르 꼬르뷔제 타피스트리의 구축성 연구

김호연(Kim, Ho-yeon),신예선(Shin, Yea-sun) 한국조형디자인학회 2015 조형디자인연구 Vol.18 No.3

독일의 건축 이론가였던 고트프리드 젬퍼(Gottfried Semper, 1803–1879)는 건축의 기원을 섬유의 편직 원리와 다양한 공예적 기법으로부터 시작되었다고 주장하였으며, 20세기에 이르러 르 꼬르뷔제(Le Corbusier, 1887-1965)의 건축물과 타피스트리에서 그 실제적 영향을 찾을 수 있다. 르 꼬르뷔제가 창안한 건축 시스템인 ‘돔이노(Dom-Ino)’에서 벽의 개념은 그 원류를 직물에 두며 섬유의 구축적 기원성을 그대로 투영한다. 이러한 개념은 그의 타피스트리 작업에서도 그대로 나타난다. 따라서 이 연구에서는 고트프리드 젬퍼의 구축성 개념을 바탕으로 르 꼬르뷔제의 돔이노 시스템과 그의 타피스리를 비교하여 고찰하고자한다. 르 꼬르뷔제가 그의 타피스트리에 표현하고자 했던 섬유의 구축적 속성과 건축 표면의 기념비적 역할은 섬유의 구축적 표현 방식에 대한 건축과 섬유 영역 사이의 중요한 연결점이며 그실례이다. 그가 타피스트리 작품을 통해 드러내는 섬유의 구축성에 대한 해석은 젬퍼의 카리 비안 오두막의 ‘엮여진 섬유’로써의 막의 기원으로부터 기인하며, 돔이노 시스템의 골조를 둘 러싸는 벽을 의미한다. 결론적으로, 이 연구는 르 꼬르뷔제의 타피스트리가 반영하는 직물의 구축성 개념을 밝히기위해 그의 돔이노 시스템과의 상관관계를 밝히고, 그 이론적 바탕이 되는 젬퍼의 구축성 이론과의 비교연구를 통해서 르 꼬르뷔제의 타피스트리의 구축적 의미를 고찰하고자 하는 것이다. 르 꼬르뷔제의 타피스트리의 구축적 특성에 대한 연구는 섬유가 구축적으로 표현되는 것이섬유 재료와 편직하는 기법, 계획된 체계성이 유기적으로 작용하며 공간을 만들어 내는 것으로, 섬유 본연의 구축성에 대한 이해를 통해 그 표현 가능성을 확대할 수 있을 것이다. 이 같은 연구는 섬유미술에서 새롭게 조명되는 직물구조의 원리가 조형적 표현으로 확장되는 직접적인 예이자, 섬유의 정체성과 원리적 속성에 대한 건축사적 자료에 근거한 탐구라는데 의의가 있다. German architectural theorist Gottfried Semper claimed that the origin of construction started from the principles of knitting fabric and various craft techniques and his real impact can be found in the architecture and fabrics of Le Corbusier in 20th century. In Dom-Ino, the construction system created by Le Corbusier, the concept of wall originates from fabrics and projects tectonic origin of fibers directly. Therefore this `study will be to review and compare Le Corbusier’s Dom-Ino system and his tapestry based on Gottfried Semper’s tectonic concept. The monumental role of tectonic of fibers and surface of construction what Le Corbusier ever wanted to express in his tapestry is an important point of connection and example between construction and fibers regarding tectonic expression of fibers. Le Corbusier’s interpretation of tectonic of fiber revealed through his tapestry works is due from the origin of the film as ‘woven textile’ in Semper’s caribbean hut and means the wall surrounding frames of Dom-Ino system. In conclusion, this study reveals the relationship of Le Corbusier’s Dom-Ino system and tapestry to uncover tectonic concept of fabrics reflected in his tapestry works and is to consider tectonic meaning of Le Corbusier’s tapestry through a comparative study of Semper’s tectonic theory which is theoretical basis. In other words, the study of the tectonic characteristic s of Le Corbusier’s tapestry explains that tectonic expression of fiber means that the fiber materials, knitting techniques and planned system act so organically as to make spaces and it will be able to expand the possibilities of fiber expression through the understanding of natural tectonic characteristics of textiles. So, this research is significant that it is a direct example of fabric structure extending to figurative representation which is newly illuminated in the textile art, and an exploration based on historical data on architecture regarding identity and principle properties of the fibers.

Mines van der Rohe건축에 나타나는 구축성 및 공간특성에 관한 연구

김민승,조성현,김철규 대한건축학회지회연합회 2005 대한건축학회연합논문집 Vol.7 No.1

마틴 라후 건축작품에서 나타나는 구축성에 관한 연구

김순웅(Kim, Soon-Wung),조성진(Cho, Seong-Jin),최일(Choi, Il) 대한건축학회 2013 대한건축학회논문집 Vol.29 No.12

Martin Rauch mainly used earth for sustainable ecological architecture. This study aimed to identify Martin Rauch’s ecological characteristics by analyzing his representative works. Martin Rauch’s six works well-presenting ecological characteristics were selected, and their tectonic quality was analyzed. Four key elements of tectonic quality were emerged as follows: material, structure, site, and light. For sustainable ecological architecture, Martin Rauch emphasized material and materiality, structural characteristics, correlation between building and context, and structural identity of light through earth architecture. Those demonstrate the representative examples of modernized earth architecture.

쿠마 켄고 공간에 나타난 재료와 구축성에 관한 연구

정가영(Jeong, Kayeong),김문덕(Kim, Moon-Duck) 한국실내디자인학회 2009 한국실내디자인학회 학술대회논문집 Vol.11 No.2

In this study, the architectural spaces of Kengo Kuma were analyzed through the recent trend, materials and tectonic methods of Japanese architecture to review his current design characteristics. The study was conducted through reviewing the collections of Kengo Kuma’s works and his books currently published in Korea and foreign countries, work critiques and interviews published in domestic and international monthly magazines and site visits and the scope of study subjects included 10 works that well expressed the characteristics of materials and construction out of Kengo Kuma’s works. Based on the result, Kengo Kuma mainly uses natural materials such as woods or stones and cuts them to small pieces to use them as construction elements. Through this way, he intended to introduce external environments into indoors so that construction and natural environments can be overlapped and coexist with each other. In terms of tectonics, sub material were arranged in vertical forms to construct spaces in the early period and the forms became more diversified into 3-dimensions in later periods. In general, his works in the early period showed architectures that coexisted with natural environments and were hidden while his works in later periods showed the characteristics of existing while considering the meanings of places together.

제주도 뮤지엄 건축의 지역성 표현 연구 -비판적 지역주의를 중심으로-

장종구,김용성,송석재 한국공간디자인학회 2023 한국공간디자인학회논문집 Vol.18 No.8

(Background and Purpose) Korea has achieved economic development through rapid social changes such as war and military dictatorship, but modern architecture was carried out for the purpose of construction, not sufficient discussion and identity establishment during the modernization process. Jeju Island was relatively less affected by modernization of architecture based on the peculiarity of an island, and is one of the few places in Korea that has managed to preserve its local character through its preserved natural environment. However, the growing number of tourists and uncontrolled development since the 2010s have led to the loss of Jeju's regionality. Among them, art galleries and museums have the highest ratio to area in the country, but they are used only for commercial purposes rather than for the purpose of establishing Jeju's regionality or identity. In order for Jeju Island to become a sustainable tourist destination, it should have its own characteristics, and localism should also be discussed in the architecture of museums visited by tourists. Therefore, the purpose of this study is to look at the existing Jeju Island Museum from a critical regionalism perspective, derive the elements of Jeju Island's regionality, and serve as a reference for expressing regionality in future museum architecture. (Method) As a theoretical review to achieve the research objectives, a comparative analyzes regionalism and critical regionalism is conducted. In addition, based on the expression characteristics and keywords shown in previous studies on regionalism, expression elements are derived to prepare a framework for analysis, and cases of Jeju-Island museum buildings are analyzed and evaluated. (Results) Placeness scored the highest and appeared in most buildings. Most of them represented places through slope adaptation and the influx of natural environment. Tectonic received the second score, the most common expression was the reinterpretation of the material. A contemporary reinterpretation of basalt, highlighting Jeju's unique geological features. As far as sensitivity is concerned, it has largely been lacking, as K. Frampton directly mentioned, with Ando Tadao's architectural works. (Conclusions) When analyzing the museum's architecture from the perspective of critical regionalism, the concept place was emphasised. However, the results derived were not effective in demonstrating the regionality of a specific area, but rather seemed to be a form of self-expression by the architect. The reinterpretation of basalt through reprocessing, color, and sensation is an effective expression of Jeju-Island's regional identity. Critical regionalism, which has limitations in expressing regions with unclear categories and definitions, needs to focus on constructivity. If architect keep the inflow of the natural environment and minimize damage to the natural environment and expand the scope of reinterpretation of local traditional structures, techniques, and materials, architect adopt a critical regionalism perspective that is both practical and effective. (연구배경 및 목적) 국제주의를 기반으로 보편화와 합리성의 특성을 가진 근대건축의 양식은 전 세계에 전파되었다. 한국도 전쟁, 군사독재 등 급격한 사회변화를 거쳐 경제발전을 이뤄냈으나 근대화 과정 속 충분한 논의, 정체성 확립이 아닌 건설의 목적으로 근대건축이 이뤄졌다. 제주도는 섬이라는 특수성을 바탕으로 건축 근대화의 영향을 비교적 적게 받았으며 보존된 자연환경을 통해 지역성을 보존하는 지역 중 한 곳이다. 하지만 2010년대부터 늘어나는 관광객, 난개발로 인해 제주 지역성이 희미해지기 시작했다. 그중 미술관, 박물관은 전국에서 면적대비 비율이 가장 높은 곳이지만 제주의 지역성이나 정체성을 확립하는 목적보다 상업적인 용도로만 사용되고 있다. 제주도가 지속 가능한 관광지가 되기 위해서는 제주도 지역만의 특성을 가져야 할 것이며 관광객이 방문하는 뮤지엄 건축에서도 지역성이 논의 되어야 할 것이다. 이에 본 연구는 기존 지어진 제주도 뮤지엄을 비판적 지역주의 관점에서 바라보고 제주도의 지역성 표현 요소들을 도출하고 이를 통해 추후 지어질 뮤지엄 건축의 지역성 표현 참고 자료로 역할 하는 것이 목적이다. (연구방법) 연구 목적을 달성하기 위한 이론적 고찰로 지역주의와 비판적 지역주의에 대해 비교 분석한다. 그리고 지역주의의의 선행연구들에서 나타난 표현 특성과 키워드를 바탕으로 표현 요소를 도출하여 분석의 틀을 마련하고 제주도 뮤지엄 건축물 사례를 분석 및 평가한다. (결과) 이론적 고찰을 통해 지역성 표현방식은 장소성, 구축성, 감각성이 도출되었으며, 이를 사례에 적용한 평가 결과는 다음과 같다. 장소성은 가장 높은 점수를 나타냈으며 대부분 건축물에서 찾아볼 수 있었다. 대부분 경사지에 대한 순응, 자연환경의 유입을 통해 장소성을 표현하였다. 두 번째 점수를 받은 구축성의 경우 가장 많은 표현은 재료의 재해석이었다. 현무암의 현대적 재해석을 통해 제주도 지역성을 표현하였다. 감각성의 경우 대부분 나타나지 않았으며 K.프램튼이 직접 언급한 안도 다다오의 건물 중 수공간에서 찾아볼 수 있었다. (결론) 제주도가 지속 가능한 매력적인 관광지로 남기 위해서는 제주도 건축물의 지역성 상실에 대한 대안이 필요하다. 비판적 지역주의 관점으로 뮤지엄 건축을 사례 분석하였을 때 장소성이 가장 높은 비율로 표현되었다. 하지만 도출한 결과는 특정 지역의 지역성을 보여주는 방식이라 보기 어려웠고 건축가의 의도에 의한 수단적 표현으로 나타났다. 오히려 현무암의 재해석을 통해 재가공, 색, 감각을 이끌어 내는 것이 제주도의 지역성을 효과적으로 표현하고 있었다. 범주와 정의가 명확하지 않은 지역을 표현하는 것의 한계를 가지고 있는 비판적 지역주의는 구축성에 집중할 필요가 있다. 자연환경의 유입과 자연환경 훼손을 최소화하는 것을 유지하고 지역 전통 구조, 기법, 재료의 재해석 범주를 넓혀 연구한다면 실제로 적용할 수 있는 또한 효과적으로 표현할 수 있는 비판적 지역주의의 관점을 가질 수 있을 것이다.

착시현상에 기초한 공간디자인의 구축성에 관한 연구 : 게슈탈트 형태인지 심리학을 중심으로

엄태수,유진형 한국공간디자인학회 2012 한국공간디자인학회논문집 Vol.7 No.1

과학기술의 눈부신 발달 속에서 현대 사회는 유비쿼터스(Ubiquitous)의 시대를 맞이하게 되었으며, 다양한 분야의 접목을 통하여 공간 역시 문자, 소리, 동작, 시간, 미디어가 함께 결합하여 새로운 공간언어가 생성 되었다. 특히 현대 공간디자인은 공간의 표피·내피에 공간 소통의 언어로서 다양한 이미지를 연출하고 있다. 따라서 본 연구는 공간의 시각 인지과정에서 형태를 인지하는 게슈탈트 형태인지 심리학과 패턴과의 상호관계를 알아보고 공간디자인의 시각적 구축성에 대하여 분석하고자 한다. 이를 위해 공간의 시각인지단계를 살펴보고 그 과정에서 게슈탈트 형태인지 심리학에 기초하여 이미지가 형태의 체제화가 되는 과정에서 패턴의 구성요소와 상호 관계가 있음을 알 수 있었다. 그러므로 본 연구를 통해서 패턴의 구성요소인 균형, 조화, 통일과 변화, 대비, 리듬, 긴장, 강조가 공간의 구축요소가 될 수 있음을 알 수 있었다. In the midst of glaring development of scientific technologies, the modern society has faced the age of ubiquitous, and space has produced the new spatial language by combining a variety of sectors including letters, sounds, motions, times and media. The modern space design, the language for spatial communication of the inside and outside skin of spaces, particularly, presents various images. Therefore, this study examines the interaction between Gestalt psychology perceiving forms in the process of visual perception of space and patterns, analyzes visual constructions of the space design. The study looks at visual perception level of space, and in this process, it finds out that there is mutual relations between images and patterns when the images are systemized in forms based on Gestalt psychology. Through this study, thus, it is suggested that balance, harmony, and unity, the components of pattern, and the emphasis on change, contrast, rhythm, intense and stress can be the constructing elements for space.

크리스티안 케레즈 건축에 나타나는 구축성과 질 들뢰즈의 일원론과의 상호연계성에 관한 연구

차경진(Cha, Kyung-Jin),정태종(Jeong, Tae-Jong) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.2

The purpose of this study is to find out the feature of construction of reduction in Christian Kerezs architecture and its relationship with Gilles Deleuzes monism. For categorizing Kerezs constructive features in contemporary architecture, this research analyzed two projects explicitly represented rule of reduction. The results of this study is summarized as followed. First, structure not only supports but also shapes space as a mutual grid system. Second, the structures form evolves into the buildings form, and it gives new functions to other architectural elements, responding to diverse programs. Kerezs rule of reduction is associated to eliminating the existing meaning of elements in a new architectural system, while creating a new architectural system.

A Study on the Tectonic Quality of Peter Zumthor's Works with a focus on materials, joint, break, structure and context

Kim, Eunice Ja Young(김자영) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.6

The aim of this study is in emphasizing the importance of the use of material and the tectonic and their influence on the spatial quality by analyzing Peter Zumthor"s projects as case studies. In the research, Zumthor"s choice of material, construction method (detail and structure) and the relationship with the context were analyzed in order to illustrate Zumthor"s approach in making a strong tie with the locality. Three of Zumthor"s projects of different sizes and programs were chosen to heighten the sensitivity of Zumthor"s unique working method for each project. Peter Zumthor"s architecture is neither superficial nor visually complex. On the contrary, he aims to express through the use of material and construction method, a unique relationship with the physical context, social context and most importantly the actual experience of the space itself. This study aims to contribute towards increasing the awareness and the interest in the materiality and the tectonics which are the fundamentals in spatial experience and spatial identity.

아이젠만 建築의 構築性에 관한 硏究

권정훈,이경훈 한국문화공간건축학회 2013 한국문화공간건축학회논문집 Vol.- No.44

Digital Architecture is able to produce innovative and attractive forms than ever, Despite the superficial novelty, it is important to observe the underlying logic, especially form-generating process. Fundamentally, Digital architecture is a classic in terms of that it is based on the form derived from technology. It is a Baroque as well due to the attitude stressing on the form and pursuing changes from that. Kenneth Frampton, who has developed a techno-deterministic theory, has a contemptuous view towards Digital Architecture as empty play on the monitor rather than a result derived from the process to build a space in the form of ‘tectonic’. In this background, Eisenman's Architecture can be an important implication and an illustrative example to overcome Frampton’s view. Eisenman has explored aspects of criticism and theoretical work simultaneously utilizing digital technology and develop a dramatic evolution with the process of logical system. The study is evaluate his architecture as well as his theoretical background and found autonomous architectural construction as his major achievement. Digital technology is became a main tool to implement his life-long pursuit towards ‘autonomous architecture’. Digital Architecture is able to produce innovative and attractive forms than ever, Despite the superficial novelty, it is important to observe the underlying logic, especially form-generating process. Fundamentally, Digital architecture is a classic in terms of that it is based on the form derived from technology. It is a Baroque as well due to the attitude stressing on the form and pursuing changes from that. Kenneth Frampton, who has developed a techno-deterministic theory, has a contemptuous view towards Digital Architecture as empty play on the monitor rather than a result derived from the process to build a space in the form of ‘tectonic’. In this background, Eisenman's Architecture can be an important implication and an illustrative example to overcome Frampton’s view. Eisenman has explored aspects of criticism and theoretical work simultaneously utilizing digital technology and develop a dramatic evolution with the process of logical system. The study is evaluate his architecture as well as his theoretical background and found autonomous architectural construction as his major achievement. Digital technology is became a main tool to implement his life-long pursuit towards ‘autonomous architecture’.

디지털 기술의 구축성에 관한 연구

이상필,전영훈,최윤경 대한건축학회 2007 대한건축학회논문집 Vol.23 No.8

The Primary aim of this study is to overcome the idea that digital technology brings crisis of architecture and to find new value of it. This thesis focuses on the intrinsic attribute of Digital technology, which is consisted of bits, must be converted into atom, which is ruled by the law of gravity, to be used by people. So, ‘tectonic’ is explored to study the characteristics of digital technology. This Study analysis the changes of architecture by digital technology. Then, These changes revealed tectonic in the digital age by comparing with classic and modern architecture’s tectonics. As a result, three main tectonics in digital architecture are revealed and they are as follows ‘Self-referencial codes for making free form’ is developed by non-Euclidean geometry. Digital architects try to establish subjectivities by their own design methods. ‘Developing free-form from structural form’ is possible by ‘digital construction processes.' This means that formal architectural elements by a structural viewpoint is vanished. At the same time, envelope and structure of architecture are unified. ‘Customization production of architectural composition elements included constructability’ shows possibility of a Master Builder for a digital architect. The individuality of customized production of architectural elements by digital master-model affects new method and process of construction. Finally, these three changes are not individual things and tectonics in the digital age is revealed by combination of these aspects.