• 한국실내디자인학회논문집
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• 제24권1호
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• pp.12-22
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• 2015

When it comes to the architecture design, Kuma Kengo rejects a strong and violent subject-centered position and advocates the design that is object-oriented. As can be seen in 'gentle architecture', 'three lows principle', 'natural architecture', and 'connecting architecture', he clearly expresses the objective nature of architecture design in those terms. In this respect, the purpose of this study is to make a close inquiry into the meaning, effect and characteristics of objectivity. In particular, we try to identify the contents of 'impure architecture', which has a clear ambivalence to be an instrumental expression strongly settled in the objectivity, in an aesthetic standpoint. To do that, we systemized the concept of mimesis and the theory of subversive appropriation by Walter Benjamin and Theodor Adorno in to a frame of interpretation. By systemizing translation, subversion, verbalization and the dialectic structure of the aesthetics of negation, we interpreted the features of his works as an objective work and 'impure architecture'. His objectivity leads the situation by subversively appropriating the inherent elements of architectural conditions based on a dialectic solution in which inquiries on logical and scientific materials have played a critical role. Above all, through all these processes, he tried to suggest a language as a new technique for materials and structures. Ultimately, we could find out that this object oriented design sublates a subject oriented way that is monolithic and repetitive regardless of objects. Rather, it is a way that is effective in creating a new way of design by making a different approach to a new object rather unfamiliarly, yet deeply.

• 미술이론과 현장
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• 제5호
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."