아직 방학인 아들과 함께 있는 시간
복잡하게 생각을 할 호흡이 긴 글을 읽기가 어려워서가 한 가지 이유이고
다른 한 가지는 낯선 곳에 관한 글을 읽다 보면
기분이 좋아져서 하루의 시작이 활기차다는 느낌이 들기도 하기 때문이지요.
어제 오늘은 스페인에 관한 글을 읽었는데
단연 압권은 역시 가우디였습니다.
집에 들어오면 가우디에 관한 사진을 찾아보고 싶었지만
갑자기 눈이 아픈 바람에 자제를 했더니
오늘 아침에는 상태가 많이 호전이 된 것 같네요.
오랫만에 오리엔탱고 곡을 틀어놓고 (아마 남미에서 활동하는 교포 두 명이 이룬 팀인 것 같은데
연주를 듣고 있으면 몸이 깨는 기분이 드는 그런 곡이거든요) 가우디를 보고 있습니다.
지금 보고 있는 것은 casa batllo입니다.
masters of architecture라는 홈페이지가 있군요.
오늘은 가우디를 보지만 언젠가 시간을 내어 천천히 다른 건축가들의 작품도 감상을 해보고 싶습니다.
터키에 함께 갔던 일행중의 한 명이 사진을 시디로 구워서 보냈습니다.
어제야 낮에 시간을 내어 보았는데
앗 소리가 절로 나게 사진을 잘 찍었더군요.
늘 여행지에서 셔터를 눌러대는 사람들을 보면 왜 지금 이 자리에서
온 마음을 다해 보는 일에 집중하지 않고
사진찍기에 더 힘을 쏟지? 그런 의아한 마음이 있었습니다.
그런데 어제 사진을 보고 있으려니
마음이 울렁거리면서 정말 좋구나,정말 좋아 소리가 저절로 나오더군요.
컴퓨터 스크린을 가득채운 사진을 보면서
여행의 after로는 너무나 훌륭하다는 생각을 했습니다.
저도 이제는 마음을 잡고 공부를 하겠노라고
그래서 미니 홈피도 한 이년간 폐쇄할 작정이라 디카를 쓰지 않겠다고
제게 물려주겠다는 딸아이의 선언을 듣고
처음으로 집에서 읽고 있는 책의 표지를 찍어 보기 시작했습니다.
서서히 시간을 내어 시행착오를 거치면서 디카로 사물을 찍는 법을 익혀나가고
어느 정도 적응이 되면 간단히라도 강습을 받아볼 작정입니다.
그런데 어제의 사진보기가 제 결심에 확 불을 지르네요.
한 순간에 발전이 되는 것은 아니겠지만
아마츄어의 경지가 어디까지 갈 수 있나 놀라버린 날
그것이 자극이 되고 있습니다.
언젠가 스페인에 가면 저런 건축물앞에서도 셔터를 누를 날이 있겠지요?
자신의 스승은 자연이라고 공언했던 가우디
그의 건축물에는 단연 곡선이 돋보입니다.
이런 공간에서 살면서 늘 들락날락 하는 사람들이 자신의 건물을 보는 시선은
어떨까 공상을 해보게 되네요.
어제 본 두 권의 책중에서 한 권은 사진 작가의 여행기이고
다른 한 권은 역사를 전공하는 교수의 여행기였습니다.
그런데 자신의 관심분야에 따라서 여행을 간 곳과 사진찍는 방법
그리고 그 곳을 설명하는 방식이 달라서 한참을 생각하게 되더군요.
우리가 보는 것은 결국 우리가 누구인가의 반영이로구나..
가우디의 작품이 있는 바르셀로나,
프라도 미술관이 있는 마드리드,이슬람의 흔적이 남은 그라나다
그런 곳을 거쳐서 남부로 내려와서 지브롤터 해협을 건너
아프리카의 모로코로 이렇게 다음에 갈 수 있는 여행코스를 잡아보고 있는데
다음이 언제가 될지는 모르나 마음속에 그런 생각을 세우고 있으면
언젠가는 기회가 생긴다는 것을 체험으로 알게 되었습니다.
오늘 아침은 casa batllo보는것으로 만족을 해야겠군요.
이틀 정도 더 시간을 내어 나머지 건축물을 구경해야 될 것 같습니다.
그의 라이프 스토리가 궁금한 사람들을 위해서 복사해서 올려 놓습니다.
Life
Gaudí was born in provincial Catalonia on the Mediterranean coast of Spain. Of humble origins, he was the son of a coppersmith who was to live with him in later life, together with a niece; Gaudí never married.
Showing an early interest in architecture, he went in 1869/70 to study in Barcelona, then the political and intellectual centre of Catalonia as well as Spain's most modern city. He did not graduate until eight years later, his studies having been interrupted by military service and other intermittent activities.
Gaudí's style of architecture went through several phases. On emergence from the Provincial School of Architecture in Barcelona in 1878, he practiced a rather florid Victorianism that had been evident in his school projects, but he quickly developed a manner of composing by means of unprecedented juxtapositions of geometric masses, the surfaces of which were highly animated with patterned brick or stone, gay ceramic tiles, and floral or reptilian metalwork. The general effect, although not the details, is Moorish--or Mudéjar, as Spain's special mixture of Muslim and Christian design is called. Examples of his Mudéjar style are the Casa Vicens (1878-80) and "El Capricho" (1883-85) and the Güell Estate and Güell Palace of the later 1880s, all but "El Capricho" located in Barcelona. Next, Gaudí experimented with the dynamic possibilities of historic styles: the Gothic in the Episcopal Palace, Astorga (1887-93) and Casa de los Botines, León (1892-94) and the Baroque in the Casa Calvet at Barcelona (1898-1904). But after 1902 his designs elude conventional stylistic nomenclature.
Except for certain overt symbols of nature or religion, Gaudí's buildings became essentially representations of their structure and materials. In his Villa Bell Esguard (1900-02) and the Güell Park (1900-14), in Barcelona, and in the Colonia Güell Church (1898-c. 1915), south of that city, he arrived at a type of structure that has come to be called equilibrated--that is, a structure designed to stand on its own without internal bracing, external buttressing, and the like--or, as Gaudí observed, as a tree stands. Among the primary elements of his system were piers and columns that tilt to transmit diagonal thrusts, and thin-shell, laminated tile vaults that exert very little thrust. Gaudí applied his equilibrated system to two multistoried Barcelona apartment buildings: the Casa Batlló (1904-06), a renovation that incorporated new equilibrated elements, notably the facade; and the Casa Milá (1905-10), the several floors of which are structured like clusters of tile lily pads with steel-beam veins. As was so often his practice, he designed the two buildings, in their shapes and surfaces, as metaphors of the mountainous and maritime character of Catalonia.
As an admired, if eccentric, architect, Gaudí was an important participant in the Catalan Renaixensa, an artistic revival of the arts and crafts combined with a political revival in the form of fervent anti-Castilian "Catalanism." Both movements sought to reinvigorate the way of life in Catalonia that had long been suppressed by the Castilian-dominated and Madrid-centred government in Spain. The religious symbol of the Renaixensa in Barcelona was the church of the Holy Family, a project that was to occupy Gaudí throughout his entire career. He was commissioned to build this church as early as 1883, but he did not live to see it finished. Working on it, he became increasingly pious; after 1910 he abandoned virtually all other work and even secluded himself on its site and resided in its workshop. In his 75th year, while on his way to vespers, he was struck down by a trolley car, and he died from the injuries.
In his drawings and models for the uncompleted church of the Holy Family (only one transept with one of its four towers was finished at his death), he equilibrated the cathedral-Gothic style beyond recognition into a complexly symbolic forest of helicoidal piers, hyperboloid vaults and sidewalls, and a hyperbolic paraboloid roof that boggle the mind and outdo the bizarre concrete shells built throughout the world in the 1960s by engineers and architects inspired by Gaudí. Apart from this and a similar, often uncritical, admiration for Gaudí by Surrealist and Abstract Expressionist painters and sculptors, Gaudí's influence was quite local, represented mainly by a few devotees of his equilibrated structure. He was ignored during the 1920s and '30s, when the International Style was the dominant architectural mode. By the 1960s, however, he came to be revered by professionals and laymen alike for the boundless and tenacious imagination that he used to attack each design challenge with which he was presented.
Assessment
The architectural work of Gaudí is remarkable for its range of forms, textures, and polychromy and for the free, expressive way in which these elements of his art seem to be composed. The complex geometries of a Gaudí building so coincide with its architectural structure that the whole, including its surface, gives the appearance of being a natural object in complete conformity with nature's laws. Such a sense of total unity also informed the life of Gaudí; his personal and professional lives were one, and his collected comments about the art of building are essentially aphorisms about the art of living. He was totally dedicated to architecture, which for him was a totality of many arts.
즐거운 시간,상상의 나래를 펼치고 새로운 세계로 진입해본 시간이기도 했습니다.
회원정보가 없습니다