| 요약1 |
이 논문의 목적은 존 헤이덕의 건축에 진입할 입구를 찾거나 만드는 것으로, 이 작업을 위해 헤이덕 건축을 해명하기 위해 헤이즈K. Michael Hays가 동원한 라깡Jacques Lacan의 시선과 응시의 개념을 비판적으로 매개시킨다. 헤이덕의 건축은 우리에게 하나의 무명(無明)이다. 그의 건축에 진입하고자 시도한 본격적인 몸부림이나 흔적도 없고, 따라서 성과가 완전히 부재하다. 그런데, 왜 그러한 헤이덕의 건축을 조망할 틀로 시선과 응시의 개념을 택하는가? 이에 대한 답은 잠시 뒤로 미루고, 그보다 우선, 왜 헤이덕인가? 이 물음은, 특히 그에 관한 연구논문이 전무한 우리의 상황에서 우선 마땅히 짚어야 할 문제다. 세 답변이 가능하다. (본문 중에서) |
| 요약2 |
This paper is an attempt to find/make an entrance to John Hejduk's architecture. Based explicitly on both Karl Popper's model of knowledge production called 'conjecture and refutation' and Harold Bloom's theory of poetry called 'revisionism', this paper, in order to produce a new problem, mainly deals with an existing knowledge as an object to refute, that is, Michael Hays' interpretation of Wall House by Jacques Lacan's notion of the gaze, Hejduk's a pivotal architectural finding.
The arguments underlying this paper are two: First, Hejduk, just like this paper, follows Popper's model and Bloom's theory in conducting his own architectural research. Secondly, he takes what might be called artist's attitude when absorbing previous knowledge and producing new one. These two arguments are made in the first part and then served as a basic propositions for further arguments.
In the process of criticizing the way in which Hays explicates Hejduk's Wall House, this paper reaches two main arguments. First, Lacan's notion of the gaze is not proper specifically for the explication of it. However, it may be useful and even promising when dealing with other works such as Subject/Object and House of the Inhabitant Who Refused to Participate. Secondly, Freud's notion of 'uncanny', arguably Hejduk's strong architectural orientation, may serve much better as a main gate among possibly many ones in trying to open his architecture. It is considered that this might also serve as an important clue to solving mysticism remaining yet untouched in his architecture. |