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송길원하이패밀리_계란교회건축가 Andrew Mcnair는 누구인가?
송길원하이패밀리_계란교회건축가 Andrew Mcnair는 누구인가?  하이패밀리 송길원 목사는 창립 20주년을 맞이하여 한국의 랜드마크가 될 새로운 형태의 교회라고 하며 경기도 양평에, "계란교회"(카펠라 오비, Capella Ovi)라는 이름의 교회를 설립했습니다.  그런데,
이 계란교회를 건축설계한 사람에게 관심을 끌게 합니다.
  아래의 영문자료를 통하여 andrew mcnair가 어떤 영향을 받은 사람인지를 생각해 볼 수 있습니다.
John Hejduk에 대한 이 자료는 andrew mcnair가 건축한 "계란교회"가
과연 한국교회의 랜드마크가 될 수 있는 것인지 그 판단은 독자 여러분들께서 가늠해 보시기 바랍니다.
------------------------------------ 인용 자료 시작 ------------------------------------ John Hejduk, an Architect And Educator, Dies at 71
By HERBERT MUSCHAMP
Published: July 06, 2000
Correction Appended
John Hejduk, one of the most revered figures in American architecture and architectural education, died on Monday at his home in Riverdale in the Bronx. He was 71.
The cause was cancer, said his daughter, Renata.
Mr. Hejduk was Dean of the Irwin S. Chanin School of Architecture at the Cooper Union for the Advancement of Science and Art from 1975 until his retirement last month. He was an architect who largely abstained from conventional practice, and the bulk of his work consisted of theoretical projects, executed in the form of drawings that were combined into poetic, often highly personal narratives. These drawings, later published in a series of books, have been compared to the work of Giovanni Battista Piranesi, the 18th-century Roman whose engravings of imaginary prisons were a decisive influence on neo-Classical architecture. Mr. Hejduk's influence on his students and others was also profound. His former students, some of today's most imaginative designers, include Daniel Libeskind, Elizabeth Diller, Shigeru Ban and Toshiko Mori.
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Like Piranesi, Mr. Hejduk (pronounced HAY-duck) offered dark, brooding meditations on architectural themes. Images of ashes, graveyards, watchtowers and medusa heads recurred in his drawings. A tall man, with the intimidating demeanor of the legend he had become, Mr. Hejduk created solitary landscapes in which architectural forms took on human, at times inhuman, characteristics. ''The New England Masque,'' a suite of drawings from 1981, explored the alienation between married partners. Inspired by Stanley Kubrick's film, ''The Shining,'' the project showed a house designed to prevent its two inhabitants from meeting face to face. Walls, stairs, furniture and landscape kept the two in a state of separation.
The project illustrates one of several ideas associated with Mr. Hejduk's work and teaching. Architects don't have to limit themselves to happy-face emotions. Like writers, they can delve into the darker side of the soul and the bleaker aspects of society. Andrew MacNair, an architect and journalist, once coined the name the Blacks to describe a group of architects, including Raimund Abraham and Lebbeus Woods, who explored this abysmal realm. Mr. Hejduk was the central figure in this group. His influence can be seen in Mr. Abraham's design for the Austrian Cultural Institute, a severe glass and concrete structure now nearing completion on East 52nd Street.
In Mr. Hejduk's later drawings, crosses, angels and other symbols of religious redemption appeared frequently. Yet it is fair to say that architecture was his religion, even that he was a fanatical believer. At times, the smell of incense could be overwhelming.
Mr. Hejduk's devotion to the purity of his vision inspired some students to treat him as a cult figure. But practical ideas also flowed from his example. Ms. Diller and her partner, Ricardo Scofidio, a Cooper Union professor, have successfully pursued an alternative practice, independent from the economics of real estate.
Another lesson Mr. Hejduk imparted was the social and psychological dimensions of space. He taught his students to regard architectural forms not as purely abstract shapes or expressions of structure and function but as a means of exploring relationships between public and private space. Walls, windows and architectural details were invested with emotional content.
Wall House I, an unbuilt design that Mr. Hejduk developed from 1974 onward, is the project that best exemplifies this approach. Using a vocabulary similar to that of Le Corbusier, the pioneer French modernist, Mr. Hejduk designed a house whose structure was reduced to the two dimensions of a single plane and an adjacent utility core. Living spaces were slung off the rear of the wall, in a saddlebag-shaped container. Mr. Hejduk's purpose was not to show off the possibilities of cantilever construction. Rather, he wanted to invest the single wall with the symbolic meaning of division.
A similar idea occurs, on a small scale, in a wall recess located outside Mr. Hejduk's office in Cooper Union's Foundation Building on Cooper Square. A telephone booth in function, the recess is a balloon of space that is entered from the building's third-floor lobby. The spatial flow from lobby to phone offers an intimate essay on the transition from public, through semi-public, to private zones.
The Foundation Building, which Mr. Hejduk reconstructed in 1975, will undoubtedly remain a memorial to his tenure as dean. In keeping with an institution dedicated to growth, Mr. Hejduk's design emphasized transitional spaces like stairs, corridors, and hallways. The library was placed behind glass at street level, where it could be viewed by passers-by. The Great Hall, renowned as the setting of the Lincoln-Douglas debates, regained its luster. A meeting room on the top floor, behind the dial of the building's giant clock, has become a prized setting for photographers.
From a historical perspective, Mr. Hejduk's importance may lie in his contribution to the increasing role played by psychology in contemporary architecture. Along with Frank Gehry, Rem Koolhaas, Phillipe Starck and Eric Owen Moss, among others, Mr. Hejduk helped to reframe architecture as a meeting ground between the subjective and objective realms.
Mr. Hejduk was perhaps the most extreme exemplar of this movement. He told a reporter that someone once complained that his drawings didn't really count as architecture because you couldn't get inside them. ''Yes,'' Mr. Hejduk replied, ''but I can get inside them. My friends can get inside them.'' And they did.
John Quentin Hejduk was born in New York in 1929. After attending Cooper Union from 1947 to 1950, he studied architecture at the University of Cincinnati in Ohio, where he received his bachelor of arts degree in 1952. The following year, he was awarded a master's degree in architecture at Harvard University's Graduate School of Design.
Mr. Hejduk began his teaching career in 1954 as a studio instructor at the University of Texas in Austin. While in Austin, he joined with Robert Slutsky, Colin Rowe and others to form a rambunctious group of educators who were called The Texas Rangers. After the entire group was fired, Mr. Hejduk returned to New York in 1956 to work at I. M. Pei and Partners, and later taught at Cornell.
He began teaching at Cooper Union in 1964 and was appointed head of the architecture department the following year. In 1975, when the department became an autonomous division, Mr. Hejduk was appointed dean. Last month, he was named the school's Dean and Professor Emeritus of Architecture.
Mr. Hejduk's 21 published books include ''Mask of Medusa'' and ''Architectures in Love'' (both published by Rizzoli International Publications), and ''Lancaster/Hanover Masque'' ( published by the Architectural Association and the Canadian Center for Architecture). In 1997, the Canadian Center acquired Mr. Hejduk's archive of drawings.
Mr. Hejduk did design several built works in addition to the Foundation Building. In 1988 he completed the Berlin Tower and Garden Apartments, a housing complex in Berlin. A civic center in Santiago de Compostela, Spain, designed in collaboration with Antonio San Martin G. de Azcon, is scheduled for completion later this year.
Twenty-six full-scale versions of Mr. Hejduk's designs were constructed as temporary installations in museums and other locations, including the Institute of Contemporary Art in Boston, the Triennale di Milano in Italy and Prague Castle in the Czech capital. In 1995, two of Mr. Hejduk's former students built a 19-foot-tall wooden model called ''The Conciliator,'' based on Mr. Hejduk's drawing of a dark gray tower flanked by two entry ramps, on a traffic island across from the Flatiron Building at 23rd Street.
In addition to his daughter, of Phoenix, Mr. Hejduk is survived by his wife, Gloria, and a son, Rafael, of New York.
Mr. Hejduk regarded teaching as an exalted form of social service. Earlier this year he wrote: ''I believe in the social contract, therefore I teach. I believe that the University is one of the last places that protects and preserves freedom, therefore teaching is also a sociopolitical act, among other things.''
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Correction: July 15, 2000, Saturday An obituary of the architect and educator John Hejduk on July 6 misspelled the surname of a colleague at the University of Texas in Austin in the 1950's. He was Robert Slutzky, not Slutsky.
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