When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in 'gentle architecture', 'three lows principle', 'natural architecture', and 'connecting architecture', he clearly expresses t...
When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in 'gentle architecture', 'three lows principle', 'natural architecture', and 'connecting architecture', he clearly expresses the objective nature of architecture design in those terms. In this respect, the purpose of this study is to make a close inquiry into the meaning, effect and characteristics of objectivity. In particular, we try to identify the contents of 'impure architecture', which has a clear ambivalence to be an instrumental expression strongly settled in the objectivity, in an aesthetic standpoint. To do that, we systemized the concept of mimesis and the theory of subversive appropriation by Walter Benjamin and Theodor Adorno in to a frame of interpretation. By systemizing translation, subversion, verbalization and the dialectic structure of the aesthetics of negation, we interpreted the features of his works as an objective work and 'impure architecture'. His objectivity leads the situation by subversively appropriating the inherent elements of architectural conditions based on a dialectic solution in which inquiries on logical and scientific materials have played a critical role. Above all, through all these processes, he tried to suggest a language as a new technique for materials and structures. Ultimately, we could find out that this object oriented design sublates a subject oriented way that is monolithic and repetitive regardless of objects. Rather, it is a way that is effective in creating a new way of design by making a different approach to a new object rather unfamiliarly, yet deeply.
When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in 'gentle architecture', 'three lows principle', 'natural architecture', and 'connecting architecture', he clearly expresses the objective nature of architecture design in those terms. In this respect, the purpose of this study is to make a close inquiry into the meaning, effect and characteristics of objectivity. In particular, we try to identify the contents of 'impure architecture', which has a clear ambivalence to be an instrumental expression strongly settled in the objectivity, in an aesthetic standpoint. To do that, we systemized the concept of mimesis and the theory of subversive appropriation by Walter Benjamin and Theodor Adorno in to a frame of interpretation. By systemizing translation, subversion, verbalization and the dialectic structure of the aesthetics of negation, we interpreted the features of his works as an objective work and 'impure architecture'. His objectivity leads the situation by subversively appropriating the inherent elements of architectural conditions based on a dialectic solution in which inquiries on logical and scientific materials have played a critical role. Above all, through all these processes, he tried to suggest a language as a new technique for materials and structures. Ultimately, we could find out that this object oriented design sublates a subject oriented way that is monolithic and repetitive regardless of objects. Rather, it is a way that is effective in creating a new way of design by making a different approach to a new object rather unfamiliarly, yet deeply.
쿠마의 객체적 작업방식을 살펴보기 위한 이론적 바탕은 벤야민과 아도르노의 사유 중에서 가장 바탕이자 대표되는 미메시스이다. 이들이 언급하는 미메시스가 기존의 통념과 다른 가장 큰 차이점은 주체중심의 ‘도구적모방과 재현’이 아니라, ‘객체로의 동화이자 닮아가기’이다. 미메시스 개념의 이해와 두 가지 입장의 차이점을 명확히 하기 위해서 ‘기차’라는 대상(객체)의 미메시스를 한번 생각해보자.
쿠마 켄고의 저서들은 어떤 특징이 있는가?
건축가 쿠마 켄고(Kuma Kengo, 1950-)의 저서는 2009년 이후 국내에서 다섯 권 출간되었다.『약한 건축』,『삼저주의』,『자연스러운 건축』,『연결하는 건축』등 제목에서부터 객체중심 건축을 지향하는 비판적 세계관을 명료하게 선언하고 있는데 이는 지금까지의 건축들이 그렇지 않았음에 대한 문제 제기이자, 동시에 이로부터 자신의 건축이 가지는 차별성을 드러내기 위한 전략이기도 하다. 본 연구는 건축가가 집착하는 이런 유사한 속성(제목)들의 의미와 작품과의 개연성, 실질적 의의에 대한 궁금증으로 시작되었다.
모방과 재현의 경우 의지하게 되는 보편적 개념의 속성은 어떤 양상을 띄는가?
먼저 전자인 모방과 재현의 경우 대부분의 주체는 둥근 바퀴로 달리며 김을 내뿜는 기차를 표현하기 위해 기존에 인지했던 기차의 ‘보편적 개념’에 의지하게 된다.그런데 이 보편적 개념이라는 것의 속성은 그것이 오로지 우리가 감당할 수 있는 인식적 한계 내에서(만) 이성적이고 합리적인 양상을 띄게 되며, 동시에 그렇기 때문에 그 대상을 가장 빠르고 효율적으로 드러내주는 도구적인 수단이기도 하다. 그런데 이런 식의 인식→해석→ 표현행위의 부정적 측면은 기차라는 존재에 내밀하게 잠재된, 다양한 질료(내용)적 특성보다는 겉으로 쉽게(관습적으로) 포착가능한 감각적 형상에만 주목하게 된다는 점이다.
참고문헌 (15)
GA document $n^{\circ}$ 121, international emerging future, 2012
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