• 미술이론과 현장
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• 제16호
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• 한국가구학회지
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• 제19권1호
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• pp.11-21
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• 2008

For ages, Furniture, it has been improved for human aesthetic needs as well as human life as a tool. In the 1960s, it's the age of an ideological conflict. And its war made the hippie-culture come out. And, it was economically bountiful. The epoch-making development of the scientific technology made the result of space development, conquering the moon in the first of the mankind. Made the appearance of the Anti-design against the modern design which was the also, it traditional values and the mainstream. The plastic has merits, low-priced, light, being perfectly able to do mass production of the all kind of shapes' furniture with all-desired colors. It was the wonderful material for the expression of the short-life character, the irony, the kitsch, and an intentional decoration to being chased by anti-design. And the result, the plastic furniture in the people's daily-life has well represented with reflecting the mind of the people in that age.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2016년도 춘계 종합학술대회 논문집
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• pp.441-442
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• 2016

본 연구는 1960년대 비평사의 쟁점인 순수 참여 논쟁을 연구한 것이다. 논의 결과 한국전쟁 이후 50년대 비평은 현실 부재의 이데올로기적 비평임을 알 수 있다. 60년대 비평은 앞 세대의 논의를 이어받아 순수주의와 현실주의로 양분되었다. 이 시기 비평가들의 논의를 통해 우리는 순수주의가 언어에 천착한 비평으로 이어지고, 참여주의는 한국적 적용 문제를 검토하는 계기가 되었음을 알 수 있다. 60년대 중반 이후 순수참여 논쟁에 이은 김현과 백낙청의 논의는 상상력과 역사의식에 맞닿아 있음을 알 수 있다.

• 대한건축학회논문집:계획계
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• 제35권10호
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• pp.53-62
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• 2019

The purpose of this study is to analyze the way historical heritage was dealt with during the massive urban development period of the 1960s through the case of Deoksugung Palace. The wall of Deoksugung Palace was rebuilt and relocated in 1961. Later, it was rebuilt and relocated again in 1968, and Daehanmun Gate was soon moved back too. I analyzed the opinions of the Seoul Metropolitan Government, the Cultural Heritage Committee, experts and citizens that occurred during this process and reached the following conclusion. First, in 1961, the existing stone walls of Deoksugung Palace were rebuilt rather than restored and conserved for the urbanscape at the time. Second, in the 1960s, the Cultural Heritage Committee focused on the conservation of the origin of Daehanmun Gate, while citizens valued the overall harmony and function of Deoksugung Palace. Third, unlike the 1970s project led by the president to renovate national security and national defense sites, there was a call from citizens to realize the preservation of Deoksugung Palace.

• 한국가구학회지
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• 제24권2호
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• pp.121-130
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• 2013

Nature and technology are very popular themes in the everydayness of modern world. In our industrial age which is based on technology nature becomes an lost origin and basic environment. On the other hand, technology is conceived as future hope and realistic environment. Through 1960s they had been transformed as signs and connoted into furniture design. As signs, they structured environment, organized space, and bred their own aesthetics. In this context, Danish designer Verner Panton presented nature as experiential landscape and Italian designer Joe Colombo expressed technology as amusing machine. What they showed were not real but sign of nature and machine. Nonetheless they were successful to create aesthetic atmosphere and meaningful projects. Also they showed the potentiality that furniture design might include discoursive issues and values. They also extended functional interesting between furniture and body to cultural domain of social viewpoint in behavioral pattern.

• 한국구조물진단유지관리공학회 논문집
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• 제15권5호
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• pp.150-159
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• 2011

수십 년 경과한 노후화된 터널에 대한 효율적인 유지관리를 통한 안정성 확보와 공용수명을 연장시켜야 할 필요성이 대두되고 있는 실정이다. 재래식 터널은 주변 지반의 물리적 특성, 터널의 기하학적 특성, 지하수위 및 환경, 라이닝의 산화와 구성재료의 변상에 따라 터널의 안정성 및 사용성이 저하될 수 있다. 장기적인 측면에서 터널 구조물의 사용성을 증대시키고 효과적인 유지관리 방안을 마련하기 위해서는 각종 성능저하 현상, 손상정도 및 내구성을 장기적으로 점검해야 한다. 따라서 본 논문은 공용 중인 재래식 터널(American Steel Support Method, ASSM)의 안정성을 분석하기 위한 연구 내용으로서 1930년대와 1960년대의 시공된 터널을 각각 3개씩 선정하였고, 연구의 신롸성을 확보하기 위하여 충청지역, 경북지역, 강원지역, 전라지역 등 다양하게 하였다. 분석내용은 공용중인 재래식 터널의 라이닝의 보수 보강, 균열조사, 라이닝 두께 및 라이닝 강도 등을 조사 연구하여 비교 분석 하였고, 균열조사는 균열게이지, 공동현상은 GPR, 강도는 슈미트해머를 이용하여 재래식 터널의 비교 분석을 실시하였다. 분석결과 1930년대 터널은 균열발생이 더 많이 발생하였고, 라이닝강도도 높게 평가되었다. 라이닝두께는 1960년대가 더 두꺼운 것으로 확인되었으며, 비례적으로 공동현상도 1930년대보다 더 많이 발생한 것으로 분석되었다.

• 건축역사연구
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• 제25권2호
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• pp.21-30
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• 2016

Autonomia movement that emerged in Italy in the 1960s from workerist (operaismo) communism gives historical and discursive context to Manfredo Tafuri's famous criticism of ideology. His thesis on the death of architecture was a radical criticism of Keynesian intervention which was a strategy to cope with the Great Depression. For him, this capitalist development had taken away ideological prefiguration from architecture. At least Tafuri's this early intellectual phase was formed in the wake of magazine Contrapiano and Antonio Negri's influence. Tafuri almost entirely adapted Negri's thought on the importance of capitalist innovation that was uncovered by Keynes, Schumpeter, and Manheim and the periodization in modern history. When we read Tafuri's text with this concrete context, we can avoid being plunged into his abstruseness. On the other hand, 1980's Korea cannot understand Tafuri comprehensibly. 1980's situation to struggle to acquire democracy prescribed only one mode of reception of Tafuri's historiography in Korea. Tafuri's so-called pessimist view point could not satisfy student activists. They want to take intellectual means to sustain student movement and to secure political dynamics of protest. But at the same time they have anxiety to understand tafuri's thesis that they consider ad a critical theory for Korean Architecture. Double contexts of Tafuri's criticism of ideology bring to light to historicize both Tafuri's historiography itself and reception of his text in Korea.

• 디자인학연구
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• 제17권3호
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• pp.293-302
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• 2004

20C초 바우하우스(Bauhaus)로부터 정립된 산업디자인의 엄격한 미적기준과 기계미학은 모더니즘을 한층 강화시켰으며 그 규범은 반세기 이상을 이어져 나갔다. 1950년대 후반이후부터 팝아트(Pop art)나 팝디자인(Pop Design)같은 반 모더니즘에 대한 운동이 시작되었다. 테크놀로지의 발전과 더불어 그 당시 젊은 세대의 라이프 스타일과 문화 등을 반영하는 휴머니즘을 강조하는 디자인이 나타나게 되었다. 물리적인 요소의 완성을 초월하여 심리적인 부분을 충족시키는 시도, 즉 인간의 감정과 감성을 산업디자인에 이입시키려는 시도는 1960년대부터 비롯되었으며 여러 상황 속에서 다양하게 그 모습을 나타내었던 것이다. 그것은 휴머니즘을 바탕으로 한 구체적 디자인 스타일로써 1960년대의 반 모더니즘(Anti-Modernism)디자인 1970년대의 상업주의, 소비자 중심주의, 하이테크 등을 거쳐 1980년대 포스트 모더니즘이란 필터를 통과함으로써 산업디자인에서 정착할 수 있었다. 그것은 감정이나 감성을 디자인에 적용함과 아울러 하이 테크놀로지와 결합하여 물리적인 요건의 충족과 아울러 심리적으로 사용자들에게 만족감을 전달할 수 있는 디자인 요소가 강조된 디자인 경향으로 이해할 수 있다. 따라서 본 연구는 1960년대에서 1980년대까지의 디자인사로부터 인간의 감정과 감성이 이입된 디자인을 추출하여 그 스타일을 정의하며 현대 산업디자인의 흐름을 이해하려는 시도를 기울였다. 이 연구는 또한 인간감정과 감성이 적용된 디자인이 오늘날 어떻게 발전되어져 왔는가의 연구로 이어지는 토대를 제공하기 위함이다.

• 한국대기환경학회:학술대회논문집
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• 한국대기환경학회 2002년도 춘계학술대회 논문집
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• pp.145-146
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• 2002

1960년 이전 대기 중 PCBs(polychlorinated biphenyls)의 유입은 여러 나라에서 다량으로 사용한 PCBs에 의해 많이 좌우되었다. 대기 중 PCBs의 최대 배출은 1960년대 후반이었으며 그 이후로 점점 감소하는 추세이다. 오늘날 이 화합물은 사용이 금지되었으며 대부분의 국가에서 법적인 근거를 마련하였다. 그러므로 최근 대기 중 PCBs의 발생원은 이전에 배출된 화합물이 재휘발(revolatilzation)한 결과라고 할 수 있다. 그러나 현재에도 PCBs가 포함된 설비를 사용하고 있으며, PCBs가 함유된 쓰레기가 여전히 환경중으로 배출되고 있는 실정이다. (중략)

• 한국주거학회논문집
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• 제25권5호
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• pp.103-112
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• 2014

This study explores the typology of the urban detached houses in the new housing quarters that were created in the process of Seoul's urbanization in the aftermath of the Korean War. It analyzes and compares the urban tissue and space allocation set when the new urban residential areas were organized according to different methods of production. Based on the comparative analysis of housing built in the same time of 1960s, this study aims to deduce why a specific urban detached housing type was selected as an influential housing prototype and how this spread in later generations. Case study sites selected for this study include: the new Urban Hanok towns of Yongdu-dong, filled with mass Urban Hanoks built by housing developers; the single-family detached housing district of Myunmok-dong, filled with individual dwellings built by private builders; and the housing complex of detached houses in Suyu-dong, developed by government-sponsorship during the early 1960s. Each case examines the following: first, the difference in housing typology allocation according to urban tissue; second, the difference in spatial composition and arrangement within plots. As a result, it was found that differences in typology occur depending on which of the social, cultural, economic and technical factors was preferentially considered in forming urban tissue and allocating buildings in each residential area.