| 수록사항 |
건축역사연구(한국건축역사학회지) , v.15 n.3(통권 47호)(2006-08) |
| 주제어 |
미스 반 데어 로에 ; 잠복성 ; 콜라주 ; 가상 ; 투시도 ; 출현 ; Mies van der Rohe ; latency ; collage ; Schein ; perspective ; appearance |
| 요약1 |
본 논문은 미스의 작품이 근대건축의 기획을 구현하고 있다고 보는 규범적 해석에서 그러한 기획의 허구성을 비판한 반 미스적 진영에 이르기까지, 미스의 작품의 일의성을 너무 당연시하고 있는 것은 아닌가라는 의심에서 출발하였으며, 일면적으로 보이는 현상 안에는 이와 상호작용하는 계기가 잠복되어 있다는 관점에서 이를 입증하고자 한다. |
| 요약2 |
This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to the definiteness of space, characterized by the unmovable emptiness.
Although Mies works vary in external form, his expression technique of space reveals continually both the quality of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism.
Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality. It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics. |
