์ด๋ฏธ์ง€์— ๊ฐ€๊ตฌ ํ…Œ์ด๋ธ” ๋ฃธ ์‹ค๋‚ด ์ธํ…Œ๋ฆฌ์–ด ๋””์ž์ธ ๋ฐ ์ปคํ”ผ ํ…Œ์ด๋ธ”์ด ํฌํ•จ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
Ludwig Mies van der Rohe์—์„œ ์˜๊ฐ์„๋ฐ›์€ Philip Johnson์€ ์ฝ”๋„คํ‹ฐ์ปท ์ฃผ ๋‰ด ์บ๋‚˜ ์•ˆ์˜ Glass House (1949)๋ฅผ ์™„์ „ํžˆ ๊ฐœ๋ฐฉํ•˜์—ฌ ์ž์—ฐ์„ ํ™˜์˜ํ•ฉ๋‹ˆ๋‹ค.

20 ์„ธ๊ธฐ๊ฐ€ ์ ‘์–ด ๋“ค๋ฉด์„œ ๋ฏธ๊ตญ์€ ์ž๋™์ฐจ์—์„œ ์˜ํ™” ์ œ์ž‘, ์˜ˆ์ˆ ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋‹ค์–‘ํ•œ ๋ถ„์•ผ์—์„œ ์„ธ๊ณ„ ๋ฌด๋Œ€์— ์ง„์ž… ํ•œ ์‚ฐ์—… ๊ฐ•๊ตญ์ด์—ˆ์Šต๋‹ˆ๋‹ค. ๊ฑด์ถ• ๋ถ„์•ผ์—์„œ ๊ตญ๊ฐ€๋Š” ๊ฐ•ํ•œ ์ •์ฒด์„ฑ์„ ํ‚ค์šฐ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค. โ€œ๊ฑด์ถ•์ง€๋„์—์„œ ๋ฏธ๊ตญ์˜ ์ €๋ช…ํ•œ ์œ„์น˜๋ฅผ ํ™•๋ณดํ•˜๊ณ  ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด๋ฅผ ๋” ๋„“์€ ์„ธ๊ณ„๋กœ ๋ณด๋‚ด๋Š” ๋ฐ ๋„์›€์ด ๋œ ์‹คํ—˜๊ณผ ํ˜์‹ ์— ๋Œ€ํ•œ ๋Š์ž„์—†๋Š” ์˜์ง€๊ฐ€์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.โ€๋ผ๊ณ  ์ €๋„๋ฆฌ์ŠคํŠธ ์ธ Dominic Bradbury๋Š” ๊ทธ์˜ ์ƒˆ ์ฑ…์ธ The Iconic American House ์˜ ์†Œ๊ฐœ์—์„œ ์ผ์Šต๋‹ˆ๋‹ค. : 1900 ๋…„ ์ดํ›„์˜ ๊ฑด์ถ• ๋งˆ์Šคํ„ฐ ์›์Šค ( Thames & Hudson, $ 65) , ๋ฏธ๊ตญ์˜ ์ฃผ๊ฑฐ ๊ฐœ๋ฐœ์„ 100 ๋…„ ๋™์•ˆ ํ˜„์žฌ๊นŒ์ง€ ์ถ”์ ํ•ฉ๋‹ˆ๋‹ค.

Richard Powers๊ฐ€ ์ดฌ์˜ ํ•œ์ด ์ฑ…์˜ ์ง‘์€ ํŽœ์‹ค๋ฒ ์ด๋‹ˆ์•„ Mill Run์—์žˆ๋Š” Frank Lloyd Wright์˜ Fallingwater์™€ ๊ฐ™์€ ๊ณ ์ „๋ถ€ํ„ฐ ์›Œ์‹ฑํ„ด์˜ San Juan Islands์—์žˆ๋Š” Olson Kundig์˜ The Pierre์™€ ๊ฐ™์€ ํ˜„๋Œ€์ ์ธ ์‡ผ ์Šคํ† ํผ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋ฏธ๊ตญ๊ณผ ์ˆ˜์‹ญ ๋…„์— ๊ฑธ์ณ ์žˆ์Šต๋‹ˆ๋‹ค. โ€œํ˜„๋Œ€ ์‹œ๋Œ€์— [๋ฏธ๊ตญ์˜] ๊ฐœ์ฒ™ ์ •์‹ ๊ณผ ์•„์ด๋””์–ด ๋ฐ ์†Œ๋“์ž์— ๋Œ€ํ•œ ๊ฐœ๋ฐฉ์„ฑ์˜ ์กฐํ•ฉ์€ ์„ธ๊ณ„์—์„œ ๊ฐ€์žฅ ์ค‘์š”ํ•˜๊ณ  ์˜ํ–ฅ๋ ฅ์žˆ๋Š” ์ฃผํƒ์„ ๊ตฌ์ถ•ํ•˜๋Š” ๋ฐ ๋„์›€์ด๋˜์—ˆ์Šต๋‹ˆ๋‹ค. "๋ผ๊ณ  Bradbury๋Š” ๋งํ•ฉ๋‹ˆ๋‹ค.

์—ฌ๊ธฐ, ์šฐ๋ฆฌ๋Š” ์ฑ…์—์„œ ์›…์žฅํ•œ ์ง‘ ๋‚ด๋ถ€๋ฅผ ์—ฟ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.

์ด๋ฏธ์ง€์— ๊ฑฐ์‹ค ์‹ค๋‚ด ์‹ค๋‚ด ๊ฐ€๊ตฌ ์†ŒํŒŒ ๋ฐ”๋‹ฅ ๋กœ๋น„ ๋ฐ ํ…Œ์ด๋ธ”์ด ํฌํ•จ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.

Pennsylvania Mill Run์—์žˆ๋Š” Frank Lloyd Wright์˜ Fallingwater (1939)๋Š” ๋ฐฑ์•…๊ด€์„ ์ œ์™ธํ•˜๋ฉด ์—ญ๋Œ€ ๊ฐ€์žฅ ์œ ๋ช…ํ•œ ๋ฏธ๊ตญ ์ง‘์ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.

์–ธ๋• ์œ„์˜ ํ˜„๋Œ€ ์ง‘

During the midcentury, some architects turned to curvaceous forms for both public structures, like Eero Saarinenโ€™s TWA Terminal (1962) at JFK in New York, and residential ones, like Charles Deatonโ€™s Sculptured House (1965) in Golden, Colorado, shown here.

๋ฐ๊ณ  ํ†ตํ’์ด ์ž˜๋˜๋Š” ๋ฐฉ

For their home in Pacific Palisades, California, built in 1949, Charles and Ray Eames played with juxtaposition, like double-height spaces and intimate ones, prefabricated elements and handcrafted ones.

๋‹ค์ฑ„๋กœ์šด ํ’€์žฅ

Ricardo Legorretaโ€™s Greenberg House (1991) in Los Angeles plays with color and shadow, both inside and out.

์ฝ˜ํฌ๋ฆฌํŠธ ํ˜„๋Œ€ ๋ฐฉ

Tom Kundig of Olson Kundig created a sense of monumentality with concrete in The Pierre (2010), located in Washingtonโ€™s San Juan Islands, but kept the home light and bright to maximize views of the Salish Sea.

์ผ๋ณธ์‹ ๋ฐฉ

Japanese aesthetics meet American ones at the Nakashima Farmstead & Conoid Studio (1959) in New Hope, Pennsylvania, a laboratory of sorts for George Nakashima.

๋ถ„ํ™์ƒ‰๊ณผ ๋…น์ƒ‰ ์‹๋‹น

Originally designed by Welton Becket & Associates in 1978, the Gerald Ford Estate in Rancho Mirage, California, received an update by Marmol Radziner in the 21st century. The mural, table, chairs, and rug in the dining room, however, are original.

ํ˜„๋Œ€ ์‚ฌ๋ง‰ ์ง‘

Kendrick Bangs Kellogg designed the High Desert House (1993) in Joshua Tree, California, to be both organic and futuristic, blending in with the otherworldly landscapes of the desert.

์ „๋ฉด ์œ ๋ฆฌ๊ฐ€ ํฐ ์ง‘

The risk of wildfires informed the design of the House at Toro Canyon (1999) by Barton Myers, located in Montecito, California. As such, water features prominently across the property.

ํ˜„๋Œ€์ ์ธ ์œ ๋ฆฌ ๋ฐฉ์ด์žˆ๋Š” ์ฑ…์˜ ์•ž๋ฉด


์ƒ์ง•์  ์ธ ๋ฏธ๊ตญ ์ง‘ : 1900 ๋…„ ์ดํ›„ ๋กœ ๋„๋ฏธ๋‹ˆํฌ ๋ธŒ๋ž˜๋“œ๋ฒ„๋ฆฌ์˜ ๊ฑด์ถ• ๊ฑธ์ž‘ํ’ˆ ๊ณผ Richard Powers์˜ ์‚ฌ์ง„

 
์‚ฌ์ง„ : Thames & Hudson ์ œ๊ณต