• 건축역사연구
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• 제13권4호
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• pp.75-88
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• 2004

The German Werkbund, which was founded in 1907, played an important role in the history of modern architecture. Its exhibition 1914 in Cologne is estimated as a meaningful event in the development of modern architecture. Especially two examples, among which were built at that time, are worthy of notice. The one is the 'Modelfactory' by Walter Gropius and the other 'Glashaus' by Bruno Taut. Generally in the Textbook on the history of modern architecture, the Taut's Glashaus is rarely mentioned or described as a early example of some expressionistic architecture, while the Modelfactory by Gropius is regarded as an essential workpiece in the early stage of modern movement. the time of searching alternative not only from rationalistic modernism but also postmodernism and today in the time of plurality, Taut's Glashaus could bring us more interesting and meaningful aspects in architectural design. Through investigating the background in the planning stage and analysing the composition of space, construction, circulation etc. it is to try to understand the building as really as what it was. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; what should be reflected in architecture and how could 'Zeitgeist' be architecturally adopted?

• 한국가구학회지
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• 제15권2호
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• pp.63-71
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• 2004

Deutsche Werkbund, founded in 1907 and closed by Nazis in 1934, is affected on German economic growth and industry The purpose of the association was the improvement of industrial materials as emphasizing the close relationship between artists and industrialists. The group is developed within the contrast idea of Hermann Muthesius who wanted the standardization of industries and of Henry van der Velde who wanted the freedom of artistic expression based on individualism. The furniture of DWB in terms of function exemplifies remarkable structures compare to furniture existed eyer before. The use of such functional elements as shelves, casters and drawers in rectangular forms is notable. And the form make it possible to utilize in small spaces. Thus, the furniture of DWB represents such standards in industrial design as simple, and geometric forms without any ornamentation.

• 건축역사연구
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• 제1권2호
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• 한국실내디자인학회논문집
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• 제14권4호
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• pp.3-10
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• 2005

German architect Hans Scharoun (1893-1972) has long been known as an Expressionist Architect, but recent scholarships reveal that his architectural pieces represent a profound idea of modern functional building. In this context, his architectural tendency can be constructed as an advanced functionalism. In the early twentieth century Germany, many young architects were not given chances to build due to economic hardship after World War I, and they were naturally led to imagery sketch designs for future architecture. Scharoun began with utopian fantasies as one might easily notice through his watercolor paintings in the Glass Chain period, but further developed his vision into a more concrete idea on organic building which he believed to be a modem functionalism. This paper intends to exemplify Scharoun's modern functionalism through a detailed analysis of his design of Weissenhofhaus presented at Stuttgart Deutscher Werkbund Exhibition in 1927. Weissenhofhaus is often rebuked for its expressionist qualifies by famous critics such as Sigfried Giedion and Nikolaus Pevsner, but the house also suggests other possibilities within the Modern Movement in Architecture. In particular, Weissenhofhaus is chosen for its historical importance linking two world war eras in German modern architecture.

• 디자인학연구
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• 제16권4호
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• pp.413-422
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• 2003

20세기 초 영, 독일의 미술과 공예협회인 독일 베르크분트(Deutcher Werkbund)로부터 산업제품을 위한 디자인 표준화의 제기와 기능주의의 새로운 미를 적용하려는 노력은 시작되었다. 같은 맥락에서 1919년 독일의 바우하우스(Bauhaus)에 의해 굿디자인은 기술과 예술의 혼합에 의해 이루어진다는 현대적 개념의 디자인이 그 뒤를 이었다. 1950-1955년, 뉴욕 MOMA(Museum of Modem Art)에 의해 행해진 소비자 교육프로그램인 굿디자인(Good Design) 전시회에 의해 그 용어는 현대적으로 사용되었으며, 굿디자인의 임무는 모던디자인을 일반대중에게 인식시키는 것이었다. 20세기 후반 이후 많은 전문가들은 각기 독특한 입장에서 굿디자인을 다양하게 정의하기 시작하였다. 그 정의는 디자이너, 기술자, 생산자, 비즈니스맨, 소비자들에게 이르기까지 각 영역의 특성에 맞게 해석되어 적용될 수 있었기 때문이었다. 디자인 학자인 람스(Rams)와 노만(Norman)은 물리적, 심리적인 관점으로부터 굿디자인을 해석하고 있으며, 기능, 미, 테크놀로지, 등에 관련해 구체적으로 굿디자인의 표준과 올바른 접근방향을 언급하고 있다. 따라서 본 연구는 굿디자인의 역사적 고찰과 정의 및 람스와 노만의 주장을 비교와 분석을 통해 굿디자인의 세부적인 기준과 정의의 관계를 정립하였으며, 최종적으로 그들이 주장하는 물리적, 심리적으로 접근한 사용자 중심의 디자인이 굿디자인임을 찾고자 하였다.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.