½ÇÇè°ú ¹ß¸í.
½ºÆäÀÎ Å»ýÀÇ Æç¸¯½º ĵ¨¶ó(Félix Candela, 1919-1997)ÀÇ ±ÛÀÇ ±Ù´ë ¸ß½ÃÄÚÀÇ °ÇÃà°ú ±¹Á¦Àû ¿µÇâ·Â¿¡ ÁßÁ¡À» µÎ°í ÀÖ´Ù. °È ÄÜÅ©¸®Æ®¿Í °°Àº ÀÚÀ縦 »ç¿ëÇÏ¿© ´ë´ãÇÑ ±¸Á¶Àû ½ÃÇèÀ» Çϰí, °ÇÃà ºñ¿ë°ú ÀÚÀ縦 Àý¾àÇϱâ À§ÇÑ »õ·Î¿î ¹æ¹ýÀ» ã±â À§ÇØ ½© º¼ÆÃ(shell vaulting, °íµÕ ¸ð¾çÀ¸·Î µÈ ¾ÆÄ¡) ¹æ¹ýÀ» ½ÇÇèÇϸé¼, ĵ¨¶ó´Â °íǰÁúÀÇ °Ç¼³»Ó ¾Æ´Ï¶ó °íǰÁúÀÇ °ÇÃà¿¡ ÀÚ½ÅÀÇ °øÇÐÀû Áö½ÄÀ» ½ñ¾Æ ºÎ¾ú´Ù. »ó¾÷Àû °Ç¹°»Ó ¾Æ´Ï¶ó, ±³È¸¿Í ·¹½ºÅä¶û, ´ëÇÐ °Ç¹°, ½ºÆ÷Ã÷ ½Ã¼³¿¡µµ ĵ¨¶óÀÇ ¿µ°¨ ¾î¸° ±âÇÏÇÐÀû Á¶°¢ÀÌ »õ°ÜÁ® ÀÖ´Ù. ÀÌ Ã¥À» ÀÐÀ¸¸é¼, µ¶ÀÚ´Â ¾î¶»°Ô °ÇÃàÀû ¹®Á¦°¡ ½ÃÀûÀÌ°í ±âÀÌÇÑ ÇüŸ¦ ¸¸µé°Ô µÇ¾ú´ÂÁö, ±×¸®°í °øÇÐÀûÀÎ ¹ßÀüÀÌ ¾î¶»°Ô Ç¥ÇöÁÖÀÇÀû °ÇÃ๰À» ³ºÀ» ¼ö ÀÖ´ÂÁö¿¡ °üÇØ ¾Ë°Ô µÈ´Ù.
½Ã¸®Áî¿¡ °üÇÏ¿©;
TASCHENÀÇ º£ÀÌÁ÷ °ÇÃà ½Ã¸®Áî¿¡´Â
»çÁø°ú ½ºÄÉÄ¡, µµ¸é, Æò¸éµµ µîÀ» Æ÷ÇÔÇÑ ¾à 120 ¿© ÀåÀÇ »çÁø°ú °ÇÃà°¡ÀÇ °¡Á·°ú ¹è°æ, ´Ù¸¥ °ÇÃà°¡¿ÍÀÇ °øÁ¶ µî°ú °°ÀÌ °ÇÃà°¡ÀÇ »î°ú ÀÛǰÀ» »ìÆìº¼ ¼ö ÀÖ´Â ±ÛÀÌ ½Ç·Á ÀÖ´Ù. ¶ÇÇÑ ¿¬´ë¼ø¿¡ µû¶ó °¡Àå Áß¿äÇÑ ÀÛǰµéÀÌ ¼ö·ÏµÇ¾î ÀÖÀ¸¸ç, ¿©±â¿¡ °ÇÃà ÀÇ·ÚÀÎÀÇ ¼³¸í ¶Ç´Â °ÇÃà°¡°¡ ÇϰíÀÚ Çß´ø °Í, °ÇÃà »óÀÇ ¹®Á¦¿Í ÇØ°á ¹æ¹ý µîÀÌ ½Ç·Á ÀÖ´Ù. ºÎ·Ï¿¡´Â °ÇÃà°¡ÀÇ °¡Àå À¯¸íÇÑ ÀÛǰ À§Ä¡¸¦ º¸¿©ÁÖ´Â Áöµµ¿Í ¿Ïº®ÇÑ ¶Ç´Â ¼±Á¤µÈ ÀÛǰ ¸®½ºÆ®, °ÇÃà°¡ÀÇ ÀÏ»ý, Âü°í ¹®Çå µîÀÌ ÇÔ²² ¼ö·ÏµÇ¾î ÀÖ´Ù.

½ºÆäÀÎ Å»ýÀÇ Æç¸¯½º ĵ¨¶ó(Félix Candela, 1919-1997)ÀÇ ±ÛÀÇ ±Ù´ë ¸ß½ÃÄÚÀÇ °ÇÃà°ú ±¹Á¦Àû ¿µÇâ·Â¿¡ ÁßÁ¡À» µÎ°í ÀÖ´Ù. °È ÄÜÅ©¸®Æ®¿Í °°Àº ÀÚÀ縦 »ç¿ëÇÏ¿© ´ë´ãÇÑ ±¸Á¶Àû ½ÃÇèÀ» Çϰí, °ÇÃà ºñ¿ë°ú ÀÚÀ縦 Àý¾àÇϱâ À§ÇÑ »õ·Î¿î ¹æ¹ýÀ» ã±â À§ÇØ ½© º¼ÆÃ(shell vaulting, °íµÕ ¸ð¾çÀ¸·Î µÈ ¾ÆÄ¡) ¹æ¹ýÀ» ½ÇÇèÇϸé¼, ĵ¨¶ó´Â °íǰÁúÀÇ °Ç¼³»Ó ¾Æ´Ï¶ó °íǰÁúÀÇ °ÇÃà¿¡ ÀÚ½ÅÀÇ °øÇÐÀû Áö½ÄÀ» ½ñ¾Æ ºÎ¾ú´Ù. »ó¾÷Àû °Ç¹°»Ó ¾Æ´Ï¶ó, ±³È¸¿Í ·¹½ºÅä¶û, ´ëÇÐ °Ç¹°, ½ºÆ÷Ã÷ ½Ã¼³¿¡µµ ĵ¨¶óÀÇ ¿µ°¨ ¾î¸° ±âÇÏÇÐÀû Á¶°¢ÀÌ »õ°ÜÁ® ÀÖ´Ù. ÀÌ Ã¥À» ÀÐÀ¸¸é¼, µ¶ÀÚ´Â ¾î¶»°Ô °ÇÃàÀû ¹®Á¦°¡ ½ÃÀûÀÌ°í ±âÀÌÇÑ ÇüŸ¦ ¸¸µé°Ô µÇ¾ú´ÂÁö, ±×¸®°í °øÇÐÀûÀÎ ¹ßÀüÀÌ ¾î¶»°Ô Ç¥ÇöÁÖÀÇÀû °ÇÃ๰À» ³ºÀ» ¼ö ÀÖ´ÂÁö¿¡ °üÇØ ¾Ë°Ô µÈ´Ù.
½Ã¸®Áî¿¡ °üÇÏ¿©;
TASCHENÀÇ º£ÀÌÁ÷ °ÇÃà ½Ã¸®Áî¿¡´Â
»çÁø°ú ½ºÄÉÄ¡, µµ¸é, Æò¸éµµ µîÀ» Æ÷ÇÔÇÑ ¾à 120 ¿© ÀåÀÇ »çÁø°ú °ÇÃà°¡ÀÇ °¡Á·°ú ¹è°æ, ´Ù¸¥ °ÇÃà°¡¿ÍÀÇ °øÁ¶ µî°ú °°ÀÌ °ÇÃà°¡ÀÇ »î°ú ÀÛǰÀ» »ìÆìº¼ ¼ö ÀÖ´Â ±ÛÀÌ ½Ç·Á ÀÖ´Ù. ¶ÇÇÑ ¿¬´ë¼ø¿¡ µû¶ó °¡Àå Áß¿äÇÑ ÀÛǰµéÀÌ ¼ö·ÏµÇ¾î ÀÖÀ¸¸ç, ¿©±â¿¡ °ÇÃà ÀÇ·ÚÀÎÀÇ ¼³¸í ¶Ç´Â °ÇÃà°¡°¡ ÇϰíÀÚ Çß´ø °Í, °ÇÃà »óÀÇ ¹®Á¦¿Í ÇØ°á ¹æ¹ý µîÀÌ ½Ç·Á ÀÖ´Ù. ºÎ·Ï¿¡´Â °ÇÃà°¡ÀÇ °¡Àå À¯¸íÇÑ ÀÛǰ À§Ä¡¸¦ º¸¿©ÁÖ´Â Áöµµ¿Í ¿Ïº®ÇÑ ¶Ç´Â ¼±Á¤µÈ ÀÛǰ ¸®½ºÆ®, °ÇÃà°¡ÀÇ ÀÏ»ý, Âü°í ¹®Çå µîÀÌ ÇÔ²² ¼ö·ÏµÇ¾î ÀÖ´Ù.




About the author:
Enrique X. de Anda Alanís received his PhD in art history from the National University of Mexico. He is an architect and has been a researcher of the history of architecture for over two decades. He works also in the preservation of the 20th Century Architecture Heritage.
Enrique X. de Anda Alanís received his PhD in art history from the National University of Mexico. He is an architect and has been a researcher of the history of architecture for over two decades. He works also in the preservation of the 20th Century Architecture Heritage.
![]() |
![]() |