• 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.

• The Journal of Art Theory & Practice
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• no.10
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• Journal of the Korean association of regional geographers
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• v.21 no.3
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• pp.529-552
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• 2015

This study aims to analyze the placeness of Gwangju Art Street and the changing process of the street, looked through the experiences of life subjects living in this street. For this purpose, at first, history before art street was designated was traced by reviewing geographical characteristics and spatial transformation of the Art Street with the trend of Gwangju art scene and economic political situation. And then, in order to analyze the placeness of Gwangju Art Street, formation factors of placeness are extracted into physical element, behavior element and semantic element. Physical element and behavior element were analyzed through in-depth interview and data analysis for individual and microscopic historical process of life subjects being experienced in the street that is contrary to policy and plan. Finally, a semantic element was identified through questionnaire as to how people recognize current art street through a history being experienced as a venue of conflict of meaning. It is implied that bottom up place making policies that may connect context of the formation of placeness with the viewpoint of life subject in the Art Street is required to be presented now.

• Journal of Legislation Research
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• no.55
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• pp.7-56
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• 2018

This paper deals with the legal meaning and issues of street performances. The key elements in the legal sense of street performances (or artistic performances) are 'public places' and 'artistic activities'. Therefore, as far as belongs to "artistic activities in public places", we can call them in principle as street performances regardless of its level of art, whether they are paid or not, size of performances or genre of artistic activities. Street performances are a way for anyone to freely participate and enjoy art by being performed on open places. In addition, street performances can be seen as more popular and democratic artistic acts than mainstream art culture in that anyone can become street performers. Although street performances are in vogue and becoming a universal cultural phenomenon, they do not appear to be legally organized yet. However, we don't have to strictly regulate street performances on the grounds that they are something different and special. Instead, they should let their street performances be freely performed and enjoyed in accordance with the constitutional law that guarantees the freedom of art or the freedom of artistic expression. Of course, it is necessary to modify the relevant laws on key issues raised regarding street performances. Finally, for street performances to be well established as cultural phenomenon, it should be harmonized that efforts to observe the law and orders by street performers, mature rituals and cultural tolerances of citizens who enjoy street performances, and efforts to realize the purpose of cultural countries and to promote street performances by governments.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.43-50
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• 2001

This design proposal was accepted to a design competition for the improvement of Indi Youth Street, Mapo-Gu, which was held by the Seoul Metropolitan Government in June, 2000. The \`Hong-ik University District\` projected area consists of several streets, where the independent and youth culture unique to this area is blossoming-Indi music, underground arts, and historic meaning of the area as an estuary of Mapo. The site is also expected to attract many citizens and fereigners because of convenient accessibility of the new subway station to the Inchon International Airport and because of many attractions on the street- foods, music, art and people. Accordingly, the proposal set the main design concept of this project as \`the Street of Youth Culture\` considering its special and social status as well as the physical improvement of the street environment. With this concept in mind, the proposal designed the improvement of the physical conditions based on the motive of \`the Street of Youth Culture\`, having Indi/under art, Indi/ under music, Indi/under drama and Indi/multimedia animation. This design proposal of the Street of Youth Culture consist of three segments, which symbolize the millenium Youth Plaza, MultiMedia Animation Pocket and Arts Exhibition Pocket based on unity and balance. This plan has the ultimate aim of making the district one of the people\`s favorite streets in Seoul, which people love to visit again and find the vivacity of the new millennium youth culture.

• 한국공간정보시스템학회:학술대회논문집
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• 2004.05a
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• pp.184-189
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• 2004

This paper deals with design processing for TEDA-footbridge in Tianjin, China. The pedestrian cross over TEDA(Technology and Economy Development Area)-street as main street bridging both different areas in Tianjin. For resonable beautiful footbridge it need to technical mind and art. 'Science, not intuition, the tool of creativity' Starting with structure planning it need to cooperate both engineering and architect. We must solve a gaps between technology and art for structural design.

• KIEAE Journal
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• v.7 no.4
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• pp.23-30
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• 2007

In Korea, the top priority of the exterior space in the urban commercial street has been put on the road and parking for cars, not on the street for pedestrians, because of the lack of institutional urban planning, the land use of high density, the pursuit of maximum commercial profit, etc. Also, it is true that the form and facade of the street buildings which form the characteristics of the commercial street are regarded as the consumption-stimulating tool and, subsequently, are symbolized for commercial profit. This study starts from the recognition of reality, and, with the perspective of general plan for urban exterior space, tries to improve the environmental design of street space. Also, this study searches the ways to enhance the cultural, art, aesthetic and functional values of a city, as well as the ways to promote commercial activities and to perform commercial symbolism and pedestrian functions. This study aims at exploring the importance of street environmental design and the information of environmental design, so that the problems of current street environment, which generates the disorder and chaos of information, may be solved. Also, this study aims at promoting the continuous development for the future street environmental design and design plan.

• Journal of recreation and landscape
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• v.12 no.4
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• pp.67-78
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• 2018

Hangang Artpark construction is an enterprise founded in 2018 that involved installing public artworks created by 37 different people (teams) in Hangang Park located in Yeouido and Ichon Park. An iconic public space in Seoul, Hangang Park is turning into an even better public space due to the efforts to change the park into an eco-friendly, cultural-artistic space in tandem with the change in times. The objective of the Hangang Artpark construction business is to augment the environmental and scenic value of Hangang not only to provide a space for leisurely activities but also to revive it as a cultural-artistic area. This is a study of the concept and the design and installation processes of "Thinking of each other", a project by the Hangang Artpark construction business. This art piece has been installed in the wetlands and it trails along Ichon Hangang Park, which was created during the environmental recovery project. The piece consists of sculptures molded into animal shapes that are unique to the location and ecology of the area, displayed in harmony with the park's street furniture. By showing the coexistence of animals that existed in Hangang in the past along with the current inhabitants and the natural enemies of these inhabitants, the piece displays an ecofriendly scene. Moreover, by incorporating this piece into the street facilities of the park, such as gazebos, streetlights, surveillance cameras, and perches, the piece exhibits a different kind of street view compared to the installation style of other conventional environmental artworks. The various sculptures are installed along with the street facilities throughout the trail, rather than in a specific location intended for artworks, thereby achieving harmony with the park scene. In so doing, the piece elicits in the beholder an environment-friendly way of thinking, and at the same time, gives them a sense of calm and pleasure. Further, the paper researches the methods of safely installing art pieces in public spaces and of maintaining these installations.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.101-113
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• 2006

The purpose of this study was to investigate and compare the characteristics of the motifs on cultural goods in In-Sa-Dong Street, Seoul, with those in Art Street, City Hall, Kwang-ju. For this study, 607 cultural goods were collected from the two cities: 265 in Seoul and 342 in Kwang-ju. Total cultural goods were classified by accessories, decoration pieces, stationery and ceramics and were studied by repetition patterns, motifs types, representative techniques, and representative types. The results were as follows. First, for repetition patterns of motifs, there were 219 simple repetition patterns in Seoul, and 289 in Kwang-ju, and 46 compound repetition patterns in Seoul, and 53 in Kwang-ju. The ratio of simple repetition pattern was higher than that of compound repetition pattern in both cities. Second, for motif types, floral, animal, letter, and graphic motifs were used far more frequently than any other motif types. Third, for representative techniques, embroidery was far more frequently used than any other representative techniques. Metallic crafts, chil-bo and paper techniques were also favored. Fourth, for representative types, realistic types were more common than abstract types.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.3
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• pp.11-18
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• 2009

The purpose of this paper is to find out the investigation of overseas case in Street Furnitures of Public Design. Thus this research regions select among the waterfront cities; Tokyo/Yokohama(Japan), Nies/Cannes(France), Shanghai(China), Vancouver(Canada), in addition to the city of art and romance; Paris. Above all, it is necessary to study concept of public design and definition of street furnitures. The survey data collected from forenamed cities and the items of street furnitures are various installments such as kiosk, bench, bollard, litter-bin, sign board, toilet, bus/taxi station, fence, shelter, lighting column, fountain, telephone-booth, clock-tower, automaton, bicycle stand, playing object etc. In this study street spaces are analysed that is related to regional surroundings and pedestrian's culture. Consequently, design trend of street furniture in foreign case analysis are going into thoroughly modern image as well as checking of form, color, material and maintenance system. According to the above findings, this paper will provide basic data for establishing of the street furniture and improving of public design to the regional citizen, local government officials and regional experts.