| 요약1 |
본 연구에서는 형태를 조작하는 대신 입방형 쳬계라는 효과적인 틀을 사용하여, 즉 건물 전체형태를 제한하여 보다 자유롭고 표현적인 외피 실험을 하고 있는 중부 유럽건축의 표현방식을 재료사용법, 외피 구축법, 인식을 조작하는 방법을 통해 규명함으로써 근대건축 이후 제거된 외피의 장식적 기능이 어떻게 표현될 수 있는지 고찰하고 포스트모던 이후의 관념적 외피를 극복할 수 있는 새로운 조형언어의 가능성을 살펴본다. 이들 실험을 분석하고 자리매김으로서 근대건축이 이루어 놓은 공간적, 조형적, 기능적 성과를 잃지 않으면서 건축외피가 하나의 패션 또는 재해석된 장식으로써 회화처럼 자유로운 평면적 표현성을 획득할 수 있음을 증명하는데 의미가 있다. |
| 요약2 |
Since the 1980s, architects have experimented on the inclusion of time and space in surface plates of their works. The expressive tendencies of outer skin in rectangular systems, pioneered by Jean Nouvel in his use of plates that change color along its movement, have now become a common feature in contemporary architecture through the works of mid-northern European architects. Shall we read this as a new adaptation of Semper's principle of cladding, or is it an extension of the expressive qualities of Mies's exterior envelope? Seeking an alternative solution to the rather dry skins of Corbusian modernism, architects of the following era, through high-tech, structuralism and symbolism, committed the error of indulging in the pure qualities of form and concepts. Inspired by the trials of continuous dematerial Fine Art from the 1960s to the '80s, architects have generated a new definition of cladding as 'active-neutral skin' and have tried out its positivist applications.
Analyzing the recent experiments in the expressive qualities of exterior skin from the works of Nouvel, Dominique Perrault, Wiel Arets and Herzog & de Meuron in their use of materials, methods of construction and visual effects, it can be argued that the new skin is inclusive of time, and has autonomic, constant and tactile formal features. Based on their immaterial vocabularies -movement, time and objectivity- these could be characterized as vibrant- or active-plates. |