쿱 힘멜블라우 건축 이미지의 바슐라르적 해석 (Bachelardienne Interpretation of the Architectural Image of Coop Himmelb(l)au)

서지정보

· 발행기관 : 대한건축학회
· 수록지 정보 : 대한건축학회논문집 / 34권 / 2호 / 85 ~ 94페이지
· 저자명 : 김인성

초록

연구의 대상은 쿱 힘멜블라우와 바슐라르이다. 두 대상에 대한 기본적인 검토 후에 서로간의 대화, 혹은 조망을 엮어가는 것이 연구의 큰 흐름이다. 공기, 불, 물, 흙 4원소의 물질적 이미지를 건축경험의 해석에 적용하는 것이 그 구체적 내용을 이룬다. 부산영화의전당을 중심으로 한 힘멜블라우의 건축은 바슐라르적 통찰에 의해 감추어졌던 감각과 의미를 드러내고, 바슐라르는 철학과 문학에 한정되었던 이미지와 상상력의 논의를 물질적 건축의 영역에서 재발견한다.

영어초록

This study tries to connect the ‘four-elements metaphor’ of Bachelard with architectural Images of Coop Himmelblau. Two basic terms of‘phenomenology of imagination’ and ‘material image’ are explored firstly to understand the meaning and value of Bachelardiennefour-elements in architectural discourse. The material images of air, fire, water, and clay are applied to the analysis of architecturalexperience of Busan Cinema Center(BCC) which is selected among works of Himmelblau by reason of its integrity of the four-elements’images. After elaborate Bachelardienne description of the images of BCC, the study examines whole Himmelblau’s works since 1968chronologically from the perspective of the four-elements’ architectural images which are found in the analysis of BCC. The study of BCCcould discover the images of air in two roofs, the images of fire in Double cone, the images of water in outdoor cinema, Dureraum square,flying brides, and the images of clay in Cinemountain and BIFF Hill. The chronological study found that Himmelblau had started theirprojects with the images of air in 1968 and tried the fire from 1978, and their regular examination of water and clay images had begun inmid 90’s. After 2000, they could show a certain harmony of the four elements in their works.

참고자료

· 없음