1990년대 전반기 한국 건축과 실내디자인, 그리고 ‘달동네’ (Korean architecture, interior design, and ‘moon village’ in the early 1990s)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 13호 / 172 ~ 195페이지
· 저자명 : 신정훈

초록

본 논문은 1990년대 초 건축가 조건영과 미술가이자 인테리어 디자이너 최정화의 작업 분석을 통해서 당시 ‘달동네’가 한국 공간생산의 장 속에 상상력의 원천으로 부상했음을 확인하고 그 의미를 파악하는 목표를 갖는다. 오랫동안 ‘불량’ 주거지이자 ‘도시미화’의 대상이었던 저소득층 주거지는 1990년대에 들어 한국의 공간문화의 생산자들의 전례 없는 관심의 대상이 된다. 본 논문은 이 현상이 ‘달동네’에 관한 기존의 부정적 통념을 의문시하는 1980년대 한국의 사회과학과 건축학의 성과에 힘입었으며 또한 1990년대 초 ‘포스트모던’으로 불리던 소비주의 도시경관에 대한 하나의 개입 방식이었음을 주장한다. 따라서 1990년대 말에서 2000년대 초에 ‘달동네’에 대한 보다 대중적 관심(다소 감상적이고 낭만적인)에 놓인 이질적인 기원을 복구한다.

영어초록

The early 1990s witnessed the emergence of architectural and interior design practices which enthusiastically embraced visual and spatial vocabularies from ‘moon village,’ urban poor housing or squatter settlements mostly in hillside areas of Seoul. Focusing on two prominent spatial translators of ‘moon village,’ Korean architect Cho Kŏn-yŏng and artist-cum-interior designer Choi Jeong-hwa, this essay offers an understanding of their investment in the informal and substandard settlement in conjunction with a growing concern over the scenographic nature of the built environment in the era of the Korean society’s turning into a full-fledged consumer society.
Since the 1960s when squatter settlements formed in a mass scale on hilly terrain in Seoul, such as Chung-ku, Sŏngbuk-ku, Sŏngdong-ku, Mapo-ku and Kwanak-ku, they had been viewed to damage both the health of the inhabitants and the appearance of the city. Such negative views provided an alibi for brutal housing relocation policies under the rubric of the ‘city beautification’ campaign for the preparations for the 1988 Olympics. And yet at the same moment, partly as a reaction to notoriously violent evictions, a group of social scientists reconsidered negative stereotypes on the morals, abilities, and values of the urban poor residents, recognizing them as rational articulators of their own needs rather than passive victims of circumstances. Associated stereotypes of their built environment as inadequate, disorganized, and substandard thus also came to be reconsidered in the realm of the Korean architectural discourse.
Under this context of reassessment about ‘moon village’ around 1990, architect Cho Kŏn-yŏng and artist-cum-interior designer Choi Jeong-hwa made their own successful debuts and unveiled the source of inspiration as ‘moon village’ for their spatial production. Inspired by the desire to challenge the growing dominance in the everyday urban environment of luxury high-end spectacle and empty signifiers unmotivated from the Korean soil, the spatial practitioners explored and incorporated vernacular visual and architectural elements from low-income residential areas. Characterized by the use of ‘low’ and inexpensive materials and the concomitant raw, crude, and unfinished look, their works took the form of spatial intervention, pitting themselves against the ‘postmodern noise’ of the street and seeking to disturb or even outdo the spectacle in its own game. In this regard, their reference to ‘moon village’ was indicative of its oppositional connotation still working in the early 1990s, which would quickly dissipate against the background of both its gradual disappearance due to ‘redevelopment boom’ and the waning of minjung movement over the second half of the 1990s.

참고자료

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