• Korean Architects
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• s.600
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• pp.112-117
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• 2019

1974년 10월 '월간 건축사'에 글이 하나 실렸다. 건축 작품이 정치사회적 논쟁의 중심에 섰던 최초이자 마지막이 아니었던가 싶은 김수근의 <부여 박물관>에 대한 일본풍 논쟁이었다. 논쟁의 발단은 한참 선배인 김중업의 언급에서 시작됐다. 한국 현대 건축의 시작점에서 프랭크 로이드 라이트를 일본을 거쳐 배운 김수근과 유럽의 르 코르뷔지에 말년 3년을 같이 한 김중업의 논쟁이었다. 일본풍은 <왜색>이라는 자극적 표현 때문에, 독립된 지 얼마 안 된 우리 정서로는 매우 민감한 부분이었고 사회적으로 파란이 일었다. 여러 사람들이 논쟁에 가담했었는데, 이런 논쟁이 단 몇 차례로 끝나고 이어지지 않은 것은 우리 건축계를 위해선 안타까운 일이었다. 600호 특집을 준비하다 발견한 <월간 건축사 1974년 10월호> 글은 놀라웠다. 그리고 1974년의 통렬한 비판이 아니라 지금까지도 언급할 가치가 있는 내용이었다. 자그마치 45년 전 건축계 전체에 대한 발전을 촉구하는 글에서 지금을 생각하게 됐다. 특히 두 '귀화인'이라는 표현에서 여전히 자기 정체성을 확보하지 못한 대한민국 건축계에 울리는 소리가 크다. 여전히 직수입된 사고와 생각을 유행매체에 마케팅하는 전략이 먹히는 풍토에서 이 글은 반성의 시간을 가지게 만든다. 피터 춤토르가 스위스 산속에서 혼자 뚝딱거리면서 조용히 건축을 하고, 중국에서 왕 슈는 폐자재로 수공예하는 건축을 하다 세계에 존재감을 알리게 되고, 알렉한드로 아라베나는 빈민주택으로 사회적 정체성을 알렸다. 해외대학 이력이 국내 대학보다 활동하기 좋은 대한민국 건축계는 반성의 시간을 가져야 할 것 같았다. 과연 45년 전 보다 선명해 졌는가? 원문을 거의 그대로 옮긴다. 다만 한자 표현이나 이해 어려운 문장은 다소 변환했다. 천천히 음미하면서 읽어보시길${\ldots}$ 1974년 10월 두 귀화인의 논쟁에 대한 학문적 비판글.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.4
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• pp.1-8
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• 2016

This study is to investigate the meaning and value of Usonian Automatic House System(UAHS) of Frank Lloyd Wright in his later period, focused on materials, methods, and his thoughts. The results of this study are follows. UAHS was the outcome of moderate cost and prefab house which Wright had successively attempted after the early Prairie period. The construction was simple and comparatively cheap, but subsequent automatics were difficult and expensive to build. Nevertheless, it was sufficiently flexible to support a rather wide range of house designs. Concrete was the inert mass and a plastic material. Wright saw a kind of weaving coming out of it. He also saw a kind of concrete masonry, steel for warp and masonry units for woof in the automatic concrete block. The reinforced bars in hollowed joints of concrete block increased the safety factor and affected the expression of the construction through the stabilization they provided. But they did not give concrete block the capability of structural span. Standardization as the soul of the machine might be seen in UAHS. The concrete blocks were more cheap, lighter, and larger hollowed plain than textile blocks in 1920s. But the variety of pattern and different block types in the UAHS were achieved at some sacrifice of standardization. The repetitive nature of production was compromised for artistic goals. The sense of compromise was not maximized, however, because the units as installed looked far more repetitive than they actually were.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.3
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• pp.1-8
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• 2016

Frank Lloyd Wright(1867-1959) had the confident concept that architecture should be at home in nature. His architecture was meant to bear an intimate relation to the earth and the sky, and should look as though it began there at the ground and contrasted with the sky. In handling all the details of house design elements, his efforts for being married to the ground was to conceive the void of the sky. This study is to research his thinking process and its development to the earth and the sky, and to analyze how such thought could reflect his houses. The mass of house are divided into three parts such as the foundation or base, body, and roof. These parts are respectively related to the earth and the sky. This study goes on regarding them as an analytical framework. The subjects of study are the Prairie houses in the early 20th century and the Usonian houses after 1930's. As results of this study, the earlier foundation as a platform appeared as a base and water table, and a strong baseline pressed the structures into the soil in the Prairie houses. The direct contact of wood and brick to ground were dominant details after Wiley house(1934). The base was almost invisible to the eye in the Usonian houses. Secondly, the pierlike shapes and delicate friezes of walls were anchored to the ground, and horizontal bands as trims or copings also got close to the earth. These characters had disappeared after the Allen house(1917), all components including exterior walls had been unified with the grid patterns in the Usonian houses. Thirdly, the overhanging cantilever roof had got to the earthbound by the reflection of shadow as well as their evident horizontal. He lowered the roof, lengthened and brought it closer to the ground. In this way, Frank Lloyd Wright intended his houses to be at home in nature. And also he tried to bind the houses to the earth and contrasted them with the sky. The houses would perform their highest function in relation to the earth and sky.

• Korean Institute of Interior Design Journal
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• v.25 no.2
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• pp.163-174
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• 2016

The purpose of this study is to reveal the space composition of fireplace and common features of both Prairie and Usonian House found within Wingspread House. This house is the last and largest Prairie house and zoned house built in a Usonian period. However, this house is not an independent work, but rather Wright's evolutionary experiments of fireplace from his early works and his pursuit of Usonian ideal. This paper can be summarized as follows: 1) Living room has been transformed to allow spatial continuity towards exterior view and access and between neighboring rooms by removing doors and inglenook. At the Wingspread house Wright has introduced a freestanding fireplace in a living room with higher and prominent roof structure, therefore the space became a focal point as well as the central space of the entire house. 2) Wingspread and Coonley house have gallery space in common, but they have different settings in the living room composition. Also the living room and gallery space of Wingspread and Usonian houses have prospect and refuge principle by expansion and compression. 3) Wingspread house is a successful combination of Prairie and Usonian style to meet client's requirements in space composition and Wright's technology and economical experiments. This study is intended to reevaluate the significance of this house bridging his two great residential periods.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.12-20
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• 2014

The purpose of this study is to analyze the general patterns of the floor plans and space of Usonian house which designed by Frank Lloyd Wright. this thesis can be summarized as follows : 1) F.L.Wright's houses mostly used simple geometric shapes as the basis for most of his architectural designs. In his early works, his typical floor plans were square or rectangular shapes, which gradually were transformed into various kinds of shape to make the adjustment of location of the site and shape. 2) The general patterns of floor plans of his U-houses were L-shaped or straight shaped using a $4{\times}4$ grid system. Most of U-houses consisted of 3 space: living room, workspace(Kitchen) & dining, and bedroom. Among them, a workspace worked as core role in each house. 3) Even though solid wall is the opposite concept of the transparent glass but most U-houses were designed to have solid walls on one side to provide a gallery space(to secure habitability of resident) and transparent glass walls used on the other side to connect between interior space and natural space of exterior. 4) The cantilever have not been used before Usonian house but F.L.Wright used it which take charge of functions as transfer space between inside space and outside space. 5) F.L.Wright saw the nature as a truth, so he thought the interior space would be natural and all houses must be able to adjust to the natural environment.