• 건축역사연구
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• 제2권1호
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• pp.126-135
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• 1993

Italian Rationalism held a specific position in the Modern Movements of Architecture, due to the fact that Italian Rationalism could not totally escape from the classical tradition of Italy. Until the seventies, Italian Rationalism had been criticized for having made no contribution to the progressive aspects of the Modern Movements owing to the very keeping of tradition. After the seventies, however, there emerged a movement which tries to reinterprete the Modern Movements of Architecture in relation to tradition and under this new situation, Italian Rationalism is believed to have a historical possibility of unifying tradition with modernity. This study is to show how Italian Rationalism struggled with the issue of tradition, why Italian Rationalism was under-evaluated and which historic lesson we can learn from it in the contemporary days of the revivalistic Post-Modernism.

• 한국실내디자인학회논문집
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• 제17호
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• pp.150-156
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• 1998

We found the similarities and differences it the works of Italian Architects especially in 1960s Neo Rationalism and also in the products of inclination of contemporary Minimalism. Based on the moderate application of traditional architectural language and on typological prototype the Italian Architects pursued inherent logic by which the works came to the composition and association rule that show an extremely moderate expression of a spirit indispensable to Architecture. And they turned down the logic of ergonomics but they searched for the simple and prototypical form that was the architectural language strongly restrictive common and objective all through the abstraction of Architectural elements in their memories. The overcome from the forms and the methodology of thinking contain common types in Contemporary Minimalism. But Contemporary Minimalism rejects fundamentally the analogical interpretation and typological protiotype from the past.

• 교육시설 논문지
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• 제26권5호
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• pp.11-16
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• 2019

The purpose of this study is to analyze the 'Brera Academy', worked between 1935-1940 at Milano in Italy. Giuseppe Terragni(1904-1943) is, as it is well known, one of the representative architects in the period of Italian rationalism architecture. In particular, his 'Casa del Fascio(1928~1936)' is evaluated as a representative work of this period. The research is based on original drawings and letters, mostly produced by G. Terragni or relative person and office of this work. Through analyze on the design process, the research tries to reveal Italian rationalist's design method and strategy, especially in the educational facility project. There are at least three deferent phases in the design process; in each phase, there are fundamental changes such as a structural system, relationships between the traditional garden and new building or spatial sequences. So, this study attempts to clarify the design methodology and strategy of the Italian rationalist in the design of educational facilities through analysis of the design process of Brera Academy.

• 교육시설 논문지
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• 제22권6호
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• pp.13-22
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• 2015

The purpose of this study is to analyze the 'Sant'Elia Nursery School' constructed in 1937 at Como, Italy. Giuseppe Terragni(1904-1943) is, as it well known, one of the representative architects in the period of Italian rationalism architecture. In particular, his 'Casa del Fascio(1928~1936)' is evaluated as a representative work of this period. The research is based on the original drawings and letters, mostly produced by G. Terragni himself. Through the analyze on the design process, the research tries to reveal Terragni's design method and strategy, especially in the educational facility project. There are at least four deferent phases in the Terragni's design process; in each phase, there are fundamental changes such as a structural grid system, relationships between skin and columns or spatial sequences. Establishment of a new guideline on the educational facility in 1925 is also an another important issue. There was a political need, during the period of Mussolini's regime, to find a model of educational facilities. So, this project reflects not only the Terragni's design process but also the good example of educational facility in the early Twenty Century in Europe.

• 도시과학
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• 제6권2호
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• pp.11-16
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• 2017

Giuseppe Terragni was one of the founding member and a leading Italian Rationalist pursued a new and more rational synthesis between the nationalistic values of Italian Classicism and structural logic of the machine age. Casa Giuliani Frigerio, a four-story apartment housing in Como, is one of his last major work and is worth to investigate the composition of facades in terms of ambiguity. Unlike the Casa del Fascio, it is never possible to read an priori whole and to allow static and unified readings in a traditional alignment. Due to its misalignments found within the facades of Casa Giuliani Frigerio, it is evident to present unstable and disjunctive readings. These distinctive facades are read as layers applied onto some equally unstable underlying layer and form an ensemble of unexpected unity.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.27-34
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• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• 건축역사연구
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• 제17권6호
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• pp.67-86
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• 2008

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.

• 디자인학연구
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• 제19권2호
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• pp.129-138
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• 2006

현재 세계 시장에서 우위(優位)를 확보하고 있는 디자인 중에는 그를 생산한 국가의 고유한 문화와 민족적 기질을 소유하고 있다. 휴머니즘을 강조하는 스칸디나비아, 실용주의를 포함하는 미국, 합리주의 원칙이 반영된 독일, 일상 예술이 잘 반영되어 있는 스페인 그리고 합리주의와 인상주의적인 이탈리아 디자인이 그 좋은 예라고 할 수 있다. 사회 속에 존재하는 모든 사람들은 이미 형성된 사회 문화적 가치와 성격에 의해 지배를 받게 된다. 따라서 문화는 사회적 행위의 내면적 태도를 규제하며, 주체의 행위에 압력으로 작용하게 된다. 또한 문화는 사회적 환경의 지배를 받게되며, 사회를 구성하고 있는 사회 구성원의 기질에 따라 각기 다른 문화가 성립된다. 따라서 문화의 한 부분으로 이해되는 디자인 또한 사회, 문화적 환경의 지배를 받게 되는 것이며, 최종적으로 디자인에는 한 나라의 고유한 민족적 기질이 보이게 되는 것이다. 이제 한국 디자인은 세계 시장에서 많은 관심과 주목을 받고 있다. 그 이유는 새로운 테크놀로지에 대한 적용 능력이 뛰어나고, 이를 통해 생성되는 디자인의 이미지를 제시하고 있기 때문이다. 이제 한국 디자인에서도 기술적 디자인과 더불어, 한국적 아이덴티티로 인식되어 질 수 있는 조형적 요소에 대한 적용이 병행(竝行)되어야 한다. 따라서 한국 디자인 교육과 디자인 발전을 위해서는 우리들의 민족적 기질과 문화적 기질에 대한 정확한 정의가 선행되어야 한다. 이러한 처방적 노력들이 한국 디자인의 세계화를 위한 지름길이 되는 것이다.