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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.7
- 수록면
- 161 - 170 (10page)
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초록· 키워드
오류제보하기
German architect Hans Scharoun (1893-1972) occupies an important place in the history of modern architecture, but it is only a
recent phenomenon that his role and contribution began to attract recognition from the wider audience. In comparison to the
universalist direction which Gropius and Mies pursued, Scharoun believed that buildings should be specific to place and purpose.
Scharoun's belief, however, was often dismissed as Expressionism due to his imagery sketches and fantastic expression. What
was overlooked or even failed to recognize in the works of Hans Scharoun was the transformation that had taken place in his
architectural vocabulary which many critics simply called Expressionism. A careful analysis of Scharoun's design suggests that
his design is sensitively responsive to a given place and functional needs of the building that result in irregular and
asymmetrical composition. Moreover, one can also notice that English Arts and Crafts movement influenced many German
modernists, and Scharoun was no exception in that context.
Scharoun was often associated with another German theorist and architect Hugo Haring (1882-1958) who was his friend and
mentor for a long time and offered Scharoun a logical background for organic architecture. Scharoun himself was also moving
towards the same direction that eventually made him world recognition in the post-war years, but Haring's influence on Scharun
was much more significant than casual exchange of ideas.
This paper intends to clarify the relationship of Scharoun's work to modern historicism through careful analysis and contrast
of the works of Scharoun and the Arts and Crafts. He was found progressive in that he employed free geometries and
transparent plan. He never denied prefabrication or grid construction, but further exploited them for better adaptation and
appropriation. His use of irregularity and asymmetry was thoughtful and even visionary.
recent phenomenon that his role and contribution began to attract recognition from the wider audience. In comparison to the
universalist direction which Gropius and Mies pursued, Scharoun believed that buildings should be specific to place and purpose.
Scharoun's belief, however, was often dismissed as Expressionism due to his imagery sketches and fantastic expression. What
was overlooked or even failed to recognize in the works of Hans Scharoun was the transformation that had taken place in his
architectural vocabulary which many critics simply called Expressionism. A careful analysis of Scharoun's design suggests that
his design is sensitively responsive to a given place and functional needs of the building that result in irregular and
asymmetrical composition. Moreover, one can also notice that English Arts and Crafts movement influenced many German
modernists, and Scharoun was no exception in that context.
Scharoun was often associated with another German theorist and architect Hugo Haring (1882-1958) who was his friend and
mentor for a long time and offered Scharoun a logical background for organic architecture. Scharoun himself was also moving
towards the same direction that eventually made him world recognition in the post-war years, but Haring's influence on Scharun
was much more significant than casual exchange of ideas.
This paper intends to clarify the relationship of Scharoun's work to modern historicism through careful analysis and contrast
of the works of Scharoun and the Arts and Crafts. He was found progressive in that he employed free geometries and
transparent plan. He never denied prefabrication or grid construction, but further exploited them for better adaptation and
appropriation. His use of irregularity and asymmetry was thoughtful and even visionary.
목차
Abstract
1.도입
2.셔로운 건축의 자유로움: 비대칭성과 불규칙성
3.한스 셔로운 건축의 비대칭성과 불규칙성의 기원:예술과 공예운동
4.셔로운의 유기적 건축: 그 이론와 실제
5.휴고 헤링의 건축이론과 한스 셔로운의 건축
6.결론
참고문헌
참고문헌 (0)
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