• Archives of design research
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• v.18 no.2 s.60
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• pp.315-324
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• 2005

This research aims to investigate evaluation framework of environmental formative works that are regulated by law in urban space, and to suggest the directions of improving the framework for better city environments. The concept of environmental formative works in urban space was identified and social situations and factors including visitors and the cognitive process of urban environments, were analyzed. This research suggests a new method based on the analysis of existing regulations and problems of environmental art or formative works. The public regulations and evaluation methods of the Korean major cities including Seoul, Daejeon, Busan and Gwangju, were examined on environmental formative works. The objective was to suggest an evaluation framework for creating human values of urban culture environment instead of focusing on the matters between the owner of the architecture and the artist of formative works. By identifying socio-cultural value of art decoration related regulations and improving the level of the public formative art evaluation scheme, this study helps addressing the administrative problems and constructing a conceptual framework of evaluation to improve urban culture environment for both human and environment.

• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.133-143
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• 2015

This study tried to inquire architectural tendencies in public art projects by analyzing projects and public art works designed by Korean architects. First, it described not only the background and the objectives of this study but also the scope and the methods of it. Second, it gave an overview of public art by explaining the concept, the institutions, and the history of it in Korea. Third, it investigated the contents of public art projects in Korea, in which more than two architectural teams participated, analyzing the tendencies of public art works designed by architects. In order to find the architectural tendencies of public art projects, it analyzed the intentions, the contents and the expressions of architects' art works. In conclusion, this study regarded the architectural tendencies as site-specific, space-experiencing, sheltering, multi-purposeful, contextual, recycling, and eco-friendly.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.101-103
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• 2010

최근 도시의 건축물들은 파사드(Facade) 전면에 디지털 조명을 활용하여 도시의 표정을 빛으로 표현하고 있다. 이러한 표현 방법은 빛을 통한 시각적 만족감 뿐 만 아니라, 파사드를 도시 공간과 소통하는 매개체로써, 사람의 감성과 상호작용을 시도하며 새로운 가능성을 실험 하는 도구로 사용 되고 있다. 하지만 일부 미디어 파사드는 독창적 컨텐츠의 부재와 상업적인 성향만이 강조 되어 이에 따른 부작용이 우려 되고 있다. 이에 본 연구는 공공 미술의 관점으로 미디어 파사드의 특성과 문제점을 고찰하고 분석하여, 공공 미술로서의 미디어 파사드 표현방법을 제시하고자 한다.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.147-154
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• 2007

This study places a great emphasis on the approaches to the space environment we inhabit, which I hope will contribute to generating a number of creative possibilities. Looking into 'site-specificity' which is characteristic by public art in public space method based on Daniel Buren's works 'in situ', this study analyze the relationship between the public space and works of art as a perspective of public art. The characteristics of his 'in situ' works that intervened works exist as space consisting of serial factors not simply art-object, and they suggest 'site Is a work'. The case study of Daniel Buren's public art project represented the results, the site marketing and serves as a guideline for the future of true Art/Space experiments. This study verifies the need for the arts and the space to work together in order to develop more creative and conceptual approaches to innovation and presentation. This cooperation is the continuation of space design by other means.

• Journal of Service Research and Studies
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• v.2 no.2
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• pp.115-123
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• 2012

Part of public arts, environmental sculpture not only enhance the beauty of a building, but also a landmark having intimate values with the city environment and symbolic meanings. 'Space storytelling' is not only a connecting bridge between the space and human, but also plays a role in promoting creation of story like a catalyst. Storytelling is expanding to many related industries and one of which is artistic structure, and the storytelling of residental space is getting widely applied to establish the competitive superiority. The purpose of this study involves logically examination the service deliver process of space storytelling based on the residential space. And this study expected to research the influencing factors about purchase and service delivery process of artistic structure.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• Journal of the Korean housing association
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• v.25 no.5
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• pp.33-41
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• 2014

Today, modern society pursues the paradigm of creative city and regeneration. Cultural regeneration of revitalizing locality by utilizing culture catches attention, is a major approach. Public arts is considered as a catalyst of cultural regeneration, and it inspires vitality to declined districts. Gamcheon Culture Village, Busan has accelerated propagation of revitalization only in recent couple of years, and it has been developing with residents' participation continuously. The purpose of this research is to analyse the revitalizing effects of public arts introduction to Gamcheon Culture Village regeneration. In specific, social, cultural, economical, physical and environmental revitalization effects of the village were defined. The research method is questionnaire survey and 320 reponses from residents and visitors were collected. Data were statistically analyzed with SPSS18.0. The effects of public arts introduction to Gamcheon Culture Village regeneration are positive overall. However, according to the districts of the village, having diversity of art projects in both quantity and quality, the perceptions were different. Regeneration with utilizing public arts for revitalizing declined district, the Gamcheon case shed light on the future. The research indicated the value of public arts and some strategies of allocating art projects.

• The Journal of Art Theory & Practice
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• no.9
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• pp.7-31
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• 2010

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano's human rights and as a tool to recover the Chicano people's cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca's works, and the Balmy Alley Mural Environment project in San Francisco's Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.