• 건축사
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• 12호통권106호
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• pp.13-15
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• 1977

• 건축사
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• 제5권6호통권22호
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• pp.29-51
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• 1970

• 주택과사람들
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• 통권190호
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• pp.44-47
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• 2006

라 쇼드퐁의 팔레 주택, 사보아 주택, 롱샹 성당, 라 투레트 수도원, 카프 마르탱의 오두막 등의 대표적인 작품을 남긴 20세기 건축의 거장 르 코르뷔지에. 그의 생애를 따라 펼쳐지는 작품과의 조우

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.70-77
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• 2014

The purpose of this study is providing a usage of exterior, interior finish materials and color scheme for architectural design and the actual texture and pattern plans of finish materials from Le Corbuisier's work, Chapel Ronchamp. Chapel Ronchamp was analyzed to support the study for the interaction between texture usage and color expression. As a powerful design tool, texture, pattern and color of finish materials are very effective to alter the perception of the facade in the building. Most of architectural buildings, shapes and materials of elevations are monotonous and uniform. This study should be considered by details in the elevation of Chapel Ronchamp. As the part for developing and planning of architectural design, researching color plans and finish material is very important on real expression in the architectural space. As a result, this study will benefit in planning both the exterior and interior environments of color and finish material with texture and pattern.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.162-170
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• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• 한국산학기술학회논문지
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• 제17권12호
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• pp.518-531
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• 2016

본 연구는 현대교회 건축 디자인에 많은 영향을 끼친 도미니크 수도회 신부 마리 알랭 쿠튀리에(Marie Alain Couturie)가 주창한 성미술(L'Art Sacre) 운동의 추진과정과 건축적 특성을 고찰하는데 목적이 있다. 이를 위해 성미술 운동의 전개과정을 분석한 후, 이를 토대로 성미술 운동 속에 내재해 있는 건축적 담론, 특히 쿠튀리에가 주창한 건축개념의 특성이 무엇인가를 분석하고자 하였다. 1차적으로 1936년부터 1954년 사이에 성미술 운동의 기관지 라르 사크레지에 기고 된 쿠튀리에의 글 속에 나타난 언설을 분석하고, 2차적으로 성미술 건축 프로젝트의 현지답사를 통해 성미술 운동의 실체를 파악하였다. 성미술 운동의 대표적인 건축물인 아시성당과 로사리오성당, 롱샹교회, 라투렛수도원, 로스코채플 등 5개의 프로젝트를 분석대상으로 하였다. 본 연구의 결과 쿠튀리에의 건축개념의 특성은 '시적'(Poetic) 분위기의 창출에 기초하고 있음을 파악할 수 있었으며, 재료의 즉물성과 순수함은 모더니즘기의 추상적 사유와 연결되어 있음을 규명할 수 있었다. 쿠튀리에 신부는 르 코르뷔지에를 성미술 운동을 구현할 수 있는 가장 적합한 건축가로 인식하였으며, 이러한 사유는 롱샹 성당과 라투렛 수도원을 탄생시키는 직접적 동인이 되었음을 파악할 수 있었다. 본 연구에서는 20세기 중반 교회건축의 혁신을 일으켰던 성미술 운동의 전개과정과 쿠튀리에 신부가 펼친 건축개념의 분석을 통해 현대교회건축의 공간이미지 구성과 디자인에 지침과 교훈이 될 것으로 사료된다.

• 건축역사연구
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• 제8권1호
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• pp.81-94
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• 1999

This Study aims at searching the meanings in the creative process of Ronchamp chapel by analyzing the drawings of the site, plan, section and elevation in chronological order. The origins of his architectural creation are identifying with the site(memories of Acropolis), analogies of crab shell, air plane wing and hydraulic dams. The architect informed himself about the site ,the tradition of pilgrimage associated with the place, and its devotion to the Holy Virgin; he looked into the rituals of the Catholic religion, spoke with ecclesiastics; he studied and annotated a monograph devoted to the site of Ronchamp. Also ,the plan required that it be possible to collect rainwater, since such was rare on the hill. In the first design phase, overall conception of building was carried out in the sketches and drawings from June 1950 to November 1950. The second phase in the elaboration of the project was from January 1951(at which time preliminary project was presented to the Commission of Holy Art) to April 1953. The modifications made were in response to opinions expressed by the patrons. The building moved to east and gargoyle moved to west, then, the elevations of north and west were changed. He designed the artificial land and bell tower from the first phase even after the beginning of construction ,he wanted them to be built .But they were not constructed, so the outer space for rituals of religion had no tension. I concluded that Le Corbusier had gifted ability and efforts to create spontaneous birth(after incubation) of the whole work, and the execution of drawings itself. He devoted himself to accomplish the project in spite of the change in situation or by clients.