2001

A study on the development and features of expression

of modern minimalism architecture

2002



A study on the development and features of expression
of modern minimalism architecture

2002

____________

____________

____________

____________

I. 1
A. 1
B. 2

II.

A. 5
B. 6
1. 7
2. 10

C. 14
1. Minimal Art 14
2. Minimal Art 16

III.

24

A. 24
1. 25
2. 27

B. 32
1. (Adolf Loos) Ornament and Crime'34
2. (Le Corbusier) Purism' 35
3. (Mies van der Rohe) Less is More' 39
4. (Louis I. Kahn) Silence and Light' 42

C. 44
1. 45
2. 47

IV.

50

A. 50
1. 51
2. 56
3. 61
4. 65

B. 73
1. 73
2. 81
3. 88
4. 93

V. 100


1.

Minimal Art 23

2.

Donald Judd 46

3.

48

4.

49

5.

- 71

5-1. - 72
6.

- 98

6-1. - 99


1. Donald Judd, Untitled, 19729
2. , , 150912
3. Kasimir Malevich, Black Square and Red Square, 191515
4. Marcel Duchamp, Fountain, 1917/196415
5. Simon Ungers, 9X9X9, 1997 16
6. Elsworth Kelly, Red, Blue, Green, 196017
7. James Turrell, Heavy Water, 199118
8. Dan Flavin, the diagonal of May 25, 196318
9. Dan Flavin, monument 4 those who have been killed in ambush,
1966 18
10. Robert Morris, Two Columns, 1973 19
11. Donald Judd, Untitled, 1970 20
12. Leonardo da vinci, A puzzle Construction, 149020
13. Sol Le Witt, Five Modular Structure, 1972 20
14. Robert Morris, Untitled, 1965~1971 21
15. Robert Morris, Untitled, 1965 21
16. Carl Andre, 144 Magnesium Square, 1969 21
17. Carl Andre, Lever, 1966 22
18. Stonehenge25
19. Pyramid 25
20. 27
21. () 27
22. 27
23. Marc-Antoine Laugier, , 1753 29

24. Masion Carre, Nimes, B.C.16 30

25. Chambers Sir William, , 1759 30
26. Etienne-Louis Boullee, , 178431
27. Etienne-Louis Boullee, , n.d. 31
28. Claude-Nicolas Ledoux, , 180432
29. Adolf Loos, Steiner House, , 1910 36
30. Adolf Loos, , , 1927~28 36
31. Le Corbusier, , 1923 39
32. Le Corbusier, Villa Savoye, , 192939
33. Mies van der Rohe, IIT Campus, photomontage of master plan,
Chicago, 194141
34. Carl Andre, Equivalent I-VIII, 1996, Sand-lime bricks41
35. Mies van der Rohe, Glass Skyscraper, Berlin, 192242
36. Mies van der Rohe, , 192942
37. Louis I. Kahn, , , , 1966~72 44
38. I.M. Pei, , 1989 52
0. Aldo Rossi, Cuneo , 196253
40. Richard Meier, Hartford Seminary, 1978~1981 55
41. Richard Meier, Hartford Seminary, 1978~1981 56
42. Herzog & de Meuron, Ricola-Europe SA. Production and
Storage Building, 1992~9359
43. Herzog & de Meuron, Ricola-Europe SA. Production and
Storage Building, 1992~9359
44. Herzog & de Meuron, Goetz Gallery, 199260
45. Herzog & de Meuron, Signal Box, 1995 60
46. Herzog & de Meuron, Signal Box, 1995 60
47. Van Berkel & Bos, 50/10 KV Distibuting Sub-Station62
48. Van Berkel & Bos, 50/10 KV Distibuting Sub-Station62

49. Eduardo Souto de Moura, Department of Geosciences, Aveiro

University, 1991 64
50. Eduardo Souto de Moura, Department of Geosciences, Aveiro
University, 1991 64
51. Eduardo Souto de Moura, Department of Geosciences, Aveiro
University, 1991 64
52. Dan Graham, Double exposure, 1996 65
53. Larry Bell, 6 X 8 X 4 , 1996 66
54. Larry Bell, Made for Arolsen, 199266
55. Kaakko, Leisure Workshop, 1992 67
56. Toyo Ito, Tower of the Winds, 1986~1995 67
57. Toyo Ito, T, 1990 68
58. Jean Nouvel, The Cartier Foundation, 1994 69
59. Jean Nouvel, The Cartier Foundation, 1994 69
60. Jean Nouvel, The Cartier Foundation, 1994 69
61. Jean Nouvel, Tour Sans Fin, 1989 70
62. Francesco Venezia, Gibellina museo, 1987 75
63. Barto + Barto, La Perouse Hotel75
64. Zen Garden 77
65. Ando Dadao, Vitra Conference Pavilion 79
66. Ando Dadao, Vitra Conference Pavilion 79
67. Ando Dadao, single-family town house, 199679
68. Donald Judd, Chinati Foundation, 1986 80
69. Alberto Campo Baeza, Gaspar House 82
70. Alberto Campo Baeza, Gaspar House 83
71. Alberto Campo Baeza, Gaspar House 83
72. John Pawson, Claudio Silverstrin, Neuendorf House 84
73. John Pawson, Claudio Silverstrin, Neuendorf House 84

74. John Pawson, Claudio Silverstrin, Neuendorf House 84

75. Louis. I. Kahn, Salk Institute, 196684
76. Aldo Rossi, Gallaratese 2, 1969~73 86
77. Aldo Rossi, Gallaratese 2, 1969~73 86
78. Aldo Rossi, Gallaratese 2, 1969~73 86
79. Alberto Campo Baeza, Turegano House, 1987 91
80. Alberto Campo Baeza, Turegano House, 1987 91
81. Alberto Campo Baeza, Turegano House, 1987 91
82. Alberto Campo Baeza, Garcia Marcos House, 198791
83. Alberto Campo Baeza, Garcia Marcos House, 198791
84. Alberto Campo Baeza, Garcia Marcos House, 198791
85. Alberto Campo Baeza, Drago Public School, 199292
86. Alberto Campo Baeza, Drago Public School, 199292
87. Alberto Campo Baeza, Drago Public School, 199292
88. Ando Dadao, Kidosaki House, 198893
89. Luis Barragan, San Cristobal Stud Farm, 1968 95
90. Ricardo Legorreta, Renault Factory, 198497


1960 .
1960~70 , 1980
, , , ,
(Minimal) .
, .
(the minimum of expression)
(the maximum of expressivity) ,
.

. , , ,
, .
(absence) (presence) ,
.
. ,
, .
.
.
,
.
.
,
.
, ,
.
, .

, .


.
, .
,
.
60
,
.
()

.

I.
A.

20 21
.
. , 19
20 , 1900 10 15
.
,
.

(Francois Chaslin) .

' .

.

(minimalism)'
.
1960 .
1960~70 , 1980
, , , ,
(Minimal) .
, .
(the minimum of expression)
(the maximum of expressivity) ,
.

. , , ,
, .
(absence) (presence) ,
.
. ,
, .
.
.
,
.
.
.
, ,
.
, .
, .
, .

B.

, , ,
.


.
.
II .

, ,
.

,
.
III .

.
.
.
, ,

.


.
,
.


.

. ~(ism)

.

.
.

.

(Laugier), (Etienne-Louis Boullee),
(Claude Nicolas Ledoux) .
(Adolf Loos) Ornament and Crime', (Le Corbusier) Purism',
(Mies van der Rohe) Less is More', (Louis. I. Kahn)
Silence and Light' .

, , .
IV .

. ,
, , ,
,
, ,
. .
V II, III, IV
.

II.
A.

, , minimal -ism'
.
,
.1)
.
(Minimal)' (Illusion)
,
.2)
. , .
1960

, , .

. ,
60

.3)
1960 Hard edge'4)

1) , ,
, 13, 1997
2) , , 1989, p.144
3) , Minimal Art , , 1995, p.3
4) Hard edge .
, .

, Hard edge
.-, Minimal ,
, 1998, p.5

ABC , Primary
Structures', Cool Art', Specific Object', The Art of the Real', Reductive Art',
Negative Art', Nihilist Art', Literal Art' . (Minimal
Art)' 1965 1 (Richard Wollheim) Art Magazine'
.

,
, . ,

,
.


.

B.

, .

3 . 3
3
.
,
.5)

.
.
.
.
5) , Minimalism , , 1993, p.5

1.
.
(Reduction)
.

.
(Clement Greenberg)
. 1966 (Modernist Painting)'
, , 6)
. ,

.


.7)
,
, .
.
.

() () , ()
, . ,

6) , , , 1990, p.75
7) Francis Franscina & Charles Harrison, , , , 1989,
pp.27~29

.
.8)
.
, ,
.
. 1764 <
: Neues Organon>
J.H. ()
. I. (: )
, G.W.F.
()
() . E.
< > M. , A.
, A. , M. , M. , O.
.
() () ,
() , () .
() 19 ()
() ,

. ()
() ()
.
()
, () [
()], .

, ()
. (Merleau Ponty)

()

(Phenomenology of Perception)' .
2
8) , , , 1988, p.13

,
.
.


.

.

.

, 2,
.9)

. ,
.


.

.10)
, (Donald Judd)


1 Donald Judd,

Untitled, 1972

-
- .
.
(Walter De Maria) (The Ball
9) Ibid. p.14
10) Jack Burnham, Beyond Modern Sculpture', New York, George Braziller, 1968, p.174

10

Drop, 1961)' 193cm 2

.


.

(Anthro pomorphism)

.

,
.11)

.
,
.


. .
,
.

2.
. (reality)
, (, physis,
natura)'. .

11)
.
.

11

.
( horismos, definitio)' .
, .

.
essentia' ,
.

.
,
.
(substance)
, (concept)' .

(architype)' ,
() .12)
,
.


, (Paul
Cezanne) ,
, ,
.

.13)
,

, .
(real)'
12) , op. cit. p.10
13) Allen Leepa, Minimal Art and Primary Meaning' ed Gregory Battcock, pp.200~201

12

.
(idea), (the essence of things) .

,
.

. ,
.
.
,
, , .
1968 7~9 (the Art of the Real)'
(E.C. Goosen)
.
,
14) .
.
.


(original) .

(Kant,

Immanuel),

(George

Wilhelm

Friedrich Hegel)
(Plato)
.

2 ,

, 1509

:
.

14) (), , Vol. III. , 1986, pp.1256~1257

13

. .

, ,
. () ()
,

.
.15)
. , ,
, (Piet Mondrian)
.
,
.
(Literalness)'
.
.
.
. (Donald Judd) . ,
.
(arrangement) .16)
.
.

15) Hans-Georg Gadamer, The idea of the Good in Platonic-Aristotelian Philosophy',

Yale University Press, 1986 - Philebos , Socrates: What I am saying is not
indeed directly obvious. I must therefore try to make it clear. I will try to speak of
the beauty of shapes, and I do not mean, as most people would think, the shapes of
living figures, or their imitations in paintings, but I mean straight lines and curves
and the shapes made from them, flat or solid, by the lathe, ruler and square, if you
see what I mean. These are not beautiful for any particular reason or purpose, as
other things are, but are always by their very nature beautiful, and give pleasure of
their own quite free from the itch of desire; and colors of this are beautiful, too,
and give a similar pleasure."
16) Sam Hunter & John Jacobub, American Art of the 20th century: Painting,
Sculpture, Architecture', Harry N. Abrams, N. Y., 1976, p.432

14

C.

1. Minimal Art
, 1960
. ABC Art, Primary Structures, ,
, , , Cool Art, 3 ,
. 1965 R. 20
, M.
() , A. ,
.
,
()
.


.
1968 7 ,
, (Donald Judd), (Frank Stella),
(Robert Morris), (Karl Andre), (Dan Plavin)
. ,
,
.

1950

(Abstract

Expressionism)
. , ,
(Pop Art) .

17)
, 9zero point) .

15

, 2
.

. , ,

.
,

(Kasimir Malevich)
, 1960
,

3 Kasimir

(Donald Judd), (Ron Bladen), (Tony

Malevich, Black

Smith) .18)

Square and Red

Square, 1915

(Karl Andre),
(Dan Flavin), (Robert Morris)
, ,
,

, ,
(Marcel Duchamp)

4 Marcel Duchamp,
Fountain, 1917/1964

19)
(Constantin Brancusi) .20)

.
. ,
.

17) Ignasi de sola-Morales Rubo, The presence of Mies - Mies van der Rohe and
Minimalism', Detlef Mertins and Princeton Architectural Press, N. Y., 1994, p.151
18) Kenneth Baker, , , , 1993, p.23
19) object trouve(found object): .
,
.
20) Kenneth Baker, , op. cit. p.30

16

.
. .
. ,
,
,

.
- -
1960
.21)

2. Minimal Art

.
.

.

,
, .

.

5 Simon

. ,

Ungers, 9X9X9, 1997

.
.

.
.
21) Ibid. pp.7~9

17

.
, , , ,
(Gestalt: , )
,
. ,
.

. , .
, ,
.
.22) .
.


. (Kenneth Noland)
(Frank

Stella),

(Ellsworth

Kelly)

6 Elsworth Kelly,

(shaped canvas) .

Red, Blue, Green, 1960

, .

.

.

,
22) Robert Morris(ed Gregory Battcock), Minimal Art A Critical Anthology-Note on
Sculpture', University of California Press, 1968, p.228

18

. .
.23) .

. ,
,
24)
. ,
, ,
.
...... .25)
.

7 James Turrell,

8 Dan Flavin,

9 Dan Flavin,

Heavy Water,

the diagonal of May 25,

monument 4 those who have

1991

1963

been killed in ambush, 1966

,
.
.
,
.26)

23) Ellen H. Johnson, Modern Art and the Object', New York, Harper & Row, 1976,
p.14
24) David Bourdon(ed Gregory Battcock), Minimal Art A Critical Anthology-The
Razed Sites of Carl Andre', University of California Press, 1968, p.107
25) Michael Fried(ed Gregory Battcock), Minimal Art A Critical Anthology-The Razed
Sites of Carl Andre', University of California Press, 1968, p.84
26) , : , , 1992.8. p.98

19

. ,
.
.

.
, ,

.


. ,
10 Robert Morris,

Two Columns, 1973

.
, .

.
.

.
, ,
, , .
.

. ,


. ,

20

11 Donald Judd,

12 Leonardo da vinci,

13 Sol Le Witt,

Untitled,

A puzzle Construction,

Five Modular Structure,

1970

1490

1972

,
. (relational)
(hierarchical) .


.27)


.
, ,
.
.

27) , (Donald Judd) , , 1990.3. p.68

21

.

.28)
.

.


.


.
14 Robert Morris,
Untitled, 1965~1971

.

.
1965 <Untitled>
3 L

15 Robert Morris,
Untitled, 1965

.

. ,
L
,
. (sameness)'
(inner being)
(difference)' ,

16 Carl Andre, 144

(public world)

Magnesium Square, 1969

. L
,

28) , op. cit. p.98

22

.
.
.29)
. ,
.
(Rosalind Krauss)
,

.30)


.
.

.



.



.
17 Carl Andre,
Lever, 1966

(theatrical)'

31)
.
.

29) David Bourdon, op. cit. p.104

30) , op .cit. p.98
31) Michael Fried(ed Gregory Battcock), op. cit. p.126

23

.
. ,
(presence), ,
, (instantaneous)
.32)


.
.
.
.

1 Minimal Art

32) , op. cit. p.98~99

III.

A.

20 .



.
20
.
,
.
.
Minimal Architecture' 1988 12 (Rassegna)'
(minimal)'
.
.


.

.33)

. ,
, ,
.
, ,
33) , - , , 1998, p.11

25

.

.
.
.

.
.

1.
, , ,


.
=
. (mimesis)'
.
.

18 Stonehenge

19 Pyramid

(Stonehenge)
,
(Pyramid)
.
.

26

, 18
.
. ()


.
.

,

. ,
20

.34)


.
.
,

21

,
.

()

.
.

,

.

22

34) Curt Friedlein, , , , 1986, pp.34~39

27

.
, , .
.

. , ,
.
, ,
.

2.
17 ,
.
,
(natura imitanda)'
.
(Etienne-Louis Boullee)
(Claude Nicolas Ledoux)
.
20
.
18 19
,
. 18
, ,
, ,

.
. (Marc-Antonie Laugier)
1753

28

(primitive hut)'
.

.
.
. .
.
. .
. .
. .
.
35)

,
.
.

, .

. , (column),
(architrave), (pediment) 3

.


23 Marc-Antoine
Laugier, , 1753

(Nimes) (Masion Carre)

. . 30
35) Marc-Antoine Lauguier, Essai sur L'architecture', translated by W. Herrmann,
Hennessey & Ingalls, Inc., 1997, pp.11~12

29

.
.



24 Masion Carre, Nimes,

36)

B.C.16

.
37) .
(Chambers Sir
Willism) 1759


38), (Schinkel)


(1914)
.

25 Chambers Sir
William,

, 1759

. (Etienne-Louis Boullee)

?
, .39)
36) , , ,
1994, p.39
37) ,
(Eine edle Einfalt, und eine stille Grobe)' .

.
38) , , , 1997, p.172

30

,
. ,
.

(Detail)
. (Mass)
.

,
.
.

,
,
26 Etienne-Louis Boullee,

, 1784

.

.
.

, , , ,

27 Etienne-Louis Boullee,

.

.

, ,
, ,
, .

.40)
39) , , , , 1994, p.139
40) Wojciech G. Lesnikoeski, , , ,

31

,
.
.
.
.
.41)
, ,
.
. (Claude Nicolas Ledoux)

.
. , , , ,
.
.42)

.
.

. (1804)

.

,
28 Claude-Nicolas Ledoux,

, 1804

.43)

1993, pp.90~91
41) Alberto Perez-Gomez, , , , 1989, pp.111~114
42) Winand Klassen, , , , 1997, p.194
43) Van de Ven, , , , 1996, p.76

32

,
,
.

.
, , ,
,
, .44)
.
.

B.

. 18 ,
, , . 20

.
.

, , ,
, , ,
.


.

.
18 (Voltaire) (Rosseau)
, , ,
44) Wojciech G. Lesnikowski, op. cit. p.95

33

. 19
,
, .
,
. 20
,
,
,
.
,

, , .

,

.

.
CIAM
, ,
, , ,
.


.

,
.

.
,
, ,

34

,

.

1. (Adolf Loos) `Ornament and Crime'

(articles) .

.
(Ornament and Crime, 1909)'


.
, .45)
. ,
, ,
19 ,
. ,
.
1910 (Raumplan)46)
45) : . .
. ,
.
:
, .

. .
46) ,
,
.

35

.
. 1910
(Loos House,
1910)
(Steiner House, 1911)
1908

.
,
29 Adolf Loos,

, .

Steiner House, , 1910

,
.

.
1928 (Moller House, 1928)
,

.


. ,
,
30 Adolf Loos,

, , 1927~28

,
.

2. (Le Corbusier) `Purism'

. - , op. cit. p.163

36

, .

.
(, Purism) ,
.
1918, (Amedee Ozenfant) (Charles Edouard Jeanneret)47) <
(Apres le Corbusier)>
48) (, Purism)
(Ingre) (Seurat)
.
(
) , -(object-type)

.
,
.
. ,
,
47)

(Charles Edouard Jeanneret) 1920 (l'Esprit

Nouveau)' (Le Corbusier)'
, 1928 . -

Stanislaus von Moos, , , , 1997, p.59

48)

(non-representational), (obscurity), (impropriety of the titles)

4 . 4

. 3
4
.
3 . (
, Purism) . Van de Ven, , op. cit. pp.236~245

37

. ,
, .
.
. 1920
.
49)
. ,

.
.
.50)
.
,
.
.

. ,
. 20
. .

. , .
,
, ,

49)

. ,
, . - Stanislaus von Moos, op. cit.
pp.50~51
50) Ibid. p.53

38

. .51)
.

.
.
. .
. .
. , , ,
.

31 Le Corbusier,

32 Le Corbusier,

Villa Savoye, , 1929

, 1923

,
(Vers une Architecture, 1992)' ,
.
.
. ,
. , (Form-Finding)'
, , , , ,
.

.
51) Jean Jenger, , , , 1997, p.136

39

. , , ,
.
. 1929 (l'Esprit Nouveau)
1918
. ,
.
,
.

.
.
, .

3. (Mies van der Rohe) `Less is More'

,
(Mies van der Rohe) .
,
(Tadao Ando), (John Pawson), (Dominique Perrault),
(Peter Zumthor)
.
,
, . 1953 IIT
, .

(extensive) (intensive) .
.
.; .; .
.
.
.

40

33 Mies van der Rohe, IIT

34 Carl Andre, Equivalent I-VIII,

Campus, photomontage of master plan,

1996, Sand-lime bricks

Chicago, 1941

.
.
,
.
.
(almost nothing)' Less is More'
. Less is More' Less More
. ,
Universal Space' ,
.

. , ,
.
. .

. ,
.
. .52)

52) C. N. Schulz, , :
, , 1994, pp.153~155

41

,
. ,
.
,
,
, (flexibility) (variability)
. ,
.
, ,
.
1920 (1921) R.C.
,

. (skin &
bone)
Less is More' .
(Farnsworth House, 1950)
(1961)

.
35 Mies van der
Rohe, Glass Skyscraper,
Berlin, 1922

(Barcelona Pavilion, 1929)

.
,
(open plan),

.

36 Mies van der

Rohe,

, 1929

42

,

,
.53)
.
, , ,
.

,
1965 Principles for Education in the Building Art'
,
. .
,
, .

4. (Louis I. Kahn) `Silence and Light'

, .
.
.-Louis I. Kahn

.
. ,
.
, ,
.
,
,
.

53) , ,
, 1996, p.148

43

(, , , ) (, , , )
.
, ,
,
.54)
.


.
,
.
,
, 1960
.
. ,

, .
,
.
.
, .

.
(metamorphosis) .

.
37 Louis I. Kahn,

(Salk Institute, 1959)

, ,

, 1966~72

, ,

54) , op. cit. p.197

44

. (1972)

.
(Donald Judd) 1983

.
,
.
.55)

,

.

C.

. 1960
.

1980 .

, , ,
, 56)
.

.
.
. , ,
55) , , 9104, pp.122~123
56) , ,
, 13, 9712

45

.


.

1.
.
.
(Donald Judd) 1983 1987
,

.

57)

40 70

. , ,
, , , .
,
.
.

, 1966
.58)
(Shiro Kuromata) (1969) (1969)
(Donald Judd) (Dan Flavin)
, ,
,
.

57) , , 9104, p.123

58) , Metabolism : ,
, 1981, p.185

46

(Donald Judd)
.

,
.

.

,
.
.

.

.
.

. .

2 Donald Judd
(Emilio Ambaz)
, .
,

.

.

,

47

.

.

2.


.
.
.

.
.
,
, , .
.

.
.
.

. ,
, 20
, .


.
.
(context)
. .
,

48

Minimal Art

49

17,18

Marc-Antonie Laugier

Etienne-Louis Boullee Mass

Minimal

Claude Nicolas Ledoux

Ornament &
Crime

Adolf Loos

,
, ,

Purism

Le Corbusier

Less is More
Silence &
Light

Mies van der Rohe

Louis I. Kahn

Donald Judd:
,

IV.
,
. 20 ,
.
, ,
.
,
, 59)
(Hannes Meyer) (Ludwig Hilberseimer)
(Sachlichkeit)
.

,
. 1970
. ,
,
,
.
.
.
.

.

A.

.
59) , op. cit. p.153

51

,
(Bauhaus), (Verkbunt) .

.

.

1.

. , ,
.
.
.


.
, ,
.
Less
is More' .

, .
(Dieter Ram)
, ,
.
, .
60) .
,
60) John Pawson, Minimum', Phidon Press, 1996, p.8

52

.

.
.
61) ,
.

(I.M. Pei)
(1989) ,
400
.
(Contextualism)
38 I.M. Pei,

, 1989

.

. ,
.
, , ,
. ,
,
.

(Dominique Perrault)
.
.
62)
,
61) , op. cit. p.155
62) Dominique Perrault, Plus, 1995.11, p.145

53

.
(Berlier Public Industrial Facility, 1986)

. 19

,

63)
. , ,
. (Bibliotheque Nationale
de France, 1995)
.
.
, ,
.64)
(Aldo Rossi) Cuneo (1962)
.

. 12m


.

39 Aldo Rossi,
Cuneo , 1962

.
.

6cm .
.
. 2
,
. , ,
63) Ibid. p.146
64) Ibid. p.145

54

.

.
. (Purity)

.
, ,
,
,
. ,

.
, , ,
.
,
.

, , .
,

.65) , , ,
.

, , .

, .66)
.

65) Sigfried Giedion, , , , , , 1998, p.23

66) Jurgen Joedicke, , , , , 1995, p.27

55

Skin' ,
.

. , ,
.

.
,
.
.

.
, . , ,
,
.

(Richard Meier)
.67)

.
.

,
40 Richard Meier,
Hartford Seminary, 1978~1981

,
.

67) .
, .
, .
. .
.
.

56

, ,
. ,
,
.
.
, ,
.

. ,
,
,

.
41 Richard Meier,
Hartford Seminary, 1978~1981

,
.

2.
,
,

.
, ,
, , , ,
.
1920 , ,
. (Tatlin)
. 60

57

.68)

.
, ,
,
, .69)
,
.70)
. , ,

(Lodoli) (G. Semper) (A. Loos) ,
(cladding) ,
. 20
,

.
,
(Gottfried Semper)
. ,
,
. ,
, , .

. ,
, Signal Box

.

68) Nikos Stangos, , , , 1995, p.354

69) , op. cit. p.157
70) (Herzog & de Meuron)
.
. - Jefery Kipnis, Interview with Jacques Herzog, El Croquis, 1988, p.43

58

(Herzog & de Meuron), (Peter Zumthor)

, ,
.
.

(Eduardo Soute de Moura) (Giorgio Grassi)
(Francesco Venezia), (Luis Barragan),
(Alvaro Siza)
.71)
, , , , ,
.

, ,
, 2
.
.
.
. .
, ,
.

.
. Minimal Art,
19 CIAM
Wchutemas .


. . ,
, , , ,
,
71) , op. cit. p.158

59

.
, ,

.
. , - .

.
.
.



(Ricola-Europe SA. Production
and

Storage

Building,

Mulhouse-Burnndtatt,

France, 1992~93)
42 Herzog & de Meuron,

Ricola-Europe SA. Production

and Storage Building, 1992~93

,


.
.

.
43 Herzog & de
Meuron, Ricola-Europe

(Goetz Gallery, 1992)

SA. Production and

1960

Storage Building,

, 1960

1992~93

60

.
.
(Frank Stella)
,
,
,

44 Herzog & de

Meuron, Goetz Gallery,

1992

Signal Box(1995)
.

.

6
.

45 Herzog & de
Meuron, Signal Box, 1995

20cm
.

.

.

46 Herzog & de

Meuron, Signal Box, 1995

. ,
. , ,
.
Signal Box
.

61

.
.

3.
.

.
.
. .
, , ,
, ,
.
. .

.
.
.
, , , .
.
.
(joint) .


.
,
. ,
.
.
, ,
, .

62

(Ichnus), (Callicrates) (Phidias) (Parthenon)

Neue Nationalgalerie
.
.
.

.

, .

,
, , ,
. 200m
.
Ben van Berkel Catherine Bos
50/10 KV Distributing Sub-Station

. ,
.

47 Van Berkel & Bos,

50/10 KV Distibuting

Sub-Station

. Berkel
Bos
. ,
.72)
50/10 KV Distributing Sub-Station 2
,
72) Techniques & Architecture, Tendence Minimale, 9601, p.45

63

,
.

.


.

48 Van Berkel & Bos,
50/10 KV Distibuting
Sub-Station

.

.

(Edouardo Souto de Moura)

.

,
, .
(Albaro Siza)
. Oporto School Oporto School
Fernando Tavora ,
,
. , Oporto
School ,
. ,

(Void) .
Masion Bom Jesus(1994)
, Aveiro
(Department of Geosciences, Aveiro University, 1994)
(sun-screen)
.
Aveiro University layout
( 14,128, 3,

64

50 Eduardo Souto de

50 Eduardo Souto de

51 Eduardo Souto de

Moura, Department of

Moura, Department of

Moura, Department of

Geosciences, Aveiro

Geosciences, Aveiro

Geosciences, Aveiro

University, 1991

University, 1991

University, 1991

) .
. .:
.73)
, ,

. Aveiro Geosciences Department
.
.
. .

. , IPN-type
(slat).
skirting .
.

.

73) Francisco Asensio Cerver(ed.), The architecture of Minimalism, HBI, N.Y., 1997,
p.33

65

4.

.

.

.

.
. ,

52 Dan Graham,

Double exposure, 1996

.
.

.
.74)
, ,
.
, , .
,
, , .
. ,

.
. ,
.
, .

.
74) , , , 1995, p.103

66

.
.
.
, , , ,
.
, .

.
2 , , .
,
.

.

.
, .


54 Larry Bell,
6 X 8 X 4 , 1996

.

.
.
, , ,


.

53 Larry Bell,

Made for Arolsen, 1992

.
.

67

. ,
.
,
.
, ,
55 Kaakko, Laine,

Liimatainen, Trikkonen,

Leisure Workshop, 1992

, . ,
.


. ,
.
, .

(Toyo Ito)
. ,

. 1986 Yokohama (Tower of the
Winds) 1922
. 21m
.

56 Toyo Ito,

Tower of the

Winds, 1986~1995

. ,

68

.
.
,
75)
.
T(1990) (1990)
.
- -

, (, , )
.
57 Toyo Ito,

T, 1990

,

.

.
(Dominique Perrault) ,
(Berlier Public Industrial Facility, 1986)
.
.

.
.
.

.
75) Toyo Ito, , 9502, p.49

69

.
(Jean Nouvel) ,
, .
1987 (Institu du Monde Arabe),
1989


58 Jean Nouvel, The
Cartier Foundation, 1994

. ,
,
.
(The Cartier Foundation,
1994) , ,
, ,

59 Jean Nouvel, The

Cartier Foundation, 1994

.76) ,
,

.
,
3m
3
.
,
. 3
sand-blast .
60 Jean

Nouvel, The

Cartier Foundation,

1994

. ,

76) Aspect of Minimal Architecture, Architectural Design, 1994, p.47

70

, (evanescence)
(neutrality) .


(Tour Sans Fin, La,
1989) . 426m


.
,
61 Jean Nouvel,

Tour Sans Fin, 1989

.77)

77) , op. cit., p.78

71

,
,

(Purity)

,
, ,

, , ,
, ,

5 -

72

Dominique Perrault

- (1986)

Aldo Rossi

-Cuneo (1962)

Richard Meier

-Smith House(1967)

(Purity)

Herzog & de Meuron

(1992~93)
- (1992)
-Signal Box(1995)

Dominique Perrault

Ben van Berkel &

-50/10

Catherine Bos
Edouardo Souto
de Moura

Toyo Ito

Dominique Perrault

Jean Nouvel

KV

Distributing

Sub-Station
-Masion Bom Jesus(1994)
-Aveiro
(1994)
- (1986)
-T(1990)

- (1986)

- (1994)
- (1989)

5-1 -

73

B.
,
.
,
, , ,

.

1.

.
,
() .
,
.
.
()
(quantity)' (quality)'
.

.
. (Reduction & Synthesis)
(reduction).
,
, ,
, .
(John Pawson)
, , , , , ,

74

.
.
, .

.

,
.

,
,
.
,
, Cistercian Order .
,

.

.

.

.
(Alfred Hitchcock) ,
. . Antoine de Saint-Exupery

. Less is More'
most least'
.
.

.

75

(Francesco Venezia)
, , , ,
.
.
.
(Gibellina museo, 1987)
.

, ,
,
62 Francesco Venezia,

Gibellina museo, 1987

(1992) .
.
,

.
,
,
.

.
(Nantes) Barto+Barto
La Perouse Hotel ,

63 Barto + Barto,

La Perouse Hotel

76

, ,
.
.
(urban reality)
.
.
.
, , ,
.

, ,

.
(clairiere)' .
,
.
,
. , ,
.
.
.

.
.
.

.
,
. .78)

77

.
,
.
.
() .

. () Zen thinking(
) Wabi-sabi' .
Zen () .
.
,
,
.
, .
, ,
64 Zen Garden

,
,

(),
, ,
.
, ,
.
Wabi-sabi ,
. Wabi . Zen ,
. Wabi , , ,
,
. Wabi-sabi , ,
.

. Wabi-sabi

78) , , , 9401

78

. .
.
.
. .
,

.
. Zen

. , (minimum)
, , ,
. ,
.
,
.

(tranquility),
.-Tadao Ando, Light, Shadow and Form
Via, 11, 1990
. (Josef Albers)
.
,
.
.-Tadao Ando, Representation et Abstraction L'Architecture
d'Aujourd'hui, 255, February 198879)

(Ando Dadao) , ,
, , .
.
. 1988
, , ,
79) Francisco Asensio Cerver(ed.), op. cit., p.25

79

. , ,
,
.

(Vitra Conference
Pavilion) , ,
. Vitra Conference Pavilion 2
, ,
. , ,

65 Ando Dadao, Vitra

Conference Pavilion

.

.
.
.
.

66 Ando Dadao, Vitra

Conference Pavilion

.
.

.
.
, ,
.
, ,
.
.
. , ,

67 Ando Dadao,
single-family town
house, 1996

, .
.

80

.
,
, .

. .
. ,
.
(Donald Judd) Chinati Foundation
. Chinati
Foundation 1986 Donald Judd
20
.

68 Donald Judd,

2,600 , Marfa .

Chinati Foundation, 1986

Chihuahua

. Fort D.A. Russell

. , , ,
Donald Judd, John Chamberlain, Claes Oldenburg, Ilya Kabakov, Carl Andre, Roni
Horn, Richard Long, Ingolfur Arnarsson, David Rabinowitch
.
, ,
. .
.
.
, .
.
Chinati Foundation , (quality) (quantity)
,

. ,
.

81

2.

.
.
. ,
,
.
.
.80)

.
,
,
. , .

.

.
, . 2
.
.
.

.
, .
.
. ,
80) Japan Architect JA. Ando Dadao, 1991-1, p.13

82

,
.
,
. ,
.
.
,
, 3 .
.
.
,
.
,
, .
, ,
.
.
.
.

(Alberto Campo Baeza)

.
.


. ,

,
69 Alberto Campo
Baeza, Gaspar House

.
.81)

81) Alberto Campo Baeza, , 9511, p.62

83

(Gaspar House, 1991)

(hortus conclusus)',
. 18m x 18m 4
3.5m ,
.
70 Alberto Campo
Baeza, Gaspar House

. 2 4

.
,

,

71 Alberto Campo
Baeza, Gaspar House

. ,
, ,

,
.
(Francesco Venezia)
(1996) .
.
.
.
.
, ,
.
.
.82)
(John Pawson) (Neuendorf)
82) , 9508

84

72 John Pawson,

73 John Pawson,

74 John Pawson,

Claudio Silverstrin,

Claudio Silverstrin,

Claudio Silverstrin,

Neuendorf House

Neuendorf House

Neuendorf House

, . 350
, 1:2
.
.
.
. ,
.
, (pool) (picture
frame) .
(Louis. I. Kahn)

.

.
.
75 Louis. I. Kahn,
Salk Institute, 1966

.
.
(Salk Institute, 1966)

85

.
. 83)

.
.

.
.

.
,
. .

. .
. .
.


.
.
. , ,
.
(void)

.84)

83) , , ,
. -(Absolute Nothing-Plaza) ,
.- , 9509
84) , , ,
, 20, 9909, p.88

86

78 Aldo Rossi,
Gallaratese 2, 1969~73

76 Aldo Rossi,
Gallaratese 2, 1969~73

.
,
85) .

.


,
.

.
,
,
.

86) . ,
, ,
.

85) Rosalind E. Krauss, Passages in Modern Sculpture', The MIT Press, 1983, p.244
86) , , , 1986

87

.
. .
.
,
.
,
.

.

, .
.
87)
.

88) ,
.
(Richard Mier), (Jean Nouvel), (Dominique
Perrault)
, . ,

.

.

,
.89)
87) William J.Curtis, Modern architecture since 1900', Phaidon Press, 1996, p.641
88) Ibid. p.640

88

.
.
(Casa de Retio Espiritual)

. 90)
. 91)

, ,
. , ,
.
.
, , ,
. ,
.
,
, .

3.

.
.
.
, .

89) ,
, , 1996, p.5
90) .
.-, , 1960 , ,
9211, p.66
91) .-Ibid. p.67

89

-Alberto Campo Baeza, More with Less'

(Louis. I. Kahn) .
. ,
, , ,
.
.
.
.
.
.

,
. 3

.
. ,

, .
,
.
. ,
, .
.
.
,
.
,
.

90

(Alberto Campo Baeza) (Turegano House,

1987)',

(Garcia Marcos House, 1987)',

(Drago Public School, 1992)'

.
.
, .
(poem) ,
.
. Less is More More with Less ,

, (Idea), (Light),
(Space) . 3
(Form)
.
,
.
,
.
,
. .
.
,
.

(Turegano House, 1987)
(primitive hut)
. (slot)
.

91

79 Alberto Campo

80 Alberto Campo

81 Alberto Campo

Baeza, Turegano House,

Baeza, Turegano House,

Baeza, Turegano House,

1987

1987

1987

.
92) . ,

.

82 Alberto Campo
Baeza,
Garcia Marcos House, 1987

(Garcia Marcos House, 1987)

. 8m x 14m
92) .-Alberto Campo Baeza, CAW, p.20

92

2:3:2 3 .
(Une
boite a miracles) .
,
. (pool) .
(luminosity) .
, ,
.

87 Alberto Campo Baeza,

Drago Public School, 1992
85 Alberto Campo

86 Alberto Campo

Baeza, Drago Public

Baeza, Drago Public

School, 1992

School, 1992

(Cadiz) (Drago Public School, 1992)

.

4 . 2

.
.
.
More with Less
, ,
.

93

(Tadao Ando), (Claudio Silvestrin),

(John Pawson) 13
(Cisterian) .

.
Kidosati House(1988)
,

.
,

.
,
88 Ando Dadao,
Kidosaki House, 1988

2 3 .

Minimalist House
.

.
.

4.
60

. ,

.
.

, ,

94

, .

.
,
.
,
. (Arne Jacobsen),
(Ignazio Gardella), (Carlos Raul Villanueva),
(Luis Barragan), (Ricardo Legoreta)

.

(Luis Barragan) .
,
.
. (stucco) ,
,

, .
, , .
,
.
, .

, .
.
. ,
() . ,
, ()
, .

95

(serenity) .

.
.
, () ,
.-The Statements of Luis Barragan

(San Cristobal Stud

Farm, 1968)
.


.

. (void) (solid)
.
89 Luis Barragan,
San Cristobal Stud Farm,
1968

,

.

.

.
.
,
.
.
(Ricardo Legoreta)
93) (Jose Villagra
93) 3
-Mestizo( ): 500

96

n)94)
.
, (source)
. ,
.
,
.
,
. ,
. ,
. .
.
.

, (Spirituality) , ,

, .
, , , ,
.

.
, , ,
.
.
, ,
. .
-Conjunto:
, .
-Anastolio: . ,
,
.-,op. cit., p.109
94) (Jose Villagran) ,
1929 San Carlos

.

97

, , , , , , , , ,
,
.
,

. .
,
.


.
, ,
, 20

. , ,
, (void) (solid) , 3
, ,
.
(Renault Factory, 1984)

.
,

.

90 Ricardo Legorreta,
Renault Factory, 1984

98

, ,

, ,

6 -

99

Francesco Venezia

- (1987)
- (1992)

Barto+Barto

-La Perouse Hotel

Dadao Ando

Donald Judd

-Chinati Foundation(1986)

Alberto Campo Baeza - (1991)

Francesco Venezia

-
(1996)

John Pawson

-(Neuendorf)

Louis. I. Kahn

- (1966)

- (1987)
Alberto Campo Baeza - (1987)
- (1992)

Luis Barragan

-(1968)

Ricardo Legoreta

- (1984)

6-1 -

V.
,
.
, ,
.
, .
, .


.

.
1960
. ,

. 60

.


. ,
.

20 .

101

.

,
.


.
, .
,
.

A.
1. :
. , ,
.

.
2. : ,

,
.
, ,
, ,
, , .
3. : .

.
.

102

.
. , ,
, , ,
.
4. :
.

.

B.
1. :
.

, ()
. ,
.

.
2. :
.
, .
.

.


.
.
. , ,

103

.
3. :
,
.
,
.
4. :
, ,
, .

.

60
,
.
()

.

104

-, , , 1997
-, , , 1988
- (), , Vol. III., , 1986
-, , 1989
-(), , , 1995
- , , , 1990
-, , , 1998
, , 1999
, , 2000
, , 2001
, , 2001

- , , - , , 1997
- , , , , 1989
- , , , , 1997
, 20 , , 1998
- , , - , , 1992
-, , , , 1994
-Alberto Perez-Gomez, , , , 1989
-C. N. Schulz, , :
, , 1994
-Curt Friedlein, , , , 1986
-Francis Franscina & Charles Harrison, , , , 1989
-Jean Jenger, , , , 1997
-Jurgen Joedicke, , , , , 1993
-K. , , - , , 1988
-Nikos Stangos, , , , 1995

105

-Sigfried Giedion, , , , , , 1998

-Stanislaus von Moos, , , , 1997
-Van de Ven, , , , 1996
-Winand Klassen, , , , 1997
-Wojciech G. Lesnikowski, , , ,
1993

-Allen Leepa, Minimal Art and Primary Meaning, ed Gregory Battcock

-Anatxu

Zabalbeascoa,

Javier

Rodriguez

Marcos,

Minimalism,

Gustavo

Gili,

Barcelona, 2000
-Anna Moszynska, Abstract Art, Thames and Hudson, 1990
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1994
-Ellen H. Johnson, Modern Art and the Object, New York, Harper & Row, 1976
-Francisco Asensio Cerver(ed.), The architecture of Minimalism, HBI, N.Y., 1997
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Press, 1968
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Yale University Press, 1986
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Minimalism, Detlef Mertins and Princeton Architectural Press, N.Y., 1994
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-James Meyer(ed.), Minimalism, PHAIDON, 2000
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1970-Art and Objecthood, Museum of Fine Arts, 1974
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106

-Sam Hunter & John Jacobub, American Art of the 20th century: Painting,
Sculpture, Architecture, Harry N. Abrams, N.Y., 1976
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-, ,
, 1999
-, Metabolism : ,
, 1981
-, , , 1990
-, Minimal , , 1998
-, Minimalism , , 1993
-, Brancusi Minimal Art , , 1989
-, Minimal Art , , 1995
-,
, , 1996
-, (Marcel Duchamp) , ,
1996
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1994
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-, , , 1986
-, ,
, 1996

-
13, 9712, ,
14, 9803, ,
, ,

107

17, 9812, , -
20, 9909, , ,

, ,

- 9508
9511, Alberto Campo Baeza
-

9211,
9502, Toyo Ito

9808,

9003,
9104,
9208, :
9304, 20
9401,

9509

-Plus

9312,
9508, I
9509, II
9511, Dominique Perrault
9704,

-CAW

Alberto Campo Baeza

-Architecture, Minimal to Maximal, 9702

Minimalism: Design's Disappearing Act, 9702
-Architectural Design, Aspect of Minimal Architecture I, II, 1994
-El Croquis, Interview with Jacques Herzog, 98
-Japan Architect(JA), Ando Dadao, 1991-1

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-Techniques & Architecture, Tendence Minimale, 9601

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Abstract
This study is on the development and features of expression of modern
minimalism architecture through the following procedures:

Analysis on philosophical and historical background of the emergence of

minimalism and its development.

Analysis on the formation of minimalism architecture and its development.

Analysis on the development of minimalism and its features of expression.

Affected by minimal art and phenomenal science, minimalism architecture is

typical and self-restorative, which is contrary to all non-typical and avant-garde
architecture.

Since

today's

minimalism

architecture

inherited

the

spirit

of

modernism, it gained popularity by emphasizing the way of self-expression and as

a result, it became one of the general trends of expression.
Deficient in abstract and decorative detailed description, minimalism art refers to
the sculptures or 3-dimension pieces produced since the 1960s. Moreover, it
regards discovered object, which means presenting objects that bears the least
difference with non-artistic things in an artistic form. Minimal art derived in
reaction to abstractionism in the late 60s and reached the zenith of modernism by
achieving the characteristics of formal purism and self-restoration to the extreme
degree.
Minimal art gave ordinary art the characteristic of an art piece by not defining
art as an artists means to express; and by introducing the relationship with art
and the audience, it resisted the independence of art. Furthermore, it contributed to
broaden the field of art by proving a certain concept or idea can be regarded as
art.
Minimalism architecture developed in earnest after minimal arts time passed, and
the over 20 year-interval has led to the distinction of minimal art and minimalism
architecture. Minimalism architecture denied the existing formal expression and
focused on constructing a new future. In addition, it laid a great emphasis on

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simplicity

and

expression

of

physical

properties.

As

result,

minimalism

architecture reached the peak of simplicity. This simplicity prevails from religious
buildings and temples in the past to modern architecture, which is based on
economic logic. In regard to expressing physical property, it attained essential
condition by utilizing steel, glass and concrete, which are the most modern
materials.
Today's minimalism architecture has various styles, among which there are
some commonness such as minimization in expression and maximization in
material features.
The technical and sensitive development of current minimalism architecture has
complementary dualism. In this thesis, it serves as a frame for analysis to extract
modern features of expression and develops through related pieces based on each
feature:
A. Technical development
1. Research on pure formative arts
The characteristic of minimal art shows a clear distinction with pieces of
art that merely show general simplicity. The major difference between
them is that it has restrained aestheticswhen considering space, material
and form. Minimalism focuses on the real essence of material, through
which it perfectly expresses the spirit by applying the most simple and
pure materials.
2. Research on material characteristics
Similar to

minimalism,

which

turned

against extreme

expression of

Abstract Expression, and moved toward redefining the artistic doings and
the art itself, modern minimalism also began to focus on material
characteristics, which became the essence of architecture, by opposing the
previous ways of expression.

Needless to say, its emphasis on material

was every architects interest; yet, it became the major feature of

minimalism architecture through adhering strict features of the material
and resisting the association of meaning, cultural identity, social condition,

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regardless of society, culture and history.

3. Technical accuracy
Technical accuracy is regarded as a general trait of modern architecture.
It is, however, an indispensable element in defining what is called
minimalism architecture. Minimalism architecture seems to bear a simple
and terse image perceived through a humans sensory organs. Yet,
simplicity and consistency should not be the result of inevitable economics.
Simple

and

terse

images should

be

the

result of sublimation

of

complexity , which accompanies centralization of wealth. Architecture

which is simple, high in density, quiet and orderly, conventional and
persistent requires accuracy least it should be caught in a trap of mere
simplicity in times when natural resources are declining and environmental
pollution is getting serious.
4. De-materialization
One of the major features of minimalism architecture along with the
emphasis on material is the non-materialization and De-materialization.
De-materialization means revealing the importance of the relationship
between the exterior and interior of the material by controlling its
characters through operating human perception without directly showing
its trait.
B. Sensitive development
1. Creation of neutral space
The term neutral space means space that is not slanted to one side.
dualism

of

technique

and

sensitivity,

which

modern

The

minimalism

architecture bears, has much to do with the vertical concept of space

based on Western construction, horizontal concept of space, minimalism
that developed from western paintings, and naturalism, which corresponds
to Oriental concept of emptiness.

The contrasts in space and thought

involve neutral space that vertical/horizontal and artifact/nature meet.

Today's minimalism architecture created a neutral space, which does not

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slant to one side in order to neutralize this kind of side effect.

2. Limit or expansion of space
One of the features of minimalism architecture is that it reveals extreme
openness and closure.

If the density is low, it composes opened inner

space. On the other hand, if it is high, then it constitutes closed inner

space. The supposition of openness and closure of space is one of the
elements

of

minimalism

architecture,

which

determines

how

human

experiences space and its characteristics.

If the border of space is considered in the perspective of out to in, it
limits the space and environment. However, if it is regarded in the
perspective of in to out, it expands the space. Therefore, without borders,
it is impossible to perceive space but experience limitless space. Modern
minimalism architecture tends to show psychological expansion in limited
closed space. These elements intend to overcome the limit of scope by
emphasizing sensitivity that promotes light, shade, lightness, darkness,
calmness and freshness.
3. Tension generated from light
Minimalism architecture regarded light as an essential element of life in
space of architecture, and focused on its value as a phenomenal object,
regardless of the metaphysical aspect of the light. The stress of light is
the result of emphasis on the emotional aspect, which, consequently,
respects the spiritual characteristics of light.
4. Expression of locality
Architectures who pursue local originality form abstract space, utilize ones
experience, condition by long and continuous cultural code, traits of closed
space and texture, as the concept of the origin of minimalism architecture.
They intend to provide solid foundation and form a root of architecture
that does not sway against change or trend.

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As

modern

minimalism

architecture

has

become

powerful

under

the

incompleteness of modern architecture since the 60s, it has focused on pursuing

the essence of architecture based on regional and Oriental sensitiveness along with
western technology; and has aimed to newly construct architectures related to
human life.

In an era when randomly-built architecture is so widely spread,

current minimalism architecture, which has its utmost fame in simplicity, remains
as a precedent.

Moreover, its strict consideration in material and stylish visual

treatment are the intelligent creation of modern technology as well as the result of
incessant study.