• Journal of the Korean Institute of Landscape Architecture
• /
• v.25 no.3
• /
• pp.155-176
• /
• 1997

Today most landscape architects and scientists have approached ecological restoration, only in a scientific way or on aesthetic way so as to deal with the complex phenomena of a site easily. However, 'the real world' as well as 'ecological nature' as it is can not be totally dealt by the scientific approach which is quantitative and reductioinal. ince a site to be restored has the character of 'place' where man 'dwells', it must be designed and built as total phenomenon. In terms of Martin Heidegger's interpretation of "revealing", we might find out how to overcome the dilemma of the 'modern technology'. To the point of the phenomenological integrity between 'modern technology' and 'art', we can reveal 'sense of place' on a site. The phenomenological approach, which is related to the characteristics of the site, implies something more than scientific since it focuses on the development of site-specific data without wasting extra data for ecological restoration. Bodily experiencing a site with the perception, man discloses the site's nature and he also analyzes it in a scientific way. Therefore the phenomenological approach might be a clue of constructing ecological restoration as well as construing the identity of landscape architecture.

• Korean Institute of Interior Design Journal
• /
• v.22 no.2
• /
• pp.81-88
• /
• 2013

Foundation Beyeler museum located near Basel, Switzerland is one of the most-visited art museum of the world. Although the entire volume of the museum is not huge, its art collection as well as the well-known museum building designed by Renzo Piano deserve to attract many visitors. The initial design was started in 1991 when the city of Basel decided to fund and support the project. Through a couple of design stages, the museum was finally opened to public in 1997. There have been various research papers dealt with general design issues of Beyeler museum such as composition of exhibition spaces, and natural lighting. However, this paper aims to study the design methods and relationship between art, architecture and nature. Although the museum building is located on the site quietly, there are various specific design solutions to create unique spatial experience of art and nature at each parts. This study focuses on 4 parts of the museum that are located on the main circulation. How art, architecture and nature are integrated together is the main target of the analysis. The analysis is based on visual-perceptual experience and spatial configuration. In chapter 2, general background of the project was studied. In chapter 3, characteristics of the site's natural environment and Piano's design concept's were examined. In chapter 4, each parts were analyzed in detail with diagrams. In chapter 5 & 6, the spatial characteristics were compared together and the fundamental role of the museum architecture was concluded.

• Korean Institute of Interior Design Journal
• /
• v.13 no.4
• /
• pp.92-101
• /
• 2004

A rational and logical sense of design often found in modernism(including minimalism) sometime deal with the criticism that such characteristics which derived from those of modernism, lack emotion31 qualities(arises from human feelings). It consequently took them to adopt traditional designs in the past, creating such conditions that constantly escapes from‘present’ one and back to the‘new’. This mode develops a trend in current interior design which decorative elements such as art work: traditional arts, folk crafts, flowers and green are much evident. Thus, using many decorative elements of the past(what was once banned since modernism), brings up the interesting point of view that needs to be discussed a new decorative trend if today's interior design. It will approach by comparing significances of past decorative expressions with present through which investigation, will show a better understanding of recent characteristics in interior designing, a.k.a, a current trend since minimalism, embracing important qualities of culture, ecology and people - against today's less-inspired, standardizing spaces.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.35 no.2 s.121
• /
• pp.37-48
• /
• 2007

An exhibit entitled 'Revelatory Landscapes' was held at the San Francisco Museum of Modem Art from May 5 to October 14, 2001. For this Museum's rot off-site outdoor exhibition, five outstanding design teams-Kathryn Gustafson, Hargreaves Associates, Hood Design, Tom Leader Studio, and ADOBE LA-created site-specific installations in Berkeley, Oakland, San Jose, and the San Francisco Bay Area. Each project showcased a hybridization of environmental art and landscape design. The main content revealed through revelatory landscapes were the natural, cultural, and historical palimpsest of the sites-particularly as related to the history of minorities such as Native American, African Americans and Latin Americans-as well as the every day life of ordinary people. To represent these ideas, a juxtaposition of the past and the present was broadly applied. Furthermore, the use of dramatic colors, textures, and forms in consideration of materials coupled with the revelation of natural elements such as wind and sunlight accelerated the effect of this juxtaposition. Every project of the Revelatory Landscapes exhibit requires a phenomenological experience to be appreciated. Via the five senses, these experiences cause a synesthetic experience beyond solely the visual. By examining the projects of 'Revelatory landscapes', the threshold for a new blending between environmental art and landscape design as well as new landscape design strategies that overcome the dichotomy between nature and culture will change and evolve.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.4
• /
• pp.189-198
• /
• 2011

The existing approaches to the body painting have been dominated by the angles focused on the 'performance' and the 'body art'. The performance-focused approach, in which body painting serves simply as a make-up for the performer, one of the elements of performance to help it communicate effectively its meaning and come to perfection, might be in itself lacking in the attention to the placement of the body painting as a new genre of art. This thesis has two aims to explain the concept of Allegory as the contemporary meaning and to examined the formative characteristics and other characteristics of Allegory through theoretical research. For this purpose, this study is based upon allegorical cognition of Walter Benjamin and the allegorical method of Craig Owens. The formative characteristics of allegory are summarized as appropriation, deconstruction and site-specificity as follows. First, the constructed result has contrived characters because its image which derived from body painting based on the past shown image. Second, Allegoric body painting refuses an aesthetically valuable piece which can be interpreted formal completion, it shows intactly deconstruction of its configuration, substance and style. Third, Allegoric body painting has site-specificity facts which can be expressed for diverse meanings. Through these facts, the final goal of this thesis will find specific character for Allegory and apply to body painting.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.31-49
• /
• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• Korean Association of Arts Management
• /
• no.56
• /
• pp.349-380
• /
• 2020

The paper is to assess the recent changes in Architectural Artworks system in two regional districts, Seoul and Gyeonggi Province, and to propose policies for further improvement. We focused on four aspects: overall pass rate, top-ranked artists' pass rate, proportion of artists ever passed, genre proportion artworks. It is observed that quality of artworks has improved, market monopolization has been eased, and entry to the market has become more active. However, sculptures accounted for the majority. Public art is gradually changing from 'decorative art' to 'site-specific art', and seeking harmony between architecture and surrounding landscape. To keep pace with this new trend, more institutional efforts should be made: fund raising to induce artwork supplies; introducing life-span concept to secure removal and deformation of artwork; imposing artists' follow-up services; imposing penalties against poor management; and authorizing the committee to choose exhibition sites.

• Journal of architectural history
• /
• v.26 no.1
• /
• pp.71-82
• /
• 2017

Pavilions, follies, and installations provide a place with a new experience beyond that of simple garden architecture. From this point of view, this study tried to analyze the constructs in the Glass House site, which Philip Johnson has built for 50 years. After Chapter 1 Introduction, which summarized the background of the study, Chapter 2 investigated the design background of the landscape and the types of the constructs there. It also, studying literature on pavilions, follies, and installations, defined the basic meanings of them. Chapter 3 identified the features of each construct through the case studies of it, analyzing Johnson's intentions on it. These features are such as the applications of classical follies, the quotations of architectural history, fusion with art, architectural experiments, and the monuments of personal history. In conclusion, this study, finding the site specificity as a common feature of pavilions, follies, and installations, referred to two aspects of this, which are not only physical placeness but also cultural media.

• Trans-
• /
• v.9
• /
• pp.1-15
• /
• 2020

The most prominent phenomenon in performing arts in recent is the social sharing of art products. As a result of the city's reinterpretation of each local government, production of performances, activation of performances outside the theater, and performances performed in streets and specific spaces and public spaces deviate from traditional theater-based performance forms through social communication and expansion. Also, it is seen as an effort to expand the delinquency of the act. Furthermore, it can be said that this proves the publicity of contemporary performing arts. I will research the audience and learners through the Opera Estate festival, a recent exhibition in the Balsano del Grappa, Italy, which is based on the site-specific performance form that has been actively conducted several years ago.

• Women's Studies Review
• /
• v.27 no.1
• /
• pp.73-109
• /
• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.