통합 검색 | Korea Science

드 스틸의 조형적 건축, 그 유토피안 비전 (The 'Plastic Architecture' of De Stijl, Its Utopian Vision)

윤난지
- 미술이론과 현장
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- 제9호
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- pp.151-170
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- 2010
As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.
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입자(粒子)와 장(場) : 동서양 건축에서의 단위개념 (Particle vs. Field : The Concept of Unit Model in the Architectures of the East and the West)

김성우
- 건축역사연구
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- 제14권1호
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- pp.151-183
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- 2005
All architecture in the history were based on a certain concept of architectural unit that functioned as a base model of architectural design. As we know, such model was not the same in the East and the West, and therefore, their architectures are not the same. This paper aims to identify how and why such base model of the two cultural area are different. As one way of discussing this issue, the concept of particle and field, as two representative idea of the West and East respectively, the employed. This kind of discussion can not follow the way of scientific verification as method of argument. However, the understanding of such concept of unit model is crucial for the understanding of the architecture of the culture in general. In basic sense, the tradition of Western architecture is rooted in the model of particle, where, architecture is conceived to be as a independent unit standing on earth as if it is a box like object. While, the tradition of Eastern architecture is rooted in the model field, where, architecture is conceived to be a part of field organization. In present days, we are used to the model of particle as if it is the only possible model of architecture. But, in fact, what man need to achieve in their architecture and city, is the balance between the two models.
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한국조경학회지의 당면 과제에 대한 고찰 (Discussion on Pending Tasks of the Journal of the Korean Institute of Landscape Architecture)

김민수
- 한국조경학회지
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- 제31권5호
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- pp.121-129
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- 2003
The purpose of this research was to discuss pending taste of the Journal of the Korean Institute of Landscape Architecture(KILA). Two subjects were discussed; one was the role of KILA as a supporter of landscape research, and the other was the role of KILA as a safeguard for its members. The results of this research were as follows. To support landscape research, several proposals were suggested. It is necessary for the development of landscape architecture for us to share some pages of our journal for essays which deal with current landscape issues, in order to introduce advanced overseas landscape trends or landscape techniques. For the field of landscape construction and landscape management, it is necessary to prepare a column of technical notes which introduce new techniques of landscape construction and management. For the field of landscape design, a larger seperate volume must be prepared with color printing. It is an efficient way to cooperate with other institutions that have the same member as KILA. To safeguard KILA members, it is important to maintain our status as a registered journal of Korea Research Foundation and to publish an international journal. For prospective young researchers, publication of an english journal is under consultation with the Japanese Institution of Landscape Architecture and the Chinese Institution of Landscape Architecture. The publication of an international land-scape journal to be recorded in the ISI journal in the near future will promote the research abilities of KILA members.
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