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A Study of the Reception and Development of the Concept of Rhythm in the History of Architectural Theory -19th and 20th Century German Architectural Theory-

건축에서 리듬 개념의 수용과 전승에 관한 연구 - 19-20세기 독일어권의 건축이론을 중심으로 -

  • Kim, Young-Cheol
  • 김영철 (배재대학교 주시경교양대학)
  • Received : 2020.10.19
  • Accepted : 2020.10.30
  • Published : 2020.10.31

Abstract

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

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