팔라스마 건축이론의 실제 구현 방식에 관한 연구 -코룬디 문화센터와 SIIDA 사미 박물관을 중심으로-

초록

(Background and Purpose) Juhani Pallasmaa criticized ocularcentrism and understood architecture as a spatial experience formed through the body and senses in The Eyes of the Skin, The Thinking Hand, and The Embodied Image. Previous studies have mainly interpreted his architectural phenomenology and multisensory concepts or applied them to the works of other architects. However, relatively few studies have examined how his theory was implemented in buildings in which he directly participated as an architect. This study analyzes the Korundi House of Culture and SIIDA Sami Museum to clarify how Pallasmaa's architectural theory was realized and adjusted in actual buildings. (Method) This study established tactile spatial perception and embodied atmosphere as analytical criteria through a review of Pallasmaa's major writings. A case analysis was conducted through architects' writings, architectural criticism, drawings, and photographic documentation related to Korundi and SIIDA. Korundi is a renovation and extension project that transforms an existing industrial building into a cultural facility, whereas SIIDA is a newly built museum that integrates Sami culture and the natural environment of northern Lapland. Because the two cases have different architectural conditions, they are suitable for comparing how the same theoretical orientation is implemented in actual buildings under different sites, programs, and construction conditions. (Results) In Korundi, the existing brick structure and the Corten steel envelope of the new concert hall face each other closely, revealing the temporality and materiality of the building. The traces of former openings, the light in the connecting passage, the timber finish, and the acoustic qualities of the concert hall allow the memory of the industrial building and present cultural activities to be experienced together. In SIIDA, the switchback ramp regulates the visitor's walking speed and direction of view, whereas timber, oxidized copper, glass, concrete, and light are experienced sequentially through movement. The exhibition hall structure, recalling a Kota, and the exhibition composition combining nature, culture, and seasonal time form an atmosphere along the visitor's route. (Conclusions) Both cases show how Pallasmaa's sensory architectural theory is implemented in actual buildings; however, their modes of realization are different. Korundi reveals temporality through the traces of the existing building and the material contrast with the new addition, whereas SIIDA spatializes the natural environment and Sami culture through circulation and exhibition narratives. In both cases, the design intentions were adjusted according to actual conditions such as regulations, structures, materials, and programs. Therefore, Pallasmaa's architectural theory is concretized through materials, circulation, light, spatial organization, and adjustments to the realization process, while also revealing both its achievements and limitations.

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