장소특정적 환경조형물에 관한 연구 - 포천아트밸리 환경조형물 중심으로-

문희숙 한국일러스아트학회 2012 조형미디어학 Vol.15 No.1

The Place Specificity is a work to rely on meaning and form at the installed specific place. The Place Specificity would rely on a goodly portion of space that installed as how looks and what means. The important point of the space is the size of the space, the general nature, a combination of material, practical use of the past context, and the part of historical political occasions. The environmental Sculpture is closely related to the installed place so that could get the point of surrounding environment and space context. Also, the environmental Sculpture is not its own, but settled the condition as the space nature and user behavior. This Study would be analysed the environmental sculpture at Pochon Art Balley as based on such theoretical foundation. Pochon Art Balley is the place that the nation's first eco-friendly Complex Cultural Art Space and lots of installed environmental sculpture as the place specificity. Presently, the Pochon Art Balley is just facing on introduced manage of the Art Balley as the spread of the Culture and Art Composition manage through the time established of infrastructure. Art Balley would be run by constructed the place-specificity that Pure Artist constructed mainly environmental sculpture through sculpture Symposium and local crafts skilled workers developed mainly the contents of environmental sculpture through workshop. Pochon Art balley is upcoming special events and new contents so that would be facing on mature stage as connect and develop a local specificity. This study, at this time, would be analysed the place-specificity environmental sculpture at Pochon Art Balley, after then Place-specificity as the work of art having publicity of the environmental sculpture, it should be expected to analogize imaginary and inferential fator than emphasized fixed physical position on the sculpture of unicity, permanency, immobility. 장소 특정적이란 작품이 설치된 특정 장소에 의미와 형식을 기대고 있는 작품을 말한다. 장소특정성은 작품이 어떻게 보이는지와 무엇을 의미하는지가 작품에 놓이는 공간 배치에 상당 부분 기대고 있다는 뜻이다. 공간에 중요한 요소는 공간의 크기, 일반적 특성, 구성하는 재료, 과거 맥락의 활용, 역사적 정치적으로 중요한 사건에서의 역할 등이 있다. 환경조형물은 설치장소와 밀접한 관계를 갖고 있으며 주변 환경과 장소적 맥락을 가지는 요소로 파악 가능하다. 또한 환경조형물 자체보다는 장소적 특성과 이용자 행태에 의해 관람 조건이 결정되어진다. 본 연구는 이러한 이론적 토대를 근거로 포천 아트 밸리의 환경조형물을 분석하였고 선진사례를 통해 장소 특정적 환경조형물의 특성을 살펴보았다. 포천아트밸리는 국내 최초의 친환경 복합 문화 예술 공간으로 조성된 곳이며 장소 특정적 환경조형물이 많이 설치된 장소이다. 현재 포천아트밸리는 기반시설의 확립시기를 거쳐 문화예술창작 운영을 확대하는 아트밸리 도입 운영기를 맞고 있다. 순수 예술인이 주축이 된 조각 심포지엄을 통한 환경조형물 조성과 지역 석공예기능인이 주축이 된 석공예대전을 통한 환경조형물의 콘텐츠 개발로 아트밸리는 장소특정성이 구축되어 운영되어지고 있다. 앞으로 포천아트밸리는 전문 행사 및 신규 콘텐츠를 유치하고 이를 지역 특정성과 연계 개발하는 성숙기를 맞아야 한다. 본 연구는 이러한 시점에서 포천아트밸리의 장소 특정적 환경조형물을 분석하고 장소 이후의 환경조형물을 공공성을 지닌 미술 작품으로서 조각의 단일성, 영구성, 부동성 고정된 물리적 위치를 강조하기보다는 가상적인, 추론적 요소를 유추하기를 기대한다.

3D 시뮬레이션 사용에 따른 환경조각의 조형적 변화상 연구

김영희 유럽문화예술학회 2011 유럽문화예술학논집 Vol.2 No.1

The 21st century is considered to be the period which cannot be described without mentioning computers and the Intemet. Now, the 3D simulations are regarded as the essential work tool which must be applied throughout the whole process in regard to designing, manufacturing and installing stages for the domestic environmental sculpture. The field of sculpture has not shown any big change over the centuries due to the characteristics of the materials used in the field. From the prehistorical sculpture to the one found in the 20th century, such strong materials as [Soil and Paddles], [Stone and Chisel] and [Bronze and Casting] have been continuously used. However, as the digital environment was introduced in the field of sculpture, various changes have been emerged. Since the early 1990s when the 3D simulation was introduced to the environnεntal sculpture, there have been many changes to the en찌ronmental sc버pture over the past 20 years as shown in the complicated social environment at the moment. Also, artists' views have been changed, so have their works. The work environment in which almost every material existing on the earth can be used is provided through the screen of the monitor. They have been transformed into the complicated and multi -functional works with such factors as lighting, installation and media. Reflecting such a situation, the structural sculpture took about 84.5% among the sculpture works in Korea before the year of 2000. However, the proportion was weakened to be 23.2% after that time. On the other hand, the non-structural sculpture took 43.8%. Such changes show that the environmental sculpture works in Korea have been changed from the structural form to the non-structural one. Also, the artist’s sense has been changed a lot. As a result, both the previous way of manufacturing academic sculpture works and the way of planning, managing and supervising the works like those applied by the modem architects are considered. As the 3D simulation is used in the process of making sculpture, such positive aspects as shown below are provided. Firstly, by actively utilizing such characteristics as the unlimited change and duplication provided by the digital technology in the process of manufacturing works, it is possible to make the sculpture with various shapes. Also, it is possible to consider the emergence of the sculpture with the formative process which represents various ways of making sculpture. Secondly, by using the convenient organic . and communicative characteristics of the digital media, it is possible to consider the emergence of the sculpture which can communicate with other types of media. Such a fact means that the production of the sculpture makes it possible to communicate with other genres such as music, light and sound. Thirdly, it is possible to consider the emergence of the sculpture which can be combined with the urban architecture in the supplementary process. Such a process is possible on the condition that the characteristics of the previous sculpture, which have existed regardless of the environment or architecture, are removed. Now, regarding the domestic environmental sculpture, the role of the computer simulation has been expanded so much that it is impossible to execute the entire process from the designing stage to the executing stage without the help of the high-tech digital media and the computer simulation. It can be said that the domestic environmental sculpture is currently in the neo-techne period which is removing the border between art and science through computers. We should not forget that the usage of the 3D simulation not only plays the role of a simple tool but also inf1uences the formative change of the entire environmental sculpture.

가로공간의 환경조형물에 관한 연구 - 도봉구 노해길 환경조형물 중심으로-

문희숙 한국일러스아트학회 2011 조형미디어학 Vol.14 No.3

The street space of a city has the way to move as a basic function in addition to the image that you could see the keynote of cities and regions at a glance to be the open space in the city and to deliver as important function. Now, at the public design, it would be promoted Urban design industry with the Seoul and local government for the improvement of the street space. As part of it, the street environment moulding could be set up not only the role as a landmark of landscape with vitalize the urban space, but also the purpose as reconsidering the point of space This study of the environmental sculptures would start to the point that an additional simple ornament for urban scenery and the important way that improved urban environmental design as a work of art being publicness. The environmental sculptures are closely related with installation spot, and possibly understanding with place context and surrounding environment as a visual object. Also, it could be decided view terms under the user type of urban space but rather environmental sculptures. This study would be fused the environmental sculptures as public art and formative nature as public place. It could be made the relation of environmental sculptures and urban street space given stability and break areas to residents composed of harmony, balance, and order with location. It is analyzed the element for design planning of the environmental sculptures and a valuation basis. Also, the study searched the basic plan on DobongGu urban design related to a case of environmental sculptures and urban design, and analyzed the base on the simulation reference to NoHaeGil roadside of environmental sculptures within the limit. It should be reminded the part of Urban street environmental sculptures for the actual communication of resident future and would be expected to shed new light on the environmental sculptures by its own standards. 도시의 가로공간은 이동의 통로라는 순기능 이외에 그 도시나 지역의 성격을 한 눈에 인지할 수 있게 하는 도시 속의 오픈스페이스면서 그 지역만의 이미지를 전달하는 중요한 기능을 가지고 있다. 현재 공공디자인 차원에서 서울시 및 지자체를 중심으로 가로경관 개선을 위해 활발한 도시디자인사업이 추진되고 있다. 그의 일환으로 거리환경조형물은 도시공간에 활력을 불어넣고 경관의 랜드마크적 역할을 할뿐만 아니라 그 공간의 장소성를 제고시키는 것을 목적으로 설치되어지고 있다. 본 연구는 환경조형물이 도시 경관을 위한 단순한 장식이상의 것이며 공공성을 지닌 미술 작품으로서 도시 환경디자인을 향상시키는 중요한 수단이라는 시각에서 출발한다. 환경조형물은 설치장소와 밀접한 관계를 갖고 있으며 시각적 대상으로 주변 환경과 장소적 맥락을 가지는 요소로 파악 가능하다. 또한 환경조형물 자체보다는 도시 공간의 이용자 행태에 의해 관람 조건이 결정되어진다. 본 연구는 공공미술로서의 환경조형물과 공공장소의 조형적 특성이 상호 융합되며, 장소와의 조화, 균형, 질서가 이루어져 주민에게 정서적 안정과 휴식공간을 제공할 수 있는 도시 가로공간과 환경조형물의 관계를 환경디자인 차원에서 이론적 고찰을 통해 정리하였으며 환경조형물의 디자인 계획요소 및 평가기준을 분석하였다. 또한 본 연구는 사례분석으로 환경조형물과 도시디자인과의 상관관계에 따라 도봉구 도시디자인 기본계획을 살펴보며, 그 테두리 안에서 노해길 가로변 환경조형물의 시뮬레이션 자료를 토대로 분석하였다. 앞으로 지역 주민의 실질적인 커뮤니케이션을 위한 도시 가로 환경조형물의 역할을 상기하며 그 잣대로 환경조형물이 재조명되기를 기대한다.

굿디자인을 활용한 금속환경조형물 연구

고승근 대한산업경영학회 2022 산업융합연구 Vol.20 No.6

본 논문은 외부 설치 금속조형물의 디자인 방법론에 대한 연구로부터 시작되었다. 디자인의 범위와 의미가 커지면서 외부 설치 조형물에도 디자인의 개념이 사용되고, 조형물에 주변환경에 어울리면서 설치환경의 이야기를 담고 있는 조형물 디자인이 요구되고 있는 실정이다. 이러한 개념은 전문가들 사이에서만 환경조형물이라고 정의되 고 있다. 환경조형물의 개념은 아직은 대중적이지 않고 학문적 연구 또한 미흡한 상태이다. 이에 연구자는 외부 설 치 조형물을 환경조형물로 정의하기 위해 굿디자인의 개념과 조건과 환경조형물의 개념과 역할을 이론적 배경으로 알아보고 굿디자인의 개념과 조건, 환경조형물의 개념과 역할에 대해 분류하였다. 이론적 배경을 바탕으로 굿디자인 의 조건과 환경조형물의 역할을 활용하여 연구자의 디자인 전개 요소를 통해 금속환경조형물로 완성하고 연구작품 을 제시하였다. 결과적으로 금속환경조형물의 디자인 방법론을 제시하게 되었고 다양한 환경조형물 디자인 연구가 지속되어 융합적 환경조형물의 다양한 패러다임이 연구되기를 바란다. This study started with the design methodology for externally installed metal sculptures. As the scope and meaning of design grows, the concept of design is also used for externally installed sculptures, and there is a demand for a sculpture design that contains the story of the installation environment while being suitable for the surrounding environment. This concept is defined as an environmental sculpture only among formative artists. The concept of environmental sculptures is not fully known and academic research is also insufficiently performed. Therefore, in order to define externally installed sculptures as environmental sculptures, this study elaborated the concept and conditions of good design and the concept and role of environmental sculptures as a theoretical background, and classified the concepts and conditions of good design and the concepts and roles of environmental sculptures. Based on the previous theoretical studies, by utilizing the conditions of good design and the role of environmental sculptures, this study suggested that design development elements were completed as metal environmental sculptures and research works were presented. In conclusion, the design methodology for metal environmental sculptures has been presented, and various environmental sculpture design studies will continue and various paradigms of convergence environmental sculptures will be studied.

시대의 변화를 통해 바라본 정서 형성으로서 환경 조형물에 대한연구

차재영,양태근,권혁인 한국기초조형학회 2010 기초조형학연구 Vol.11 No.2

시대의 변화를 통해 바라본 정서 형성으로서 환경 조형물에 대한연구를 통해 먼저 시대적 변화의 양상들을 구분하고 동시대의 사회, 문화적 현상이 무엇을 기반으로 구축되고 정립되었는지를 대략적으로 조명하고자 하였다. 아울러 1역사관을 통해 바라본 서구와 한국의 시대적 특성 을 바탕으로 개별자와 공공에 대한 인식의 틀을 제시 하고자 한 것이 조명의 이유라 할 수 있다. 조각의 개념적 변화와 기념비와의 상관관계를 조명하고자 하였으며, 이를 통해 기념비가 가지고 있는 상징수단으로서 위상성을 획득한 조각의 한계를 지적하고자 하였다. 근대를 통해 탈 근대적 개념에서 바라본 환경에서는 근대의 문맥과 탈근대의 재 문맥화의 과정을 통해 고립된 매체주의와 순수주의의 한계를 지적하고 예술과 일상의 만남 미학과 삶의 만남에 가능성과 중요성에 대해 논하였다. 또 건축과 조각과의 관계를 통해 바라본 환경조형물에서 건축의 공간 구조와 구축적 형태미 ,조각의 유기체적 조형미의 상호 교류에 대해 논하였으며, 환경과 조각에서 승화된 조형미의 필요성을 언급하였다. 그리고 5환경과 조각의 해석에서는 생명 공간으로서 환경의 중요성에 대해 언급하였으며 조각의 해석에 성찰적 측면의 중요성을 다루었다. 마지막으로 6과학과 예술의 만남을 통해 환경조형물이 어떻게 상징화 되며 정서를 형성하여 도시의 정서적 균형을 잡아나가야 되는지 언급한 후 공간조직의 특성과 작품제작의 특성으로 구분하여 설명 하였다. 아울러 허버트리드가 언급했듯이 전통예술에서 제시되었던 조각적 해석이 동시대의 과학을 통해 어떻게 구현되고 변형되며 재 적용되고 있는지 현대 작가들을 통해 조명하였다. 끝으로 결론에서 장르를 넘어 통섭과 교섭의 중요성을 언급하였다. I tried to, first of all, sort the chronicle change tendency through a study on environmental formative things as formation of emotion seen by change of era so that I could roughly find out what the social and cultural phenomena were based on in an era. Based on "1. Chronicle Characteristics Seen through Historical View", in addition, I tried to suggest a frame of recognition on individuals and public communities. Then, I tried to find out "2. Correlation between Conceptional Change of Sculpture and Monument", through which I wanted to point out the limitation of sculpture that gained its position as a symbolic measure that monuments had. In "3. Environment Viewed in Post-Modern Concept through Modernity", then, I pointed out the limitation of the media-ism and purism through modern context and post-modern re-context and discussed the possibility and importance of the meeting between art and daily life and of the meeting between aesthetics and life. In "4. Environmental Formative Things Seen through Relation between Architecture and Sculpture", I discussed the interchange between the space structure and construct beauty of shape in architecture and the organic formative beauty in sculpture, and then mentioned the necessity of formative beauty sublimated from environment and sculpture. In "5. Translation of Environment and Sculpture", I dealt with the importance of enlightening aspect in sculpture for importance of environment as a life space. In "6. Meeting of Science and Art", finally, I mentioned how environmental formative things would be symbolized, form emotion and should balance the urban emotion through meeting of science and art, and then explained it by sorting into characteristics of space organization and characteristics of work-piece making. In conclusion, I mentioned the importance of consilience and interchange.

현대 환경조각과 공공미술의 양가성(兩價性) 고찰

김석 한국기초조형학회 2011 기초조형학연구 Vol.12 No.6

An environment sculpture and a public art in domain of contemporary art are understood as same meaning in context of visual image. Both of type is same in physical method that embodies beauty of three-dimensional structural sculpture. Though it is difficult for us to show a clear distinction of both of this type aesthetically, this have an alikeness and a difference in an intention of production or a method of expression. An environment sculpture can be come first a harmony to environment through form of three-dimensional structural sculpture in urban and natural space. While a public art mainly gives to show a three-dimensional structural sculpture or a various expression from beautiful scene with considering public interest/a publicness of general citizen and the public in urban space. Also a public art has been taken to specific art genre with a more addition of public interesting concept on aging social variety. For example, there is an art of communication, a vitalization of regional art, etc. But we can make certain that they is not to get out from category of art. Whereas an environment sculpture applies an existing type an a system. This researcher confirmed a connection conceptional variety of a public art to an environment sculpture with considering an ambivalence of an alikeness and a difference to an environment sculpture and a public art. Further, this researcher analysed a connection of contemporary art, researching an affirmative valuable aim. Finally, this searcher could confirm a fact that an environment sculpture and a public art identically can be purposed thing that improves a pleasant living environment with making to vary natural and urban space. 동시대미술 영역에서 환경조각과 공공미술은 시각이미지의 맥락에서 동일한 용어로 이해된다. 입체 조형미를 구현하는 물리적인 방식에서 그렇다. 이 둘의 유형을 미학적으로 확연하게 구별하여 제시하기 어렵지만, 제작의도나 표현방식에서는 동일성과 차이성을 보인다. 환경조각은 도시, 자연공간에서 입체조형의 형식을 통해 환경과의 조화를 최우선으로 한다. 반면에 공공미술은 주로 도시공간속에서 일반 시민과 대중의 공익성․공공성을 고려하여 입체 조형물을 만들거나 미적 표현을 기반으로 다양하게 표현한다. 이외에 공공미술은 시대적인 사회변화에 따라 더욱더 공익의 개념이 추가되어 독특한 미술양식으로 자리매김한다. 이를 테면 소통의 미술, 지역미술의 활성화 등이다. 하지만 미술의 범주에서 벗어나지 않고 있음을 확인할 수 있다. 이에 반해 환경조각은 기존의 유형과 시스템을 적용시킨다. 본 연구는 환경조각과 공공미술에 대한 동일성과 차이점의 양가성 고찰을 통해 공공미술의 개념변화를 환경조각과 연관시켜 확인하였다. 더불어 동시대 미술과의 연관성을 분석하고 긍정적인 가치지향점을 찾아보았다. 결론적으로 환경조각과 공공미술은 공통적으로 자연공간․도시공간을 변화시켜 쾌적한 생활환경을 향상시키는데 목적이 있음을 확인할 수 있었다.

환경조형물의 조형적 특성요인이 가로환경에 미치는 영향에 관한 연구

이건희 ( Lee Keonhee ),장영호 ( Jang Youngho ),이재규 ( Lee Jaekyu ) 한국공간디자인학회 2023 한국공간디자인학회논문집 Vol.18 No.8

(Background and Purpose) Environmental sculptures have established themselves as an important factor in providing rest and comfort through visual senses to citizens who want a better place to live in urban space. This study started from the perspective that environmental sculptures are one of the components of urban street scenery, and approached from the perspective that environmental sculptures are more than just decorations for urban surroundings. Based on this, it started with the expectations and wishes of the local street environment, which has a large floating population and high-rise buildings and will be built as the largest key point in Korea in the future. (Method) The main scope of the study analyzed the factors influencing the harmony of lateral environment through visual perceptual methods by components such as color, texture, quantity, location, and shape of environmental sculptures. (Results) As a result, it was analyzed that the shape and quantity of buildings in the collection are relatively influenced by three categories according to the location of sculptures, and the color, shape and size of objects. In addition, it was analyzed that the sculptures should be installed in crustal form, size, and color to harmonize with the street environment of Yeongdong-daero, where the largest floating population is concentrated on weekdays and Korea's highest-rise buildings. (Conclusions) As a result of this case study, it is necessary to secure a small park-type space and install sculptures in urban environments, considering the user's access, viewing, and improving the street environment. Second, when installing an object-shaped sculpture, the size, shape, and color have a great influence on the user next to it, so a lot of consideration and consideration are required when installing the sculpture. Third, as a building, users can feel and experience the sculptures directly at close range, so they have to install the works by fully utilizing aesthetic factors in terms of volume due to various textural expressions. Fourth, it should be installed away from the building. This is because sculptures enhance public nature and serve the purpose of resting pedestrians around the building. Fifth, with the development of links between the largest skyscrapers around Yeongdong-daero and the surrounding MICE industry in mind, efforts should be made to harmonize with the street environment so that citizens can fully enjoy comfort and rest from environmental sculptures. However, this study is a study on the street environment of Yeongdong-daero centered on COEX in Gangnam-gu, and there are spatial restrictions such as specific districts and distances, and it is questionable whether the same results will occur depending on the street environment. In addition, it is regrettable that a comprehensive analysis is needed on various street facilities that affect the street environment of the research site. In the future, we are throwing new tasks that need to be studied in more diverse cases, so comprehensive research is expected to proceed.

환경조형물의 조형적 특성요인이 가로환경에 미치는 영향에 관한 연구

이건희,장영호,이재규 한국공간디자인학회 2023 한국공간디자인학회논문집 Vol.18 No.8

(Background and Purpose) Environmental sculptures have established themselves as an important factor in providing rest and comfort through visual senses to citizens who want a better place to live in urban space. This study started from the perspective that environmental sculptures are one of the components of urban street scenery, and approached from the perspective that environmental sculptures are more than just decorations for urban surroundings. Based on this, it started with the expectations and wishes of the local street environment, which has a large floating population and high-rise buildings and will be built as the largest key point in Korea in the future. (Method) The main scope of the study analyzed the factors influencing the harmony of lateral environment through visual perceptual methods by components such as color, texture, quantity, location, and shape of environmental sculptures. (Results) As a result, it was analyzed that the shape and quantity of buildings in the collection are relatively influenced by three categories according to the location of sculptures, and the color, shape and size of objects. In addition, it was analyzed that the sculptures should be installed in crustal form, size, and color to harmonize with the street environment of Yeongdong-daero, where the largest floating population is concentrated on weekdays and Korea's highest-rise buildings. (Conclusions) As a result of this case study, it is necessary to secure a small park-type space and install sculptures in urban environments, considering the user's access, viewing, and improving the street environment. Second, when installing an object-shaped sculpture, the size, shape, and color have a great influence on the user next to it, so a lot of consideration and consideration are required when installing the sculpture. Third, as a building, users can feel and experience the sculptures directly at close range, so they have to install the works by fully utilizing aesthetic factors in terms of volume due to various textural expressions. Fourth, it should be installed away from the building. This is because sculptures enhance public nature and serve the purpose of resting pedestrians around the building. Fifth, with the development of links between the largest skyscrapers around Yeongdong-daero and the surrounding MICE industry in mind, efforts should be made to harmonize with the street environment so that citizens can fully enjoy comfort and rest from environmental sculptures. However, this study is a study on the street environment of Yeongdong-daero centered on COEX in Gangnam-gu, and there are spatial restrictions such as specific districts and distances, and it is questionable whether the same results will occur depending on the street environment. In addition, it is regrettable that a comprehensive analysis is needed on various street facilities that affect the street environment of the research site. In the future, we are throwing new tasks that need to be studied in more diverse cases, so comprehensive research is expected to proceed. (연구 배경 및 목적) 환경조형물은 도시 공간에 있어서 보다 나은 삶의 현장을 원하는 시민에게 복잡한 도심 환경을 시각적 감각을 통하여 휴식과 위로를 주는 중요한 요인으로 자리 잡고 있다. 본 연구는 환경조형물이 도시 가로경관을 이루는 구성요소의 하나라는 관점에서 출발하였다. 환경조형물이 도시의 주변 경관을 위한 단순한 장식물이 아닌 그 이상의 것이며 공공성을 지닌 미술작품으로 건축물은 주변 환경 디자인과 더불어 도심의 환경적 조화를 더욱 성숙시키는 중요한 수단이라는 관점에서 접근하였다. 이를 바탕으로 수 많은 유동 인구와 초고층 빌딩이 자리한 향후 국내 최대 요충지로 세워져 가는 지역의 가로환경의 기대감과 바람으로 출발하였다. (연구 방법) 연구의 주된 범위 환경조형물의 색채와 질감, 양감, 장소, 형태 등 구성요소가 시각적, 지각적 방법을 통한 가로환경의 조화에 미치는 영향 요인을 분석하고 그 상관관계를 분석하였다. (결과) 그 결과 조형물의 장소에 따른 3가지 카테고리별로 건축물의 소장건축물에 있어서는 형태와 양감 질감이, 건축물의 건축물에 있어서는 형태와 크기와 형태가, 오브제형 건축물에 있어서는 색감과 형태, 크기가 상대적으로 영향을 더 미치는 것으로 분석되었다. 또한, 평일에 유동인구가 가장 많이 모이는 코엑스 주변과 국내 최고층의 건물과 지상 및 지하 복합개발이 진행 중인 영동대로의 가로환경과 조화될 수 있는 환경조형물을 설치하는 데 있어서 지각적 형태와 크기, 색감으로 조형물을 설치해야 할 것으로 분석되었다. (결론) 본 사례연구 결과 첫째 도심 환경에 있어서 조형물은 이용자의 접근과 관람, 가로환경의 개선 측면을 두루 고려하여 소공원 형태의 공간을 확보하여 조형물을 설치할 필요가 있다. 둘째 오브제 형의 조형물을 설치 시에는 크기와 형태, 색상이 가로의 이용자에게 많은 영향을 미치므로 조형물 설치 시에는 많은 고려와 배려가 있어야 하겠다. 셋째 건축물로서의 조형물은 이용자가 지근거리에서 직접 만져보고 느끼고 체험을 하기 때문에 질감의 표현이 다양하고도 양감에서도 심미적 요인을 충분히 살려서 작품을 설치하여야 한다. 넷째 건축물과 이격을 둔 위치에 설치 할 필요가 있다. 조형물이 공공성을 제고하고 또한 건물 주변을 이용하는 보행자의 휴게 적 목적이 있기 때문이다. 다섯째 향후 영동대로 주변의 최대 초고층 건물과 주변의 MICE 산업과의 연계 개발을 염두에 두고 가로환경과 조화를 이루고 도심 안에서 충분히 시민이 환경조형물로부터 위로와 쉼을 얻도록 노력하여야 한다. 그러나 본 연구는 강남구의 코엑스를 중심으로 한 영동대로의 가로환경에 관한 연구로서 특정 지구와 거리 등 공간적인 제한이 있고 또한 연구의 대상지에 설치된 시설물을 범위로 하고 있어서 대상지의 가로환경에 따라서 동일한 결과가 나타날 것인가에 대해서는 의문이 있다고 하겠다. 아울러 연구대상지의 가로환경에 영향을 주는 다양한 가로시설물에 대하여 종합적인 분석이 필요한 다는 점에 있어서 연구의 아쉬움을 가지고 있다. 향후 더욱더 다양한 사례를 대상으로 연구해야 할 새로운 과제를 던져주고 있어서 종합적인 연구가 진행되어야 할 것으로 보여진다.

요하네스 이텐의 색채표현론 관점에서 바라본 환경조형물 색채비교 - 한국 광주광역시와 중국 쑤저우시(蘇州)를 중심으로 -

예웨이 ( Ye Wei ),남호정 ( Nam Ho Jung ) 한국상품문화디자인학회 2021 상품문화디자인학연구 Vol.67 No.-

도시 환경조형물은 한 지역의 예술 문화를 투영할 뿐만 아니라 그 지역의 경제발전과도 밀접한 관계가 있다. 도시의 발달에 따른 환경조형물의 역할이 중요해짐에 따라 그 환경조형물의 정확한 의미 파악도 필요하다. 따라서 본 연구는 바우하우스의 색채가 요하네스 이텐의 색채 표현 이론을 통해 한국의 광주광역시와 중국의 쑤저우시(蘇州) 주요 도로에 위치한 환경조형물의 색채를 비교함으로써 어떠한 의미가 있는지와 문화적 차이를 파악하고자 하였다. 연구결과, 첫째, 도시의 대표색을 반드시 대표 조형물에 사용하는 것은 아니다. 둘째, 도시 환경조형물의 특징은 문화적 정서에 따라 색채 표현의 제한이 있다. 셋째, 색채대비를 통하여 도시 조형물의 특성과 의미를 부각시킨다. 위 근거를 토대로 도시 환경조형물로서의 색채 의미 파악은 유의미한 것으로 도출되었다. 특히 색채 표현론 중에서 대비에 의한 색채 조화와 배색 관계에 대한 분석으로 도시 환경조형물로서의 의미 파악은 유의미할 것이다. 본 연구의 조형물에 나타난 색채 의미 파악을 바탕으로 추후 도시민들의 조형물에 대한 감응도에 대한 후속 연구가 나온다면 두 도시의 정체성 파악과 시대가 필요로 하는 조형물에 대한 제안도 가능할 것이다. Urban environment sculptures not only project the artistic culture of a region, but are also closely related to the economic development of the region. As the role of environmental sculptures becomes more important with the development of cities, it is also necessary to understand the precise meaning of the environmental sculptures. Therefore, this study aims to understand the meaning and cultural differences of Bauhaus colors by comparing the colors of environmental sculptures located on major roads in Gwangju Metropolitan City in Korea and Suzhou City in China through Johannes Itten's color expression theory. As a result of the study, first, the representative color of the city is not necessarily used for the representative sculpture. Second, the characteristics of urban environment sculptures are limited in color expression according to cultural sentiments. Third, the characteristics and meaning of urban sculptures are emphasized through color contrast. Based on the above evidence, the meaning of color as an urban environment sculpture was derived to be significant. Especially it will be meaningful to understand the meaning as an urban environment sculpture by analyzing the color harmony and color arrangement relationship by contrast in the theory of color expression. Based on the understanding of the meaning of colors in the sculptures in this study, if a follow-up study on the level of inspiration for the sculptures of city dwellers emerges, it will be possible to identify the identities of the two cities and suggest the sculptures required by the times.

앤터니 곰리의 인체조각에 표현된 신체담론

김은영(Kim Eun-Young) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-

This thesis discusses the human figure sculptures made by Antony Gormley (1950-)in the early 1980s when the issues on 'Revival of Painting' and 'Revival of the Figure' attracted public attention. Gormley successfully 'revived' people's interest in the human figure sculptures, from which the Western sculptors had averted their eyes to the object and the concept itself since 1960s. He unfolded a new paradigm of sculpture. Since 1981 Gormley made the human figure sculpture in a much different way from traditional sculptors who had focused on simply representing human bodies. To escape from the traditional human figure sculptures, he used the lifecasting method not for copying the object's appearance but as a means for a direct physical experience. He emphasized on the process of casting his own body. However, his sculptures lacked any personal details distinguishing them as a particular human being. Instead, the figures were smoothed out making them completely anonymous. In this context, his works refused portraying, symbolizing, narrating functions of the traditional human figure sculpture and instead universalized the personal experience of life-casting leading the viewers to contemplate human nature and self. Furthermore, Gormley installed his sculpture works in a particular environment to make the universal experiences of human beings more realistically. The viewers could experience the existential situation made by the relationship between his human figure sculpture and the place and see through the meaning of the situation and the history of the place. This research investigates the meaning of human body in Gormley's sculpture work which expanded an individual experience to a universal human experience. The human body in his sculptures implied various meanings. Most of all, the sculptor's body make the human figure sculpture not to be a simple represented form of body but a result of the first-hand physical experience. Gormley casted his body and by this casting process he made a concept of human figure sculpture as a 'body-case'. Against this backdrop, the sculptor was a physically-oriented subject, not a visually-oriented subject of the traditional carving and modelling methods. That is to say, Gormley depended on which his whole body feels following the concept of 'body subject' that Merleau-Ponty insisted against 'cogito', traditional western concept of subject connected with the ocular-centrism. He made the radical paradigm shift on not only the human figure sculpture but also the subject of the sculpture. Moreover, the human body in Gormley's works include the body of the sculptor and the viewers at the same time. He installed the same human figure sculptures in different places in or out of the museum and made them experienced by the viewers differently in each place. Sometimes he installed the sculptures in a historical place to make the viewers experience the situation at the place physically and think about the historical meaning of the place. He included the viewer and the space outside of the sculpture as the part of the work unlike traditional human figure sculptors. Gormley's works embraced both the physical and psychological experiences of the sculptor and the viewers and the specific environment together with the sculpture to overcome the traditional concept of human figure sculpture as a object itself. Unlike the paintings of 1980s, his sculpture has not only 'formed' but 'experienced' the human body, reflecting his art philosophy which emphasized not on form of art tself but on human affairs.