Euyoung Hong
Biography Artworks Texts    Publications News     Contact
Texts
 
 
The Rhetoric of Material and Space

2019

Sohyun Ahn (Director, Art Space Pool)






Euyoung Hong¡¯s installation tends to give a cordial reception to connection with language. Collected objects, enough that it can be assumed where they have been used, parts of removed buildings, and sculptures, which were cast out from these objects and spaces, are nothing short of delivering a message. They are things forgotten, erased and hidden by capital in urban space and are wary of the secret and great power of capital. However, this great power of capital is nothing new; the indiscrimination of development has been witnessed for a long time. If Hong¡¯s works reach out to invite wariness, there must be a certain apparatus of persuasion. This apparatus is called rhetoric in general language. How can Hong¡¯s installation as a visual object have powers of linguistic persuasion? In other words, by what form of art can these contents, which are already common knowledge, be paid attention to again? This text is about a kind of rhetoric, not the rhetoric of language, but the rhetoric of material and space.

In the rhetoric of general language, ¡®figure¡¯ is often translated as ¡®munchae (which literally means colour of words)¡¯ in Korean; this is not a familiar word, but it is not difficult to grasp its meaning. It is words with colours, that is, a form of expression that is not limited to the delivery of content, when language is grammatically correct. There are many ways to produce this ¡®figure¡¯, perhaps by omitting a word, changing its ordinary position, repeating sounds, using a different, more evocative word, or indicating a bigger one by designating only a part of thing. In a word, it is a way of obtaining difference. ¡®Figure¡¯ is, therefore, often defined as ¡®deviation¡¯ or ¡®estrangement¡¯. It is because the colour of words is revived by a special transformation, being distanced from and escaping from everyday common expression. It is also easy to find this estrangement in the objects, collected by Hong. The objects, which once functioned in their own positions, obtain new colour, moving into the exhibition space and being cut, turned inside out, removed and copied. The objects put on the designation that may be called ¡®object-figure¡¯.

In this exhibition, Elaborate Oblivion, the most recognizable ¡®object-figure¡¯ is achieved by ¡®casting¡¯. In fact, before we discuss its materials and forms, the act of casting makes by itself the effect of estrangement; this is probably related to images, created by traditional sculptural techniques in an age that talks about the infinite possibility of 3D printing. Anyway, the outcome of casting is somewhat different from things that are just brought. Things, which had different functions, materials and structures, lose their previous distinctive properties in the process of casting; the outcome of casting makes us assume only what the thing was before. Things, therefore, become neutralized. Casting is a method that is not only selected, when the original form cannot be maintained or remained, but that also makes the life of a thing stop at one point and attempt to restart. Casting ultimately projects the fate of loss, disappearance and forgetting to things that were brought out of demolished buildings.

Next is the material of casting. Hong used various casting materials including silicone, polyurethane, beeswax and many others. The results, which cast parts of removed buildings, are soft, fragile, light or drooping, giving a feeling of, to use Hong¡¯s words, ¡®relaxing power¡¯ to the original objects. However, ¡®relaxing power¡¯ does not refer to ¡®weakness¡¯. In casting, we do not look only at the result, but recall immediately the original form, which might be different from the outcome. In a gypsotheque, which is a collection of models of plaster casts, the images of the original form of marble are always implied. Relaxing power is, therefore, read as ¡®dragging down¡¯ like an anticlimax in rhetoric. In this way, Hong lets us look at the cast objects as dragged down.

Each casting material also creates a subtle different rhetoric through its inherent physical characteristics. Two works with the same title, Elaborate Oblivion (2018) correspond to the beginning and the end of the exhibition. The beginning is an installation, which is made using cast parts of removed buildings and thin strings; the end is a lump of a fragment of building, which is cast in beeswax and then melted. Silicone is able to produce elaborate casting, as it stretches and transforms easily, but its durability and resilience are not high enough. Hong reveals all the attributes of silicone in the works as much as possible. The texture of the outcome, which is made by pouring silicone into a silicone mould, is perfect, to the extent of thoroughly revealing not only small marks, but also the location of a joint of the mould. This perfection is, however, in complete contrast to the perfection that is generally pursued in casting. By contrast with an object that is generally produced by casting, which looks almost exactly like the original form, or which is cut and refined to begin a new life with its previous appearance, Hong has kept all kinds of splinters as they are. The artist seemed not to be interested in making the cast object the same as its original form, even though the material can be worked elaborately. It is a typical paradox, like its title, letting us down about casting materials. Moreover, the silicone, with which the mould is filled, is, rather, less durable than the object¡¯s original form, as silicone is soft and fragile. Hong¡¯s casting is far from an exact copy or a life extension. Distancing ourselves from the traditional casting makes us estranged from the familiar act of capitalism, which rapidly replaces objects with efficient materials, after erasing traces of changes.

Hong places objects to reveal the more fragile characteristics of silicone. Throwing the object onto a hard rock, laying it on the corner of a piece of furniture or a thin string, tightly stretching a string, which is connected to the wall. These sharp and hard things, which contrast with the characteristics of silicone, are extracted from structures that have not yet disappeared or that have already disappeared. This contrast makes us imagine and remember the state of the past, like placing fish fillets together after picking a bone bare. To sustain a thing is to sustain a memory. It is a tension that is made by the artist to resist disappearance, but is fragile like silicone and precarious like furniture. A beeswax sculpture, which is located at the end of the exhibition¡¯s moving line, emphasizes the temporal dimension of fragility. This lump, which is cast a fragment of a removed building in beeswax and melted by heat, also completely erases the traces of time that the original form experienced. This lump becomes blunt in a new environment, losing its perfection. This is a small resistance against the nature of capitalism as well as a prediction of impending surrender. In this way, Hong creates the ascent and descent of meaning through the change and difference of physical characteristics of materials.

In a series of installations, under the same title as the exhibition, Elaborate Oblivion, there appear various materials, which are enough to lead one to wonder how these collected objects - steel bars, paints, lights, polyurethane and many others - can be bound by a same title. These materials, however, reveal ¡®object-figure¡¯ consistently, even more carefully. A door-like frame leans against old furniture, where marks and scribbles are still found as they are. Only remaining two legs of a bedside table vertically support a glass window from below. This transformation of standing on end is similar to ¡®hyperbaton¡¯, which is used to change the order of words to emphasize the meaning of the sentence. A hinge, which is narrowly retained, makes use of omission, not easily putting aside the door frame. Steel structures and abandoned objects in removal sites are painted in a familiar peach colour. This peach colour is similar to the colour of silicone, but painting changes an object, neutralizing it as a formative object, like casting. If the act of casting is, however, the rhetoric of the artist¡¯s unique contrast to traditional expectations of sustaining original forms, painting is closer to drastic irony. Anxiety and depression, which can be caused by an image of ruins, are temporarily suspended by covering the image in a warm colour; the reality of unstoppable development is further emphasized at the end. A thin light is deflected away from and passes by a thin plate attached to the wall. Like the wall, the white plate may be seen as a functional apparatus of the exhibition space or may be difficult to recognize, if there is no light, as it seems to have been added invisibly on purpose. A thin beam of light makes us imagine beyond the additional plate and evokes the past.

Another work with the same title uses polyurethane casting. A lump of flexible polyurethane, which is cast as a fragment of destruction, is squeezed into a row of vertically repeated structures, which are assumed to be a part of drawer. Destruction is mostly a case of breaking the tension up, as the space of life should have the tension to protect us. For example, breaking a roof held horizontally above pillars and knocking horizontally and vertically sustaining furniture. In this way, contrary to the fact that destruction is a work that erases powers, which exist for life, Hong verifies the remaining powers, as we can see with our own eyes, obstinately intervening in the process of erasure and using the characteristics of polyurethane. Different heights of lumps on white pedestals are cast from removed fragments in rigid polyurethane, which is light and less transformed. The architectural materials, which once functioned with individual attributes, can be assumed to be where they have been used, but they are neutralized, having similar weights and the same colour. Even though these objects have lost most of their original sizes and weights, they remain as ¡®a thing that is worth preserving¡¯. They reveal subtle textures in light and shade and present themselves as the object of careful observation on the pedestals. Here, Hong takes a strategy of displaying the movement of capitalism and suspending it for a while.

Hong¡¯s installation makes use of various forms of rhetoric. It is not because she uses objects collected from removal and development sites, but because her methods of selecting and arranging the materials resemble the movement of capitalism, which this movement goes against for a while. This is a linguistic colour that the objects develop. However, the maximum value of object-figure that we can think of is not necessarily limited to the extent of checking and halting the power of capitalism for a while. For example, Hong indicates it by erasing and replacing a number of attributes, which thoroughly existed in each object¡¯s previous existence, and changing the object¡¯s location; this is often called metonymy. The metonymy in capitalism, in which Hong is interested, is already read as an important rhetoric. In the famous discussion of hegemony of Laclau and Mouffe, metonymy is an important method of reading a movement. ¡°We could say that hegemony is basically metonymical; its effects always emerge from a surplus of meaning, which results from an operation of displacement.¡±

Besides oblivion, erasure and concealment, which Hong has been interested in, capitalism has many more specific actions. Things around us can present actions and persuade us. As if we cannot explain every nuance of language with a few techniques of rhetoric, meanings, produced by visual objects, exist in endless quantities. Hong often quotes Guy Debord, who explains how although the total distortion of capitalist perception controls our memory and future, we do not actually yet know the extent of the total distortion. The rhetoric of language is one of the oldest academic areas, but it is still studied, probably because new ways of persuasion are constantly developed and disappear. The rhetoric of material and space that Hong attempts is not thoroughly understood; but it is the same in capitalism, which we believe that we already know fully well. Therefore, an attempt to connect the two is still intriguing.






Àç·á¿Í °ø°£ÀÇ ¼ö»çÇÐ


¾È¼ÒÇö (¾ÆÆ® ½ºÆäÀ̽º Ç® µð·ºÅÍ)






È«À¯¿µÀÇ ¼³Ä¡´Â ¾ð¾î°¡ ºÙ´Â °ÍÀ» ȯ´ëÇÏ´Â ÆíÀÌ´Ù. ¾îµð¿¡ »ç¿ëµÇ¾ú´ÂÁö ÃæºÐÈ÷ ÁüÀÛÇÒ ¼ö ÀÖ´Â °¡Á®¿Â »ç¹°, ö°ÅµÇ´Â °Ç¹°ÀÇ ºÎºÐ, ±×·± °ÍµéÀ» ij½ºÆÃÇÑ Á¶°¢µéµµ ¸Þ½ÃÁö¸¦ Àü´ÞÇϱ⿡´Â ¸ðÀÚ¶÷ÀÌ ¾ø´Ù. ±×°ÍµéÀº ÀÚº»ÀÌ µµ½Ã °ø°£¿¡¼­ Àذí, Áö¿ì°í, °¨Ãß´Â °Íµé·Î, ÀÚº»ÀÇ Àº¹ÐÇÏ°í ¸·°­ÇÑ Èû¿¡ ´ëÇÑ °æ°è½ÉÀ» ¿äûÇÑ´Ù. ÇÏÁö¸¸ ÀÚº»ÀÇ ¸·°­ÇÔÀÌ »õ»ï½º·¯¿ï °ÍÀº ¾ø°í, °³¹ßÀÇ ¹«Â÷º°¼ºµµ ¾îÁ¦ ¿À´ÃÀÇ ÀÏÀÌ ¾Æ´Ï´Ù. È«À¯¿µÀÇ ÀÛ¾÷ÀÌ °æ°è½ÉÀ» ¿äûÇÏ´Â µ¥±îÁö À̸£·¶´Ù¸é °Å±â¿¡´Â ºÐ¸í ¾î¶² ¼³µæÀÇ ÀåÄ¡µéÀÌ ÀÖ´Ù. ÀÏ¹Ý ¾ð¾î¿¡¼­´Â ±×·± ÀåÄ¡µéÀ» ¼ö»çÇÐÀ̶ó°í ºÎ¸¥´Ù. ½Ã°¢Àû ´ë»óÀÎ È«À¯¿µÀÇ ¼³Ä¡´Â ¾î¶»°Ô ±×·± ¾ð¾îÀû ¼³µæ·ÂÀ» °¡Áú ¼ö ÀÖÀ»±î? ´Ù¸¥ ¸»·Î Çϸé, ÀÌÁ¦´Â »ó½ÄÀÌ µÈ ³»¿ëÀ» ¾î¶² Á¶ÇüÀ¸·Î ´Ù½Ã ÁÖ¸ñÇÏ°Ô ÇÒ ¼ö ÀÖ¾úÀ»±î? ÀÌ ±ÛÀº ÀÏÁ¾ÀÇ ¼ö»çÇÐ, ¾ð¾îÀÇ ¼ö»çÇÐÀÌ ¾Æ´Ñ Àç·á¿Í °ø°£ÀÇ ¼ö»çÇп¡ °üÇÑ °ÍÀÌ´Ù.

ÀÏ¹Ý ¾ð¾îÀÇ ¼ö»çÇп¡¼­ ¡®figure¡¯´Â ¹®Ã¤(Ùþóô)¶ó°í ¹ø¿ªµÇ°ï Çϴµ¥, Àͼ÷ÇÑ ¿ë¾î´Â ¾Æ´ÏÁö¸¸ °¡¸®Å°´Â ¹Ù¸¦ Æ÷ÂøÇϱâ´Â ¾î·ÆÁö ¾Ê´Ù. ±×°ÍÀº ¸»ÀÌ ¶ì´Â ºû±ò, Áï ¾ð¾î°¡ ¾î¹ý¿¡ ¸ÂÀ» ¶§ Àü´ÞÇÏ´Â ³»¿ë¿¡ ±¹ÇѵÇÁö ¾Ê´Â Ç¥ÇöÀÇ ¹æ¹ýÀ» °¡¸®Å²´Ù. ¹®Ã¤¸¦ ¾ò´Â ¹æ¹ý¿¡´Â ¿©·¯°¡Áö°¡ ÀÖ´Ù. ´Ü¾î¸¦ »ý·«Çϰųª Æò¹üÇÑ À§Ä¡¸¦ ¹Ù²Ù°Å³ª °°Àº ¼Ò¸®¸¦ ¹Ýº¹ÇÒ ¼öµµ ÀÖ°í, ¿¬»óµÇ´Â ´Ù¸¥ ´Ü¾î¸¦ °¡Á®¿Ã ¼öµµ ÀÖ°í, »ç¹°ÀÇ ºÎºÐ¸¸À» ÁöĪÇÏ¿© ´õ Å« °ÍÀ» °¡¸®Å°±âµµ ÇÑ´Ù. ÇѸ¶µð·Î ±×°ÍÀº »ö´Ù¸§À» ¾ò´Â ¹æ¹ýÀÌ´Ù. ±×·¡¼­ ¹®Ã¤´Â Á¾Á¾ ¡®ÀÏÅ»¡¯ ȤÀº ¡®¸Ö¾îÁü¡¯·Î Á¤ÀǵȴÙ. ÀÏ»óÀûÀÎ °øÅëÀÇ Ç¥ÇöÀ¸·ÎºÎÅÍ ¸Ö¾îÁö°í ¹þ¾î³ª´Â Ưº°ÇÑ º¯ÇüÀ¸·Î ÀÎÇØ ¸»ÀÇ ºû±òÀÌ »ì¾Æ³ª±â ¶§¹®ÀÌ´Ù. È«À¯¿µÀÌ °¡Á®¿Â »ç¹°¿¡¼­µµ ±×·± ¸Ö¾îÁüÀ» ã´Â °ÍÀº ¾î·ÆÁö ¾Ê´Ù. ¿ø·¡ÀÇ À§Ä¡¿¡¼­ Á¦ ±â´ÉÀ» ÇÏ´ø »ç¹°µéÀÌ Àü½ÃÀåÀ¸·Î ¿Å°ÜÁö°í, À߸®°í, µÚÁýÈ÷°í, ´ú¾î³»Áö°í, º»¶°Áö¸é¼­ »õ·Î¿î ºû±òÀ» ¾ò´Â´Ù. »ç¹°µéÀº ±»ÀÌ µû¶ó À̸§ÇÏÀÚ¸é ¡®¹°Ã¤(Úªóô, object-figure)¡¯¶ó°í ºÎ¸¦ ¸¸ÇÑ °ÍÀ» ÀԴ´Ù.

Àü½Ã ¡¶Ä¡¹ÐÇÑ ¸Á°¢¡·¿¡¼­ °¡Àå ´«¿¡ ¶ç´Â ¹°Ã¤´Â ¡®Ä³½ºÆÃ¡¯À» ÅëÇØ ¾ò¾îÁø´Ù. »ç½Ç ¿À´ÃÀÇ ¹Ì¼ú¿¡¼­ ij½ºÆÃÀº Àç·á¿Í ÇüŸ¦ ³íÇϱâ ÀÌÀü¿¡, ¶°³»´Â ÇàÀ§¸¸À¸·Îµµ ¸Ö¾îÁüÀÇ È¿°ú¸¦ ³»±âµµ Çϴµ¥, ±×°ÍÀº ¾Æ¸¶ 3D ÇÁ¸°ÆÃÀÇ ¹«ÇÑ °¡´É¼ºÀ» À̾߱âÇÏ´Â ½Ã´ë¿¡ ÀÌ °íÀüÀûÀÎ Á¶°¢ ±â¹ýÀÌ ÁÖ´Â À̹ÌÁö ¶§¹®ÀÏ °ÍÀÌ´Ù. ¾î·°Å³ª ij½ºÆÃÀÇ °á°ú¹°Àº ±×³É °¡Á®¿Â »ç¹°°ú´Â Á» ´Ù¸£´Ù. °¢ÀÚ ´Ù¸¥ ±â´É, Àç·á, ±¸Á¶·Î µÇ¾î ÀÖ´ø »ç¹°Àº ij½ºÆÃµÇ¸é¼­ ÀÌÀüÀÇ ¸ðµç ±¸ºÐµÇ´Â ¼Ó¼ºÀ» ÀÒ°í, ij½ºÆÃÀÇ °á°ú¹°Àº ´Ù¸¸ ±×°ÍÀÌ ÀÌÀü¿¡ ¹«¾ùÀ̾ú´ÂÁö ÁüÀÛÇÏ°Ô ÇÒ »ÓÀÌ´Ù. Áï »ç¹°Àº ij½ºÆÃµÇ¸é¼­ Áß¼ºÈ­µÈ´Ù. ¶Ç ij½ºÆÃÀº ÈçÈ÷ ¿øÇüÀ» ±×´ë·Î À¯ÁöÇϰųª ³²°ÜµÑ ¼ö ¾øÀ» ¶§ ¼±ÅÃÇÏ´Â ¹æ¹ýÀ̸ç, »ç¹°ÀÇ »ý¾Ö¸¦ ÇÑ ½ÃÁ¡¿¡¼­ Á¤Áö½Ã۰í, ¾Ö½á ´Ù½Ã ½ÃÀÛÇÏ°Ô ¸¸µå´Â ¹æ¹ýÀ̱⵵ ÇÏ´Ù. °á±¹ ij½ºÆÃÀº ö°ÅµÇ´Â °Ç¹°¿¡¼­ °¡Á®¿Â »ç¹°µéÀÇ »ó½Ç°ú ¼Ò¸ê°ú ¸Á°¢ÀÇ ¿î¸íÀ» µ¸º¸ÀÌ°Ô ÇÑ´Ù.

´ÙÀ½Àº ij½ºÆÃÀÇ Àç·á´Ù. È«À¯¿µÀÌ Ä³½ºÆÃ¿¡ »ç¿ëÇÑ Àç·á´Â ½Ç¸®ÄÜ, ¿ì·¹Åº, ¹Ð¶ø µîÀÌ´Ù. ö°ÅµÈ °Ç¹°ÀÇ ÀϺκÐÀ» ¶°³½ °á°ú¹°Àº ¹«¸£°Å³ª ¾àÇϰųª °¡º±°Å³ª Ãà ´Ã¾îÁ® À־, ÀÛ°¡ÀÇ Ç¥ÇöÀ» °¡Á®¿ÀÀÚ¸é ¿øÇüÀÎ »ç¹°¿¡ ºñÇØ ÇÑÃþ ¡°ÈûÀ» »«¡± ´À³¦ÀÌ´Ù. ±×·±µ¥ ¡®ÈûÀ» »«'ÀÌ °ð ¡®¾àÇÑ'Àº ¾Æ´Ï´Ù. ij½ºÆÃ¿¡¼­´Â °á°ú¸¸À» º¸´Â °ÍÀÌ ¾Æ´Ï¶ó ±×°Í°ú´Â ´Þ¶úÀ» ¿øÇüÀ» ¸ÕÀú ¶°¿Ã¸°´Ù. ¼®°í ij½ºÆÃ ¸ðÇüÀ» ¸ð¾Æ³õÀº Áý¼ÒÅ×Ä«(gypsotheque) ¾È¿¡´Â ¾ðÁ¦³ª ´ë¸®¼® ¿øÇüÀÇ À̹ÌÁö°¡ ¶°´Ù´Ñ´Ù. µû¶ó¼­ ÈûÀ» »©´Â ÇàÀ§´Â ±×Àú ¡®¾àÇÔ'À¸·Î ÀÐÈ÷´Â °ÍÀ¸·Î ¾Æ´Ï¶ó ¸¶Ä¡ ¼ö»çÇÐÀÇ Á¡°­¹ý(ïÂ˽Ûö)ó·³ ¡®²ø¾î³»¸²¡¯À¸·Î ÀÐÈù´Ù. ±×¸®°í È«À¯¿µÀº ±×·¸°Ô º¸¶õµíÀÌ ²ø¾î³»¸²À¸·Î½á º¸°Ô ÇÑ´Ù.

ij½ºÆÃÀÇ °¢°¢ÀÇ Àç·áµµ °íÀ¯ÇÑ ¹°¸®Àû ¼Ó¼ºÀ¸·Î ¹Ì¼¼ÇÏ°Ô ´Ù¸¥ ¼ö»ç¸¦ ¸¸µé¾î³½´Ù. <¼Õ»óµÇ±â ½¬¿î ¿Ïº®>(2018)À̶ó´Â Á¦¸ñÀÇ µÎ ÀÛǰÀº Àü½ÃÀÇ ½ÃÀÛ°ú ³¡¿¡ ÇØ´çÇÑ´Ù. ½ÃÀÛÀº ö°ÅµÇ´Â °Ç¹°ÀÇ ÀϺθ¦ ½Ç¸®ÄÜÀ¸·Î º»¶° ¾ãÀº ²öÀ» ÀÌ¿ëÇØ¼­ ¼³Ä¡ÇÑ °ÍÀ̰í, ³¡Àº °Ç¹° ÆÄÆí ÇÑÁ¶°¢À» ¹Ð¶øÀ¸·Î º»¶° ³ìÀÎ µ¢¾î¸®ÀÌ´Ù. ½Ç¸®ÄÜÀº ½ÅÃ༺°ú º¯Çü·ÂÀÌ ÁÁ¾Æ¼­ Á¤±³ÇÑ Ä³½ºÆÃÀÌ °¡´ÉÇÏÁö¸¸, ³»±¸¼º°ú ȸº¹·ÂÀº ±×¸® ³ôÁö ¾Ê´Ù. ÀÛ°¡´Â ÀÌ ¼Ó¼ºµéÀ» °¡´ÉÇÑ ¸ðµÎ µå·¯³½´Ù. ¿ì¼± ½Ç¸®ÄÜÀ¸·Î °ÅǪÁýÀ» ¸¸µé¾î ½Ç¸®ÄÜÀ» ºÎ¾î ¸¸µç °á°ú¹°ÀÇ Ç¥¸éÀº ¿øÇüÀÇ ÀÛÀº ÈìÁýµé »Ó¸¸ ¾Æ´Ï¶ó °ÅǪÁýÀÇ ÀÌÀ½¸Å À§Ä¡±îÁö °í½º¶õÈ÷ ¾Ë ¼ö ÀÖÀ» Á¤µµ·Î ¿Ïº®ÇÏ´Ù. ±×·±µ¥ ÀÌ ¿Ïº®Àº ÀϹÝÀûÀΠij½ºÆÃ¿¡¼­ Ãß±¸ÇÏ´Â ¿Ïº®°ú´Â Á¤¹Ý´ëÀÌ´Ù. ÀϹÝÀûÀΠij½ºÆÃ¿¡¼­ ¶°³½ ´ë»óÀÌ ¿øÇü°ú °¡´ÉÇÑ ºñ½ÁÇÏ°Ô º¸À̵µ·Ï, Áï ´ë»óÀÌ ÀÌÀü°ú °°Àº ¸ð½ÀÀ¸·Î »õ·Î¿î »ýÀ» ½ÃÀÛÇÒ ¼ö ÀÖµµ·Ï ¶°³»°í ´Ùµë´Â °Í°ú´Â ¹Ý´ë·Î, ÀÛ°¡´Â ¿Â°® °Å½º·¯¹Ìµé±îÁö ±×´ë·Î ³²°ÜµÎ¾ú´Ù. »ó´çÈ÷ Á¤±³ÇÏ°Ô ¶°³¾ ¼ö ÀÖ´Â Àç·á¸¦ ¼±ÅÃÇßÀ½¿¡µµ ÀÛ°¡´Â °á°ú¹°À» ¿øÇü°ú °°¾ÆÁö°Ô ÇÏ´Â °Í¿¡´Â °ü½ÉÀÌ ¾ø¾îº¸ÀδÙ. ij½ºÆÃ Àç·á¿¡ ´ëÇÑ ±â´ë¸¦ Àú¹ö¸®´Â, Á¦¸ñó·³ ÀüÇüÀûÀÎ ¿ª¼³ÀÌ´Ù. °Ô´Ù°¡ °ÅǪÁýÀ» ä¿î ½Ç¸®ÄÜÀº ¹«¸£°í ¾àÇØ¼­ ¿ÀÈ÷·Á ¿øÇüÀÇ Àç·áº¸´Ù ³»±¸¼ºÀÌ ´õ ¶³¾îÁø´Ù. È«À¯¿µÀÇ Ä³½ºÆÃÀº ¿øÇü ±×´ë·ÎÀÇ º¹Á¦³ª ¼ö¸íÀÇ ¿¬Àå°ú´Â °Å¸®°¡ ¸Ö´Ù. ±×¸®°í ÀÌ·± °ü½ÀÀû ij½ºÆÃÀ¸·ÎºÎÅÍÀÇ ¸Ö¾îÁüÀº º¯È­ÀÇ ÈçÀûµéÀ» ÀÏ´Ü »èÁ¦ÇÑ µÚ À绡¸® È¿À²ÀûÀÎ Àç·á·Î ´ëÃ¼ÇØ¹ö¸®´Â ÀÚº»ÁÖÀÇÀÇ Àͼ÷ÇÑ ÇàÅ·κÎÅ͵µ ¸Ö¾îÁö°Ô ÇÑ´Ù.

ÀÛ°¡´Â ½Ç¸®ÄÜÀÇ Ãë¾àÇÑ ¼Ó¼ºÀ» ´õ Àß µå·¯³»µµ·Ï À§Ä¡½ÃŲ´Ù. ´Ü´ÜÇÑ µ¹ À§¿¡ µå¸®¿ì±âµµ Çϰí, °¡±¸ÀÇ ¸ð¼­¸®³ª ¾ãÀº ²ö À§¿¡ °ÉÄ¡°Å³ª, º®¿¡ ¿¬°áµÈ ²öÀ¸·Î ÆØÆØÇÏ°Ô ´ç±â±âµµ ÇÑ´Ù. ½Ç¸®ÄÜÀÇ ¼Ó¼º°ú ´ëºñ¸¦ ÀÌ·ç´Â ÀÌ ³¯Ä«·Ó°í ´Ü´ÜÇÑ °ÍµéÀº ö°Å ÇöÀå¿¡¼­ ¹Ìó »ç¶óÁöÁö ¸øÇ߰ųª ÀÌ¹Ì »ç¶óÁø ±¸Á¶¿¡¼­ ¹ßÃéÇÑ °ÍµéÀÌ´Ù. ÀÌ·± ´ëºñ´Â ¸¶Ä¡ »À¿¡¼­ »ìÀ» ¹ß¶ó³½ µÚ °°ÀÌ ³õ¾ÆµÎ¾úÀ» ¶§Ã³·³ °ú°ÅÀÇ »óŸ¦ »ó»óÇÏ°í ±â¾ïÇÏ°Ô ¸¸µç´Ù. »ç¹°À» ÁöÅÊÇÏ´Â °ÍµéÀÌ ±â¾ïµµ ÁöÅÊÇÏ´Â °ÍÀÌ´Ù. ±×¸®°í ÀÌ·± °ÍµéÀº »ç¶óÁü¿¡ ÀúÇ×Çϵµ·Ï ÀÛ°¡°¡ ¸¸µé¾î³õÀº ±äÀåÀÌÁö¸¸, ½Ç¸®ÄÜó·³ Ãë¾àÇÏ°í °¡±¸ÀÇ ÆÄÆíµéó·³ À§Å·ӴÙ. Àü½Ã µ¿¼±ÀÇ ¸Ç ¸¶Áö¸·¿¡ ³õÀÎ ¹Ð¶ø Á¶°¢Àº ±×·± Ãë¾àÇÔÀÇ ½Ã°£Àû Â÷¿øÀ» Á»´õ ºÎ°¢½ÃŲ °ÍÀÌ´Ù. ö°ÅµÇ´Â °Ç¹°ÀÇ ÆÄÆíÀ» ¹Ð¶øÀ¸·Î ij½ºÆÃÇÑ ÈÄ¿¡ ¿­·Î ³ì¿©¼­ ¸¸µç ÀÌ µ¢¾î¸® ¿ª½Ã ¿øÇüÀÌ °ÞÀº ½Ã°£ÀÇ ÈçÀûÀ» ¿Ïº®ÇÏ°Ô ¶°³½ °ÍÀÌ´Ù. ±×·¯³ª ±× µ¢¾î¸®´Â »õ·Î¿î ȯ°æ¿¡¼­ À̳» ±× ¿Ïº®ÇÔÀ» ÀÒ°í ¹¶ÅöÇØÁø´Ù. ±×°ÍÀº ÀÚº»ÁÖÀÇÀÇ »ý¸®¿¡ ´ëÇÑ ÀÛÀº ÀúÇ×ÀÌÁö¸¸ ¶ÇÇÑ °ð ´ÚÄ¥ ÅõÇ×À» ¿¹°¨ÇÏ°Ô ÇÑ´Ù. È«À¯¿µÀº ÀÌ·¸°Ô Àç·áÀÇ ¹°¸®Àû ¼Ó¼ºÀÇ º¯È­³ª Â÷À̸¦ ÅëÇØ ÀǹÌÀÇ »ó½Â°ú Çϰ­À» ¸¸µé¾î³½´Ù.

Àü½ÃÀÇ Á¦¸ñÀ̱⵵ ÇÑ ¼³Ä¡ ½Ã¸®Áî <Ä¡¹ÐÇÑ ¸Á°¢>¿¡´Â ÁÖ¿ö¿Â ¹°°Ç, ö±Ù, ÆäÀÎÆ®, Á¶¸í, ¿ì·¹Åº µî ¾î¶»°Ô °°Àº Á¦¸ñÀ¸·Î ¹­ÀÏ ¼ö ÀÖ¾ú´ÂÁö ÀǾÆÇÒ¸¸Å­ ´Ù¾çÇÑ Àç·áµéÀÌ µîÀåÇÑ´Ù. ±×·¯³ª ÀÌ Àç·áµéÀº ÀϰüµÇ°Ô, ½ÉÁö¾î ÈξÀ ´õ Á¶½É½º·´°Ô ¹°Ã¤¸¦ µå·¯³½´Ù. ³«¼­°¡ ±×´ë·Î º¸ÀÌ´Â Çå °¡±¸ À§¿¡ ¹®Â¦ °°Àº °ÍÀÌ ºñ½ºµëÈ÷ ¾ñÇô ÀÖ´Ù. ÇùŹÀ¸·Î º¸ÀÌ´Â °¡±¸ÀÇ ´Ù¸®°¡ µÎ°³¸¸ ³²¾Æ À¯¸®Ã¢À» ¾Æ·¡¿¡¼­ ¼öÁ÷À¸·Î ¶°¹ÞÄ¡°í ÀÖ´Ù. ÀÌ·¸°Ô ¸ð·Î ¼¼¿ì´Â º¯ÇüÀº ¹®ÀåÀÇ ¶æÀ» °­Á¶Çϱâ À§ÇÏ¿© ¾î¼øÀ» ¹Ù²Ù´Â ¡®ÀüÄ¡¹ý(îñöÇÛö)¡¯°ú ºñ½ÁÇÏ´Ù. ¶Ç ¾Æ½½ÇÏ°Ô ³²¾ÆÀÖ´Â °æÃ¸Àº Á»Ã³·³ ¹®Â¦ÀÇ À±°ûÀ» ¶³Ãij»Áö ¸øÇÏ°Ô ÇÏ´Â »ý·«¹ýÀ» ±¸»çÇÑ´Ù. ö°ÅÇöÀå¿¡ ³²¾ÆÀִ ö°ñÀ̳ª ¹ö·ÁÁø ¹°°Çµé¿¡ Ä£±ÙÇÑ »ì±¸ºû ÆäÀÎÆ®°¡ Ä¥ÇØÁ® ÀÖ´Ù. »ì±¸»öÀº ¾Õ¼­ º¸¾Ò´ø ½Ç¸®Äܰú ºñ½ÁÇÑ »öÀ̱⵵ ÇÏÁö¸¸, º»·¡ ÆäÀÎÆÃÀº ij½ºÆÃ°ú ¸¶Âù°¡Áö·Î ´ë»óÀ» Áß¼ºÈ­Çϸç Á¶ÇüÀû ´ë»óÀ¸·Î ¹Ù²Ù¾î ³õ´Â´Ù. ÇÏÁö¸¸ ij½ºÆÃÀ̶ó´Â ÇàÀ§°¡ ¿øÇüÀ» Áö¼Ó½ÃŰ·Á´Â °ü½ÀÀû ±â´ë¿¡ ´ëÇÑ ÀÛ°¡ ƯÀ¯ÀÇ Á¶½É½º·¯¿î Àú¹ö¸²ÀÇ ¼ö»ç¿´´Ù¸é, ÆäÀÎÆÃÀº Á»´õ °ú°¨ÇÑ ¹Ý¾î(ÚãåÞ)¿¡ °¡±õ´Ù. ÆóÇãÀÇ À̹ÌÁö°¡ ºÒ·¯ ÀÏÀ¸Å³¸¸ÇÑ ºÒ±æÇÔ°ú ħ¿ïÇÔÀ» ºÎµå·´°í ¿ÂÈ­ÇÑ ºû±ò·Î µ¤¾î¹ö¸²À¸·Î½á Àá±ñ À¯¿¹½Ã۵Ç, °á±¹Àº ¸·À» ¼ö ¾ø´Â °³¹ßÀÇ Çö½ÇÀ» ´õ¿í ºÎ°¢½ÃŲ´Ù. °¡´À´Ù¶õ ºûÀÌ º®¿¡ ºÙÀº ¾ãÀº ÆÇ À§¸¦ ºø°Ü Áö³ª°¡°í ÀÖ´Ù. º®°ú °°Àº Èò»öÀÇ ÆÇÀº ÀϺη¯ º¸ÀÌÁö ¾Ê°Ô µ¡´í °Í °°¾Æ¼­ ¸¸ÀÏ ºûÀÌ ¾ø¾ú´Ù¸é Àß º¸ÀÌÁö ¾Ê¾Ò°Å³ª Àü½ÃÀåÀÇ ±â´ÉÀû ÀåÄ¡·Î º¸¿´À» °ÍÀÌ´Ù. ±×·¯³ª ¾ãÀº ºû ÇÑÁٱ⠶§¹®¿¡ µ¡´í ÆÇ ³Ê¸Ó¸¦ »ó»óÇϰí Áö³ª¿Â ½Ã°£µéÀ» ¿°µÎ¿¡ µÎ°Ô µÈ´Ù.

¶Ç ´Ù¸¥ µ¿¸íÀÇ ÀÛ¾÷Àº ¿ì·¹Åº ij½ºÆÃÀ» ÀÌ¿ëÇÑ °ÍÀÌ´Ù. ¼­¶øÀåÀÇ ÀϺο´À» °ÍÀ¸·Î ÃßÁ¤µÇ´Â ¼¼·Î·Î ¹Ýº¹µÇ´Â ±¸Á¶ÀÇ ÇÑ Ä­¿¡ ö°Å ÆÄÆíÀ» ij½ºÆÃÇÑ ¿¬Áú(flexible) ¿ì·¹Åº µ¢¾î¸® Çϳª°¡ ¾ïÁö·Î ³¢¿öÁ® ÀÖ´Ù. »îÀÇ °ø°£µéÀº ¾î¶² ¹æÇâÀ¸·Îµç ±äÀåÀ» °¡Áö°í ÀÖ¾î¾ß¸¸ ¿ì¸®¸¦ º¸È£ÇØÁֱ⠶§¹®¿¡ ö°Å´Â ´ëü·Î ±× ±äÀåÀ» ÇØÃ¼ÇÏ´Â ÀÏÀÎ °æ¿ì°¡ ¸¹´Ù. ¿¹¸¦ µé¸é ±âµÕ À§¿¡ ¼öÆòÀ¸·Î ¹öƼ°í ÀÖ´ø ÁöºØÀ» ¹«³Ê¶ß¸®°í, ¼öÆò ¼öÁ÷À¸·Î ¹öƼ´ø °¡±¸µéÀ» ¾²·¯¶ß¸®´Â ÀÏÀÌ´Ù. ±×·¸°Ô ö°Å´Â »îÀ» À§ÇØ Á¸ÀçÇÏ´ø ÈûµéÀ» Áö¿ö¹ö¸®´Â ÀÏÀε¥ ¹ÝÇØ, ÀÛ°¡´Â ±»ÀÌ ±× Áö¿ì´Â °úÁ¤¿¡ °³ÀÔÇØ¼­ ¿ì·¹ÅºÀÇ ¼Ó¼ºÀ» ÀÌ¿ëÇØ ³²¾ÆÀÖ´Â ÈûÀ» Àá±ñÀÌ¶óµµ ´«À¸·Î È®ÀÎÇÏ°Ô ÇØÁØ´Ù. ³ô³·À̰¡ ´Ù¸¥ ÇϾá Á´ë À§¿¡ ³õÀÎ µ¢¾î¸®µéÀº ö°ÅµÈ ÆÄÆíµéÀ» °¡º±°í º¯ÇüÀÌ ´ú µÇ´Â °æÁú(rigid) ¿ì·¹ÅºÀ¸·Î ij½ºÆÃÇÑ °ÍÀÌ´Ù. °¢ÀÚÀÇ ¼Ó¼ºÀ¸·Î ±â´ÉÇßÀ» °ÇÃàÀÇ Àç·áµéÀº ¾îµð¿¡ ¾²¿´´ø °ÍÀÎÁö ÁüÀÛÇÒ ¼ö ÀÖÁö¸¸ ¸ðµÎ °°Àº »öÀÇ ºñ½ÁÇÑ ¹«°Ô·Î Áß¼ºÈ­µÇ¾î ÀÖ´Ù. ÇÏÁö¸¸ ÀÌ »ç¹°µéÀº ºñ·Ï ±âÁ¸ÀÇ Å©±â¿Í ¹«°Ô¸¦ ´ëºÎºÐ ÀÒ¾úÁö¸¸ 'º¸Á¸µÉ °¡Ä¡°¡ ÀÖ´Â °Í'ÀÇ ÀÚ¼¼¸¦ ÃëÇÑ´Ù. Á¶¸íÀ» ¹Þ¾Æ ¼¼¼¼ÇÑ Áú°¨À» µå·¯³»°í, Á´ë À§¿¡¼­ ÁÖÀÇ ±íÀº °üÂûÀÇ ´ë»óÀ¸·Î ÀÚ½ÅÀ» Á¦½ÃÇÑ´Ù. ¿©±â¼­µµ È«À¯¿µÀº ÀÚº»ÁÖÀÇÀÇ ¿òÁ÷ÀÓÀ» µå·¯³»¸é¼­µµ Àá±ñ À¯¿¹½ÃŰ´Â Àü·«À» ÃëÇÑ´Ù.

È«À¯¿µÀÇ ¼³Ä¡´Â ´Ù¾çÇÑ ¼ö»ç¸¦ ±¸»çÇÑ´Ù. ±×°ÍÀº ´Ü¼øÈ÷ ±×°¡ »ç¿ëÇÑ »ç¹°µéÀÌ Ã¶°Å¿Í °³¹ßÀÇ ÇöÀå¿¡¼­ °¡Á®¿Â °ÍÀ̾°¡ ¾Æ´Ï¶ó, ±× Àç·á¸¦ ¼±ÅÃÇØ¼­ ¹èÄ¡ÇÑ ¹æ½ÄµéÀÌ ÀÚº»ÁÖÀÇÀÇ ¿òÁ÷ÀÓ°ú ´à¾Ò±â ¶§¹®À̱⵵ Çϰí, ¶Ç ±× ¿òÁ÷ÀÓ¿¡ Àá½Ã³ª¸¶ ¿ªÇàÇϱ⠶§¹®À̱⵵ ÇÏ´Ù. ±×°ÍÀº »ç¹°ÀÌ ¶ì´Â ¾ð¾îÀû ºû±òÀÌ´Ù. ±×·±µ¥ ¿ì¸®°¡ »ý°¢ÇÒ ¼ö ÀÖ´Â ¹°Ã¤ÀÇ ÃÖ´ëÄ¡¸¦ ¹Ýµå½Ã ÀÌ Á¤µµ, Áï ÀÚº»ÁÖÀÇÀÇ À§·ÂÀ» È®ÀÎÇϰí Àá±ñ Á¤Áö½ÃŰ´Â Á¤µµ·Î ÇÑÁ¤ÁöÀ» ÇÊ¿ä´Â ¾ø´Ù. ¿¹¸¦ µé¾î È«À¯¿µÀº »î¿¡¼­´Â ¿ÂÀüÈ÷ Á¸ÀçÇßÀ» ¾î¶² ºÎºÐµé¿¡¼­ ±× ¼Ó¼ºÀÇ ÀϺθ¦ Á¦°ÅÇϰųª ´ëüÇϰųª À§Ä¡¸¦ ¹Ù²Ù¾î ±×°ÍÀ» °¡¸®Å°´Âµ¥ ±×°ÍÀ» ¿ì¸®´Â ÈçÈ÷ ȯÀ¯¶ó°í ºÎ¸¥´Ù. ±×·±µ¥ È«À¯¿µÀÌ °ü½É °®´Â ÀÚº»ÁÖÀÇ¿¡¼­ ȯÀ¯´Â ÀÌ¹Ì Áß¿äÇÑ ÇϳªÀÇ ¼ö»ç·Î ÀÐÈ÷°í ÀÖ´Ù. ¶óŬ¶ó¿ìÀÇ Àú À¯¸íÇÑ Çì°Ô¸ð´Ï ³íÀÇ¿¡¼­ ȯÀ¯´Â ±× ¿òÁ÷ÀÓÀ» Àд Áß¿äÇÑ µ¶ÇØ ¹æ¹ýÀÌ´Ù. ¡°Çì°Ô¸ð´Ï´Â ±âº»ÀûÀ¸·Î ȯÀ¯ÀûÀ̶ó°í ÇÒ ¼ö ÀÖ´Ù. Áï, Çì°Ô¸ð´ÏÀÇ È¿°úµéÀº ¾ðÁ¦³ª ÀüÄ¡ÀÛ¿ëÀ¸·Î ÀÎÇÑ ÀǹÌÀÇ À׿©·ÎºÎÅÍ Ãâ¹ßÇÑ´Ù.¡±

È«À¯¿µÀÌ ÁÖ¸ñÇØ¿Â ¸Á°¢, »èÁ¦, ÀºÆó ¿Ü¿¡µµ ÀÚº»ÁÖÀÇ´Â ´õ ±¸Ã¼ÀûÀÎ ¼ö¸¹Àº µ¿ÀÛÀ» ÇÑ´Ù. ¿ì¸® ÁÖº¯ÀÇ »ç¹°µéÀÌ ±×·± µ¿ÀÛÀ» µå·¯³»°í ¼³µæÇÏÁö ¸øÇϸ®¶ó´Â ¹ýÀº ¾ø´Ù. ¿ì¸®°¡ ¼ö»çÇÐÀÇ ¸î °¡Áö ±â¹ý¸¸À¸·Î ¾ð¾îÀÇ ¸ðµç ´µ¾Ó½º¸¦ ¼³¸íÇÒ ¼ö ¾øµí, ½Ã°¢Àû ´ë»óÀÌ »ý»êÇÏ´Â Àǹ̴ ¿©ÀüÈ÷ ¹«±Ã¹«ÁøÇÏ´Ù. È«À¯¿µÀº ÀÚº»ÁÖÀÇÀÇ Áö°¢ÀÇ ÃÑüÀû ¿Ö°îÀÌ ±â¾ï°ú ¹Ì·¡¸¦ ÅëÁ¦ÇÑ´Ù´Â ±â µåº¸¸£ÀÇ ¸»À» Á¾Á¾ ÀοëÇϰï Çϴµ¥, »ç½Ç ¿ì¸®´Â ¾ÆÁ÷ ±× ÃÑüÀû ¿Ö°îÀÌ ¾îµð±îÁöÀÎÁö ¾ËÁö ¸øÇÑ´Ù. ¾ð¾îÀÇ ¼ö»çÇÐÀÌ °¡Àå ¿À·¡µÈ Çй®ÀÇ ÇϳªÀÓ¿¡µµ, ¿©ÀüÈ÷ ¿¬±¸µÇ´Â °ÍÀº ¾Æ¸¶µµ ²÷ÀÓ¾øÀÌ »õ·Î¿î ¼³µæÀÇ ¹æ¹ýµéÀÌ »ý°Ü³ª°í »ç¶óÁö±â ¶§¹®ÀÏ °ÍÀÌ´Ù. È«À¯¿µÀÌ ½ÃµµÇÏ´Â Àç·á¿Í °ø°£ÀÇ ¼ö»çÇÐÀº ¾ÆÁ÷ ÃæºÐÈ÷ ÆÄ¾ÇµÇÁö ¾Ê¾Ò´Ù. ±×·±µ¥ ±×°Ç ¿ì¸®°¡ ÀÍÈ÷ ¾Ë°í ÀÖ´Ù°í ¹Ï´Â ÀÚº»ÁÖÀǵµ ¸¶Âù°¡Áö´Ù. ±×·¡¼­ ±× µÑÀ» ¹­À¸·Á´Â ½Ãµµ´Â ¿©ÀüÈ÷ Èï¹ÌÁøÁøÇÏ´Ù.






[Prev] Index on Territory
[Next] Gyeonggi Creation Center Advising Program