독일의 건축 역사학자 고트프리트 젬퍼는 1850년 전후 강연과 글에서 원시 형태(Urfo rmen) 건축을 이루는 네 가지 핵심 모티프로, 화덕, 지붕, 에워쌈, 터닦기를 제안했다. 이 가운데 에워쌈(Umfriedung)은 이후 젬퍼의 건축 이론에서 피복(Bekleidung) 개념 으로 발전하는데, 이런 에워쌈/피복은 19세기 이후 변화하는 현대건축의 기술적 조건 과 맞물려 당시 첨예하게 대두된 핵심 형태와 예술 형태의 문제를 다루는 데 있어 중 요한 개념으로 자리 잡는다. 특히 현대건축의 주요 의제 가운데 하나인 표면(surface) 을 다룰 때 젬퍼의 에워쌈/피복 관련 이론은 충분히 살필 만한 중요한 참조 대상이다. 다양한 경제 문화 요인에 따라 한국 현대건축에서도 표면이나 에워쌈/피복의 층위에 서 흥미로운 현상들이 발견되는데, 본 발표에서는 특히 에스오에이(강예린, 이치훈), 리슈(홍만식), 솔토지빈(조남호) 등의 작업을 이중(二重), 공중(空中), 중공(中空)의 에 워쌈으로 나눠 고찰함으로써 그 역사 이론적 의의를 논하고자 한다.

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche Jeannerct and stein-de Monzie. It proceeds on the basis of the following three themes; first, the relation between the regulation line and the dom-ino frame; second, its status as p proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vertical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzic. The repetition of its A:B grid and the standard 2.5m×1.0m sliding window determined the proportions of both its plan and elevation, and thus the regulating line became ""automatic,"" losing its viability as a practical tool. Though the regulating lines of the La Roche-Jeanneret look as if they ere an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly ""redundant"" regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that LE Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His ""parti"" ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.