| 논문명 |
아돌프 로스의 건축론에서 “예술과 실용품의 분리”에 대한 비판적 소고 / A Critique of the Separation of Art and Architecture in Adolf Loos' Theory |
| 저자명 |
이상헌(Lee Sang-Hun) |
| 발행사 |
대한건축학회 |
| 수록사항 |
대한건축학회논문집 계획계, v.24 n.3 (2008-03) |
| 페이지 |
시작페이지(133) 총페이지(8) |
| ISSN |
12269093 |
| 주제분류 |
이론 |
| 주제어 |
아돌프 로스 ; 아르 누보 ; 실용품 ; 실용예술 ; 장식 ; 시카고 트리뷴 사옥 ; 레드 비엔나 ; 칼 막스 호프//Adolf Loos ; Art Nouveau ; Useful Object ; Art ; Ornament ; Chicago Tribune Tower ; Red Vienna ; Karl Marx Hof |
| 요약1 |
본 논문은 이런 관점에서 로스의 예술과 실용품의 분리에 관한 이론을 비판하고, 구체적인 건축사례의 분석을 통해서 그의 이론이 그의 건축적 실천에 진지하게 반영되어 있음을 보이고자 한다. 그럼으로써 그의 건축이론과 실천이 갖는 의미와 한계를 더 명확하고 일관성 있게 이해할 수 있을 것이다. |
| 요약2 |
Adolf Loos' architecture is valued especially in postmodern era when architectural styles are consumed as a commodity like a fashion. He tends to be considered as an alternative to both utopian modernism and stylistic postmodernism. Unlike his comtemporary Art Nouveau artists and architects who attempted to create a new style reuniting art and craft, and art and everyday life, Loos accepted the separation between art and craft in modern industrial society and put architecture in the realm of useful objects. He argued that its style is to be developed by modern cultural life and that the removal of ornament in useful objects is the natural outcome of progress of modern culture. This attitude obviously made his architecture more realistic than that of other modernist architects. However, his theory of radical separation between architecture and art, between useful objects and monuments had contradictions and could not be sustained in reality. Even his positivistic architecture has aesthetic quality which denounces his principle of pure rationality. The fundamental limitation of his theory was manifested in his two projects at diametrically opposite direction: Chicago Tribune Tower and Housing design for Red Vienna. The former was a monument, the latter being architecture without ornaments. However, both examples faced difficulty and could not play out in reality. |
| 소장처 |
대한건축학회 |