• Korean Journal of Social Welfare
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• v.53
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• pp.155-178
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• 2003

Traditionally, the Sozialdemokratitische Partei Deutschlands(SPD) guards strictly radical welfare conception and intends to support the disabled with universal welfare-political instruments. After the oil-shock in 1973, European welfare states including Germany had experienced stark financial crisis because of economic unstability and increasing social expenditure. The political direction of SPD has been gradually changed. This transformation has been reflected automatically on the welfare policy for the disabled. In Germany, Gerhard Schroeder who leads the SPD governs since 1998. The Schroeder's new conception of welfare policy is known as the Third Way("neue Mitte") that the social economic structure intends to neo-liberalistic trend. The concern on the employment policy for the disabled has grown recently in neo-liberalistic age, but research on German employment policy for the disabled is very limited in quantity and depth. The main purpose of this study is to examine how the employment policy for the disabled of Schroeder-government has been developing in Germany. And this paper evaluates the effect of transforming policy. Based on this evaluation, this paper attempts to manifest the problem of Korean employment policy for the disabled and to find the implications of German model.

• The Science & Technology
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• no.5 s.408
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• pp.22-25
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• 2003

亞, 과학인프라 구축 열 올려/ TV 폭력, 시청자 인성형성에 큰 영향/ 징기스칸 자손은 1천 6백만명/ 슈뢰더, 독일과학예산 증액 약속/ 허리띠 졸라매는 프랑스 연구기관/ 첨단미디어 헐리우드 위협/ 80년된 커리큘럼에 과학 추가/ 생화학무기 탐지위해 닭 휴대/ 인도대학, 국제교류 제한

• Journal of architectural history
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• v.25 no.1
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• pp.69-83
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• 2016

Classic rationalist architecture came to play an important role in modern architectural discourse in the 1970s. But it has declined since the death of its most representative architects Aldo Rossi and O. M. Ungers. However, the phenomenon to be noted is that a new momentum was brought to the German architectural scene through some remarkable achievements by the disciples of Ungers after 2000. This study aims to read this phenomenon on the topography of german architecture and to catch out what potential it has to create balance in the international architectural debate. It is not the aim to analyze a single architect in detail, but to compare some important architects like Hans Kollhoff, Max Dudler, Eun-Young Yi and Uwe $Schr{\ddot{o}}der$. And further the study will try to give an overview of how far this phenomenon can change the topography of the German architectural scene. The buildings that have been examined here are Daimler Chrysler Building, Grimm Zentrum, Stuttgart City Library, and Haus Hundertacht. Through this study, it was found that some architects continue the attitude and the architectural languages of O. M. Ungers and develope their own unique architecture. And this phenomenon has the potential to influence todays architectural debate on a global scale.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.