일제강점기 근대 문화 공간 표현 특성에 관한 연구 = A Study on Characteristic of the Modern Culture Space during Japanese Ruling Era of Korea

국문 초록 (Abstract)

현재우리가 생활하고 있는 대다수의 공간들은 서구의 것으로 일제강점기에 유입되게 된다. 따라서 본 논문은 일제강점기 시대적 배경에 대해 고찰하고 일제강점기 문화공간의 표현특성을 파악하고 분석함으로써 근대 실내 공간을 체계적으로 정리하고자 하였다. 우리의 전통공간과 현대공간을 이어주는 가교적인 역할을 하는 근대 실내 공간을 단지 일제강점기에 지어진 이유만으로 부정하려해서는 안 된다. 이렇게 현대공간과 전통공간의 매개적 역할을 하는 근대공간을 체계적으로 정리함과 더불어 근․현대 실내 공간 사이의 사회성과 역사성이 부여되어 한국 실내디자인 사를 계속적으로 정리해야 할 것이다.

다국어 초록 (Multilingual Abstract)

People show their interest in culture as their quality of life and environment get better. Due to their interest the demand of cultural space is increasing. On the other hand, most of these cultural spaces are Western architecture which is completely unrelated to our traditional style. In Japan’s colonial rule of Korea these Western formation flowed in and passed on by them. Therefore before the understanding of modern cultural space built in Japan’s colonial rule of Korea, it’s essential to study about the background of the western period in that time, architecture and trend of interior. Western considers 17th~19th century as the modern age. Overall the society was growing and reforming by Industrial Revolution, civil revolution and others. However unlike economical growth and development of science, art and architecture cling to the past. As a result people turned their interest into Neo-Classism, Baroque, and Victorian and even eclecticism or Greek and Roman architecture which were popular in the past. Also expressing or decorating the interior with all kinds of ornaments came in fashion. The economic growth caused the rapid escalation of middle class which increased the demand on items what noble class used to use. At the time the Western Powers were pioneering the colonialism. Neoclassic and Baroque style which could express their power and rigorousness based on the Imperialism gained more strength. These trends flowed in to Japan and brought into Korea which considered as start of our modern age. The strict form of architectures and interior spaces started to locate especially after 1910 when Japan got down controlling our country. In late 19th century the modernistic movement such as Art and Craft movement or Art Nouveau started passively in part of the society then in the beginning of 20th century the modernism started to rise and by magazines these movements flowed in to Japan and Korea. Due to Great Depression and other reasons the economical modernism of architecture raised in this period. Hence the architecture transformed as time passes from western style in the early ages to modern style in Japan’s colonial rule of Korea. However as it was transition period instead of dichotomizing between classical space and modern space, both styles expressed with compromise.
In this thesis, based on such background of period, cultural space has been divided into assembly, theatre and exhibition spaces. Those spaces were studied according to its expressional characteristics and brought to following conclusion from the analysis.
First of all, the expressional characteristics were categorized in to three parts, space formation expression, elevation expression and interior expression as a result of study of each cultural space cases.
Secondly, three expressional characteristics could be sub-categorized. The closed area and open area formations are under the space formation. Most of cultural spaces are built after 1950 which had modern space arrangement. A closed area was created by partition wall due to a symmetric structure based on a function of a building. An open area minimized the partition wall and had free space structure. According to a function, the space could be divided and create a new layout perpendicularly. Also an open space had freer plane formation with use of core and module.
Thirdly, expressional characteristic of elevation is categorized into western style, eclectic style and concise style. Western style is one of the expressional characteristic which could be found in theater most frequently. Theaters were mainly used for Japanese authority classes’ social gathering. The interior was to be used to represent their power that these styles were used in the era when modernism was pursued. The Western style well expressed in aspects of symmetrical structure of elevation, usage of Baroque line, fanciness from unevenness of elevation and strictness of interior with projection of elevation. Also eclectic expression was officiating priest style which was created under Japan’s Imperialism. It expressed in the fusion of Western style and diverse elements of oriental roof. Lastly in concise style the decoration element in elevation was eliminated and created smooth interior. However use of ferroconcrete such as cantilever, angle window, angle entrance and horizontal window were positively used in elevation commonly in all three styles.
Fourth, interior expression is classified into concise expression, strong decorative expression and temperate expression. In concisely expressed area, decoration was eliminated that could express the modern interior with smooth space. In strong decorative interior, various classical elements were used such as decoration of molding in the ceiling, cornice, chandelier and drapery of curtain. Lastly, temperate space is modern and polished decoration which was found generally in the living room filled with patterns which were in fashion. Those patterns were used in wall papers, carpets, sofas and fabrics. Modern items such as glass decorating a headpiece on a column were used to decorate the space.
Last but not least, the cultural spaces were created around 1930 due to an increase of demand when the modernism started to establish. Like other buildings cultural space expressed modernized elevation and space formation with ferroconcrete building. However until Japan’s colonial period the cultural areas were not used for public but for Japanese authority class’s social gatherings only. Consequently, unlike other buildings the classical elements that could express these characters were more used in cultural spaces especially in theater and exhibition areas. This distinctiveness didn’t appear separately but according to type of rooms in one space. Once more, place like assembly space was expressed with modernism, special or recreation rooms where people pursue a comfort were expressed with decorative style. Also a special theater which

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1.1 연구의 배경과 목적 = 1
• 1.2 연구의 방법 및 구성 = 4
• 1.3 연구 흐름도 = 6
• Ⅱ. 일제강점기 시대적 배경 및 근대문화공간의 생성 배경 = 7
• 2.1 근대 서구 및 국내 시대적 배경 = 8
• 2.1.1 서구의 건축 및 실내디자인 경향 = 8
• 2.1.2 일본의 시대적 배경 = 17
• 2.1.3 국내의 시대적 배경 = 27
• 2.2 서구의 근대 문화공간의 생성 = 30
• 2.2.1 문화 및 문화공간의 정의 = 30
• 2.2.2 문화공간의 생성 = 32
• 2.2.3 집회공간의 발전과정 = 33
• 2.2.4 공연공간의 발전과정 = 34
• 2.2.5 전시공간의 발전과정 = 40
• Ⅲ. 근대 문화공간에 나타난 실내 공간 구성의 사례 = 43
• 3.1 집회 공간(회관) = 43
• 3.1.1. 대구부공회당(大邱付公會堂, 1931) = 43
• 3.1.2. 조선총독부 상공장려관(朝鮮總督府 商工長櫚館, 1929) = 48
• 3.1.3. 경성부민관(京城府民館, 1935) = 51
• 3.1.4. 전라남도청 평의원회의장(全羅南道廳 平議員會議場, 1932) = 58
• 3.1.5. 조선체신사업회관(朝鮮遞信事業會館, 1937) = 60
• 3.1.6. 경성기독 청년회관(京城基督 靑年會館, 1934) = 65
• 3.1.7. 철도국 우회관(鐵道國 友會館, 1935) = 68
• 3.1.8 소결 = 72
• 3.2 공연 공간 = 74
• 3.2.1 단성사(團成社, 1935) = 75
• 3.2.2. 경성낭회관 (京城浪會館, 1933) = 81
• 3.2.3. 황금좌(黃金座, 1936) = 83
• 3.2.4. 명치좌 (明治座, 1936) = 89
• 3.2.5. 약초극장(若草劇場, 1935) = 94
• 3.2.6. 부산보래관(釜山報來館, 1937) = 99
• 3.2.7. 동양극장(東洋劇場, 1935) = 103
• 3.2.8 소결 = 106
• 3.3 전시 공간 = 108
• 3.3.1. 총독부 미술관(總督府 美術館, 1935) = 108
• 3.3.2. 평양 박물관(平壤 博物館, 1933) = 112
• 3.3.3 소결 = 114
• Ⅳ. 근대 문화 공간 실내 공간 표현 특성 및 종합분석 = 116
• 4.1 근대문화공간의 공간별 특성 비교 = 116
• 4.1.1 집회공간의 특성 비교 = 118
• 4.1.2 극장공간의 특성 비교 = 119
• 4.1.3 전시공간의 특성 비교 = 120
• 4.2 근대문화공간의 공간표현의 종합적 분석 = 121
• 4.2.1 공간구성에 따른 분류 = 121
• 4.2.2 입면표현에 따른 분류 = 125
• 4.2.3 실내표현에 따른 분류 = 128
• 4.3. 소결 = 132
• Ⅴ. 결론 = 134