바로크 공간의 해체주의적 구조 개념과 현대적 적용에 관한 연구

Abstract

The radical and superior Renaissance transformation, the subversive imagination to dramatize the rawness and anxiety on its surface into the world's vulnerability and tragedy of life, converged into an aesthetic paradigm across culture in the 17th century, beyond literature, art, and music, and deposited the unique aesthetic concept of Baroque. This can be evaluated as an overall reaction to the truth system of the Renaissance when essentialism aimed at divine and ideological solidarity was converted to human-centered subjectivism, and a shift in thinking to relative aestheticism. This change in thought dismantled the concept of a solid space that had been stopped in a vacuum into the concept of a variable place that constantly flows, moves, and changes. By the program of maps in which absolute space collapses and flows, by a completely new phase trajectory, in the ever-changing relative time, the concept of typical space has been transformed into the concept of a unique place to experience events. This can be assumed to be a change that overturned the horizon of Western art as a whole. This is because such a transition, that is, baroque art itself in the 17th century, is all about the art form next to us today. In other words, the flow of art itself that continues from the 17th century to the present is the evolutionary process of Baroque art. Since Baroque, numerous contemporary art trends such as Rococo, avant-garde, Impressionism, Cubism, Dadaism, Surrealism, and Abstractism can be said to be the product of Baroque, which eventually differs in form in part. In particular, looking at the collections of papers in the field of architecture published over the past 50 years, there is a huge trend to overcome the ideas of the existing era, which can be seen as converging into non-representative architecture of dismantlingism, which has the characteristics and structure of Baroque to overcome the typical Renaissance. Therefore, this study analyzes the causality by comparing the formative specificity of the architectural forms of the two periods by type based on the view that such deconstructive architectural languages of modern architecture are linked to various baroque characteristics in the space of 17th century architecture and painting.