Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation,” created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow’s theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow’s theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical—the body —, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

Abstract
1. 서 론
    문제의 제기- 공간과 리듬
2. 리듬 개념의 등장과 그 배경
    2-1. 근대건축 역사서술의 주요 단면들
    2-2. 창작론 전통의 리듬 개념
    2-3. 19세기 예술학의 시간과 공간의 종합명제
3. 건축에서 리듬 개념을 둘러싼 논쟁들
    3-1. 슈마르조의 리듬론
    3-2. 슈마르조 리듬론의 초기 수용 양상
    3-3. 1910년대의 리듬론 – 실무건축가들, 특히베렌스의 리듬론
    3-4. 건축역사 서술 도구로서의 리듬 -슈마르조와 프랑클의 리듬론
4. 슈마르조 건축론 평가의 단면들
맺음말
참고문헌

• 김영철(배재대학교 주시경교양대학) | Kim Young-Cheol Corresponding Author