`열린 건축`으로 바라본 Nishizawa Ryue의 건축 특성 연구

박미옥 ( Miok Park ),이찬 ( Chan Lee ) 한국공간디자인학회 2017 한국공간디자인학회논문집 Vol.12 No.3

(Background and Purpose) The flexible flow of our diversified modern society creates networks of uncertain domains along with continuously evolving variations, and such concepts are based on openness and a system that enables interactions. This correlates with the design of open architectural spaces, such as small city units or urban structures. The goal is to comprehend more specifically the circumstance of backgrounds of times are concentrated. Therefore, this study has selected architect Nishizawa Ryue for inclusion. First, we will analyze his architectural perspective, known as open architecture, in order to study how his central ideology of open architecture has been embedded not only in the functions of these structures, but also the architectural characteristics and concepts with relationship to connecting the environment and local community. (Method) The viewpoint of this investigation was defined through an examination of earlier, similar studies. The study did examine how to derive the concept, background, vocabulary, and characteristics of open architecture through various approaches. This study first identified the architectural view of Nishizawa and examined how objective and rational the characteristics of his open architecture are, based on the investigation results. References and cases were studied to determine the characteristics of open architecture by Nishizawa Ryue. (Results) The foundation of Nishizawa Ryue`s architectural design to be implemented is accentuated around all human relationships., but to make a new hierarchical order with respects to sociality and regionalism, a perspective ignoring stereotype was used. The relationship of open architecture is openness of architecture and space, organic property of architect and environment, and new hierarchy of architecture and human. Moreover, with his architectural tools of repetitive program and circulatory program, possibility and diversity may be found. These are not independent but solidified and organic connections, and the open architecture of a park, for instance, may allow for a harmony between the physical environment, architectural works, and human element.) (Conclusions) This study shows that the open architecture of Nishizawa Ryue seems to promote his worldview, in which he says, “Architecture is one world related to an entire life.” His is an organic perspective based on postmodernism and derived from Orientalism that seeks to hide complexity within simplicity and centers on the communion of nature and humans with no boundaries of space or time. His architecture can be connected to the surroundings and promote social relationships through modern keywords such as communication and interaction. Saying that individuality and value should always be important in architecture, he expresses modern values and characteristics of the time fully. This study can become a guideline for creating a new hierarchy, providing the contents of a new paradigm and lifestyle for the current era.

니시자와류에(西沢立衛) 건축의 비물질적 표현 특성

김동영(Kim, Dong Young) 한국주거환경학회 2018 주거환경(한국주거환경학회논문집) Vol.16 No.3

As a result of examining the immaterial expression characteristics of Ryue Nishizawa’s work, the following conclusions were reached within the scope of this study. 1. In Nishizawa"s work, immaterial expressions appeared in terms of material aspect, morphological aspect, and spatial aspect. In terms of material, the transparency of glass and the metaphor by white color appeared, and in the morphological aspect, the dynamic form of beyond-gravity of the scalpel appeared. Finally, in terms of space, beyond-boundary characteristics appeared in the interior space, between the interior space and the outer space, and between the outer space and the outer space around the earth. 2. The characteristics of the material aspect and the characteristics of the morphological aspect eventually play a role of the composition and background elements that form the characteristics of the spatial aspect. 3. Such immaterial expressions can be divided into three types according to the expression type. First, in the case of the same type as the one-room type, expressions that acquire beyond-bounding in the internal space due to the transparency of the glass wall appear in the material aspect. Secondly, the separated scalpel and the connection space are separated into several pieces, and the de-bounding between the inner and outer spaces appears due to the transparency of the glass wall in the other mouths that exist in the large outer wall. The third is in the form of a single individual inserted into the atmosphere of the surrounding environment, where beyond-gravity is mainly seen in the morphological aspect. Consequently, the glass wall-a functional boundary inside-disappears and the curved ceiling or floor surface based on the terrain is formed, and the beyond-borderline is found between interior spaces, between interor and exterior spaces and between exterior spaces(in the site, out of the site). 4. Immaterial expression characteristics tend to change from indirect method by material side of the component to direct method of morphological aspect of the building scalpel. 5. He has been working on landscape expression to provide the possibility of a relationship that can be held in free and diverse spaces through the above immaterial expression method and to create an architectural space in harmony with the terrain and surrounding environment.

세지마 카즈요 및 니시자와 류에 주택의 공간구조분석 연구

이기석(Lee, Ki-Seok) 한국산학기술학회 2014 한국산학기술학회논문지 Vol.15 No.5

본 논문은 세지마 카즈요(Kazuyo Sejima)와 니시자와 류에(Ryue Nishizawa)의 1900년대에서 2000년대 초반까지의 주택작품들을 연구대상으로 한다. 공간구문론(Space Syntax Theory)의 Convex Map을 통한 각 주택의 공간별 통합도 (Integration)를 분석하여 개인공간 측면과 공용공간 측면에서 다음과 같은 결론을 도출하였다. 첫째, 제1기(1990년대) 주택에서 제2기(2000년대 전반) 주택으로 갈수록 개인공간과 공용공간의 통합도(Integration) 평균값 의 차이가 작아지고 있음을 알 수 있다. 제1기 주택에서 제2기 주택으로 갈수록 대체적으로 개인공간의 통합도 평균값은 높아지고, 공용공간의 통합도 평균값은 낮아져 간극이 좁아지는 경향을 보이고 있으며, 이는 개인공간과 공용공간의 통합도 가 서로 비슷해지며 공간 구분의 경계가 모호해지고 있음을 의미한다. 둘째, 개인공간측면에서 살펴보면, 제2기(2000년대 전반) 작품인 S-3(House in a Plum Grove), S-4(House in China)에서의 개인공간들의 통합도 평균값이 10개 작품들중 가장 높은 수치를 보이고 있다. 개인공간은 제1기 보다는 제2기 작품들에서 더 폐쇄도가 떨어지는 경향이 있음을 알 수 있다. 세째, 공용공간측면에서 살펴보면, 제1기(1990년대) 작품인 I-2(Villa in the Forest), I-5(S-House), I-6(Weekend House)에 서의 공용공간들의 통합도 평균값이 10개 작품들중 가장 높은 수치를 보이고 있다. 공용공간은 제2기 보다는 제1기 작품들에 서 더 중심적이며 개방적인 경향을 보이고 있음을 알 수 있다. This paper analyzes the house designs of Kazuyo Sejima and Ryue Nishizawa from the 1900s to the early 2000s‘ works. By analyzing the degree of space integration of each house using the Convex Map of the Space Syntax Theory, this study arrived at the following conclusions in the respects of private space and public space. First, from period 1 (the 1990s) to period 2 (the first half of the 2000s), the differences between average integration values of private space and public space in their works have decreased. Over time, in general, average integration values of private space have increased, and, on the other hand, those of public space have decreased, leading to smaller differences between two sets of values, which means that, as the integration degrees of private and public spaces have become similar, the boundary which divides spaces becomes blurry. Second, in terms of private space, average integration values of private space in S-3 (House in a Plum Grove) and S-4 (House in China), works of period 2, are the highest among those values of their all 10 works. We can identify that, closure degrees of private space in their works have fallen over time. Third, in terms of public space, average integration values of I-2 (Villa in the Forest), I-5 (S-House), and I-6 (Weekend House), works of period 1, are the highest among those values of their all 10 works. Public space has become more central and open from period 1 to period 2.

가즈요 세지마의 착시효과를 이용한 표현적 외피 구축방법에 관한 연구

유진상 대한건축학회 2005 대한건축학회논문집 Vol.21 No.8

This study analyses spatial effect and construction method created by the modeling method using observer's illusion in the exterior-envelope of contemporary architecture, which is used as an ornament combined with reasonable structure system. Kazuyo Sejima's experiment contributes to make another space based on observer's imagination by blurring the border between the subject and virtual image through moir phenomenon or montage technique, which is superior to the early experiment transforming the condition of exterior-envelope by superimposition. Though spatial experiment through the illusion may seem to be abstract from the stereotypical viewpoint, actually it is not abstract at all. The new relationship between sense and reading is finally connected to new spatial sense via the observer's perceptive transmission. Analysis of constructionmethod has shown that illusion method to strengthen the expression of exterior-envelope in architecture is made up of the further reinforcement in the composition of planar landscape and sense of depth without the distinguishable layers by the details such as omitting the mullions, flattening the surface and repeating the transparent overlap.

사나(SANAA) 건축의 공간 구성에 나타난 투명성에 대한 연구

김남훈(Kim, Nam Hoon) 대한건축학회 2017 대한건축학회논문집 Vol.33 No.10

SANAA founded by Kazuyo Sejima and Ryue Nishizawa is one of the leading architecture groups which shows transparency theories through their noble works. Further more, they mentioned new transparency in the concept of architectural works. Sejima mentioned “I think that I try to find some kind of transparency without transparent material” in a conversation with Alejandro Zaera in 2000. It means that literal transparency and lightness which are main characteristics shown SANAA’s works are not their intentions for architectural concepts. The purpose of this study is to analyze what transparency theories applies and how is constructed in SANAA’s works. This research will shows a new direction to understand contemporary architecture based on transparency.

일본건축의 비물질적 표현 특성

김동영(Kim, Dong Young) 한국주거환경학회 2021 주거환경(한국주거환경학회논문집) Vol.19 No.3

Examining immaterial expression on traditional high-class architecture and contemporary architecture in Japan, the following conclusions were reached within the scope of this study. 1. Both traditional architecture and contemporary architecture are interpreted as being sublimated into spatial continuity through aspects of material, morphologic and space in general. 2. The ultimate purpose for immaterial expression characteristics in Japanese traditional architect and contemporary architect is on communication with nature or terrain. Those who communicate with are the site which includes the terrain, the hardware element and software element that related with terrain scenery, and these expressions are as an indication of the continuity of time connecting the past and the present. 3. Compared to the characteristics of other contemporary architects, Ando Tadao s works have indication of using immaterial properties as an optical communication with the light and natural scenery of the site in order to regenerate the original scenery. Leaving aside de-placement due to some media expression, it typically represents de-bounding of space that comes from transparency made up of glass materials. Kuma Kengo whose architectures accomplished anti-object cuts the material into small pieces to acquire transparency and de-gravity on the architecture and then to acquire de-bounding that communicate with surrounding environment and finally this actualize a work of a form that does not protrude. In particular, he works with the belief that the materials should be from the site and that the workers should be local as much as possible. Ryue Nishizawa is trying to achieve an architecture that is almost indistinguishable from the site, which is integrated with the topography of the site, for environmental architecture through immaterial expression. Therefore, the morphological expression of materials or buildings is relatively central.

들뢰즈 철학과 SANAA 건축의 비표상적인 생태적 사유 연구

조한(Joh Hahn),김덕재(Kim Deok-Jae) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.6

This study is to lay foundation for the ecosophical architectural discourse based upon the non-representational ecological 'image of thought' of Gilles Deleuze's philosophy. Deleuze's non-representational ecological 'image of thought' is the becoming-thought image based upon the non-hierarchial becoming between philosophy/science/art/architecture/etc. This ecological 'image of thought' also demands non-hierarchial architectural becoming, which can be found in many modern architectural design process and buildings. In Kazuyo Sejima & Ryue Nishizawa(SANAA) architecture, non-hierarchial architectural becoming are rhizomatic becoming between 1) diagrammatic design process, 2) multiplicitic/virtual spatial organization, 3) becoming/differential/relational boundary/limit, 4) neutralized structure/architecture. In SANAA's architecture, there are no pre-existing hierarchy set either by architect, society, culture, or nature, as users can set themselves their own epistemological/psychological boundaries, spatial organization, rhizomatic relationship in every becoming fashion. SANAA's architecture is the becoming-thought itself of architecture.

SANAA의 건축에서 ‘분위기’의 개념과 구현방식

서정일(Seo Jeong-Il),임리사(Lim Lisa) 대한건축학회 2010 대한건축학회논문집 Vol.26 No.10

SANAA(Sejima and Nishizawa and Associates), a leading Japanese architectural firm, has developed the architectural ‘atmosphere’ as its general principle and aim of their design practice. Ultimately defining it as “a landscape (the contemporary scenery) for people,” the firm has been pursuing a ‘new freedom’ and has incorporated multiple values into it: contemporaneity, integrity of programs and phenomena, and potentiality. SANAA tries to embody the concept of ‘atmosphere’ through the various representational strategies: hierarchical reconstitution of space, transparent and abstract simplification, and non-deceptive trick. In the resulting architectural representation, a heterotopia can be found.

공간구문론을 이용한 SANAA 작품의 비위계적 공간구성 특성 연구

이기석(Ki-Seok Lee) 한국산학기술학회 2016 한국산학기술학회논문지 Vol.17 No.8

본 논문은 알미르 슈타트 극장 이후에 나타나기 시작하는 공간의 비위계적 구성(non-hierachical arrangement)으로 평면계획이 이루어진 SANAA의 작품들을 선정하여 공간구문론(space syntax)에 의한 정량적 분석을 시도하였고, 외형적으로 보여지는 평면구성의 비위계성이 정량적 수치값으로는 어떻게 나타나는지를 분석하였다. 분석결과 다음과 같은 결론을 얻었 다. 첫째, 외형상 보여지는 비위계적 평면구성을 보이는 SANAA의 각 공간들은 정량적 수치값의 분명한 차이를 보이고 있으 며, 외형적으로는 잘 드러나지 않는 공간의 위계 차이가 분명히 있음을 확인할 수 있다. 둘째, 통합도(Integration)값이 높은 공간들은 연결도(Connectivity)값도 대부분 함께 높음을 알 수 있었는데, 비위계적 평면구성의 위계성을 부여하는 방법으로 공간의 출입구 개수를 늘리거나, 실의 크기와 위치조정을 통해 숨겨진 위계성을 부여하고 있음을 알 수 있다. 셋째, SANAA 는 그리드 형태의 평면구성에서 내부 복도 대신에 외곽부 복도를 이용하여 접근성 문제의 해결을 시도하고 있으며, 방과 방 사이의 오픈 코트 공간은 자연채광과 환기를 제공함과 동시에 공간의 숨겨진 위계성을 조절하는 장치로 채택되고 있음을 알 수 있다. This study attempted quantitative analysis by space syntax on the plan of a non-hierarchical arrangement, which selected SANAA's work after Almere Stadt Theater, and analyzed the difference in the quantitative value of the non-hierarchical arrangement in plan that appears externally. The analysis results were as follows. First, SANAA's spaces with a non-hierarchical arrangement plan that appears externally showed a definite quantitative value difference, and had a hierarchical space difference in the plan that does not appear externally. Second, the spaces with a high integration value also had a high connectivity value, which is indicated by increasing the number of space openings using the method of giving hierarchy to the non-hierarchical arrangement plan or adjusting the size of the room or location to grant hidden hierarchy. Third, SANAA used exterior corridor rather than interior corridor in grid-type plan to solve the accessibility problem, and the open coat spaces between rooms provide natural lighting and ventilation and are used as equipment that controls the hidden hierarchy of space at the same time.

근대 핵가족의 변화에 대응한 SANAA의 주거 공간 연구

신은기(Cinn Eun-Gee),백진(Baek Jin) 대한건축학회 2012 대한건축학회논문집 Vol.28 No.8

This study is purposed to analyze the changes of domestic spaces for modern nuclear family in comtemporary situations through SANAA’s works. Regarding composition of rooms, SANAA’s works tried to make a new relationship between common spaces and individuals’ spaces at their early works, however, their later works showed non hierarchial composition of independent rooms. These rooms also were tried to be redefined in the aspect of uses and spatial concepts instead of conventional nLDK systems. Moreover, those compositions amplified the distinctive perceptual experiences in the relationship between a residence and a city, or a room and another room. Those experiences are based on complexity revealing feeling of privacy within boundary and connectivity to another space at the same time. SANAA’s domestic spaces can be one of strategies for contemporary family spaces showing individualization of family members and ideological family togetherness at the same time.