staged exhibitions featuring works by Atelier Bow Wow, Yamamoto Katsuhiro, Endo Souhei, and Fujimoto Sosuke, with an intention to impress ordinary people. Since I organized architectural shows at the art gallery, I could not help but comparing how these two disciplines used the same space differently. If art exhibitions feature original works as a commodity, architectural exhibitions feature only replaceable models or drawings. Yet, Ishigami Junya’s work was an exception to this distinction in that his design of a table could be literally displayed in the gallery space like an art object and at the same time it was an architectural work that included complicate structural concern. In 2008, when I undertook the commissioner of the Venice Biennale, I put Ishigami’s life-size green house on display. In 2013, as an art director, I dedicated myself to the Aichi Triennale whose main theme was 3.11. I raised the issue of how architecture could engage in art festivals by renovating exhibition buildings and creating experimental spaces. In 2017, I got involved in two artistic events, Mayfly Cluster and Ten Year Anniversary of Windowology. In hindsight. the intersection between art and architecture has offered a new venue for both disciplines.