엘 리시츠키의 1920년대 전시디자인에 나타나는 구축적 조형 특성 연구 (A Study on the Constructional Plastic Characteristics of El Lissitzky’s Exhibition Designs in 1920s)

서지정보

· 발행기관 : 한국가구학회
· 수록지 정보 : 한국가구학회지 / 30권 / 3호 / 252 ~ 263페이지
· 저자명 : 서정연

초록

Russian artist, architect, and designer El Lissitzki’s 1920s exhibition design is an important example of experimentally applying his conception of construction. The 1923 Proun Raum was a project that covered the audience and led to the movement of body and sight from within. The exhibition room of Dresden in 1926 was the first project in which the audience participated and selected, and the non-materialization of the walls were first attempted. The Hanover Abstract Cabinet of 1927 was an extension of the preceding projects and can feature materialization of colors, expansion of methods of participation and choice, integration of furniture and environment. The formative characteristics of these projects are as follows: First, the construction of Lissitzky was intended to form an order of construction through very shallow and subtle spatial layers in real space. Second, for Lissitzky, the construction is an overlap and intertwining between art and geometry, painting and architecture, art and science, plan and space. His exhibition space shows a phenomenal characteristic, in which the meaning of each and every element of the space is determined through changes or events, rather than symbolic content representing ideas. Third, the construction of Lissitzky pursues the combination of time and space. The combination of these two appears as movement in space and includes both the subject and the object’s motion. Fourth, the construction of Lissitzky organizes all the elements available as designers under one goal. It combines systematically with the goal of appreciating exhibits to show the characteristics of completing the overall environment.

영어초록

Russian artist, architect, and designer El Lissitzki’s 1920s exhibition design is an important example of experimentally applying his conception of construction. The 1923 Proun Raum was a project that covered the audience and led to the movement of body and sight from within. The exhibition room of Dresden in 1926 was the first project in which the audience participated and selected, and the non-materialization of the walls were first attempted. The Hanover Abstract Cabinet of 1927 was an extension of the preceding projects and can feature materialization of colors, expansion of methods of participation and choice, integration of furniture and environment. The formative characteristics of these projects are as follows: First, the construction of Lissitzky was intended to form an order of construction through very shallow and subtle spatial layers in real space. Second, for Lissitzky, the construction is an overlap and intertwining between art and geometry, painting and architecture, art and science, plan and space. His exhibition space shows a phenomenal characteristic, in which the meaning of each and every element of the space is determined through changes or events, rather than symbolic content representing ideas. Third, the construction of Lissitzky pursues the combination of time and space. The combination of these two appears as movement in space and includes both the subject and the object’s motion. Fourth, the construction of Lissitzky organizes all the elements available as designers under one goal. It combines systematically with the goal of appreciating exhibits to show the characteristics of completing the overall environment.

참고자료

· 없음