| 요약2 |
The article attempted to interpret the meaning of “a new principle," which Mies van der Rohe referred to when he recalled the birth of the freestanding onyx wall of the Barcelona Pavilion. In terms of space, this study examined and analyzed freestanding walls in Mies' open plans from the Glass Skyscraper of 1922 to the Tugendhat House of 1928-30. By comparing between other freestanding walls before 1928 and the freestanding onyx wall, this study showed that the onyx wall was innovative in that it was a closed, dynamic, and reflective element in an open plan enclosed by full glazed walls. Mies, intending to create the reflective effect originating from both material walls and glazed walls, developed this effect into an artistic effect in space. In terms of Semper's theory of wall dressing, the onyx wall may be regarded as a kind of Wand or screen walls, revealing ornamental, dematerialized, and natural beauty. Mies replaced traditional form-oriented ornament by a natural ornament, creating a new atmosphere. In terms of architectural sleekness, the onyx wall satisfied Vitruvius' firmitas and utilitas as well as venustas, and its sleekness was based on mechanical flatness and preciseness. Mies, appreciating Berlage's honest and sleek construction, established his own sleek beauty by realizing new details such as reveals and seamless joints. In conclusion, it was proposed that Mies' principle of the freestanding onyx wall covered material aesthetics as well as spatial dynamism, revealing his continual concerns for the establishment of modern material sense free from subjective arbitrariness. |