뉴욕의 (재)개발 사업과 공공미술: 배터리 파크 시티(Battery Park City)를 중심으로 (Public Art and Urban Renewal of New York City: A Case Study of Battery Park City)

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 12권 / 53 ~ 106페이지
· 저자명 : 김진아

초록

In recent days, urban development and renewal have
been accelerated not only in old metropolitan cities such as
New York, Boston, London, and Berlin but also in new
emerging Asian cities such as Peking, Seoul, and Kuala
Lumpur. Unlike earlier city developments, many new
ambitious projects have systematically considered unique
cultural heritage or design and public space combined with
aesthetic concerns. "Public art" has been considered as an
integral part of reflecting and showcasing the identity and
the future of a city. In this article, as a case study of
public art in the context of urban (re-)development, I will
critically examine Battery Park City(BPC, circa 1979),
successful collaborative art projects for South Cove, artist
Mary Miss worked with architect Stanton Eckstut and
landscape architect Susan Child. They created walkways
finished in wood, blue lanterns, and a dramatic lookout
tower of steel grating(1988). The whole design and idea
was heralded as "site-specific." In addition, the purpose of
designing this type of new public art was that by
integrating public art with urban design, it should become
useful and approachable. Similarly, North Cove, which
includes the entire plaza in front of the World Financial
Center, is the outcome of collaboration between architect
Cesar Pelli, landscape architect M. Paul Friedberg, and
sculptors Scott Burton and Siah Armajani.
While many other individual public art works have been
installed in BPC, one concept is constantly emphasized:
They should be "site-specific for common use of all their
neighbors." However, is BPC really an ideal city space? Is
it a utopia in which everyone dreams to live and can live?
BPC has been constructed to attract multinational
corporations and well-educated elites. The buildings still
have a homogeneous brand-new cold feel, although the
redesigning of BPC has arguably integrated and stimulated
diversity. The streets outside residential buildings are
often empty even in day time. As Rosalyn Deutsche
indicated, there is a fear that BPC might be occupied by
homeless people and other undesirable elements. It may be
an invitation "to reify as natural the conditions of the late
capitalist city into which they hope to integrate us."
However, since the 1990s, more engaged and critical
forms of public work also began to be created in BPC. For
example, a work entitled Mnemonic(1989-93) for
Stuyvesant High School incorporated the input of students
and alumni, thereby forming community-specific art. In
more recent days, new type of memorials have been
created, dedicated to the less represented groups such as
policemen who were killed in the line of duty and Irishes
who suffered the Great Famine of 1845-52. These types of
public art works appear to have been engaged with more
critical questions of city history and community identity,
although residential buildings in the BPC are still occupied
mostly by the upper middle class.

영어초록

In recent days, urban development and renewal have
been accelerated not only in old metropolitan cities such as
New York, Boston, London, and Berlin but also in new
emerging Asian cities such as Peking, Seoul, and Kuala
Lumpur. Unlike earlier city developments, many new
ambitious projects have systematically considered unique
cultural heritage or design and public space combined with
aesthetic concerns. "Public art" has been considered as an
integral part of reflecting and showcasing the identity and
the future of a city. In this article, as a case study of
public art in the context of urban (re-)development, I will
critically examine Battery Park City(BPC, circa 1979),
successful collaborative art projects for South Cove, artist
Mary Miss worked with architect Stanton Eckstut and
landscape architect Susan Child. They created walkways
finished in wood, blue lanterns, and a dramatic lookout
tower of steel grating(1988). The whole design and idea
was heralded as "site-specific." In addition, the purpose of
designing this type of new public art was that by
integrating public art with urban design, it should become
useful and approachable. Similarly, North Cove, which
includes the entire plaza in front of the World Financial
Center, is the outcome of collaboration between architect
Cesar Pelli, landscape architect M. Paul Friedberg, and
sculptors Scott Burton and Siah Armajani.
While many other individual public art works have been
installed in BPC, one concept is constantly emphasized:
They should be "site-specific for common use of all their
neighbors." However, is BPC really an ideal city space? Is
it a utopia in which everyone dreams to live and can live?
BPC has been constructed to attract multinational
corporations and well-educated elites. The buildings still
have a homogeneous brand-new cold feel, although the
redesigning of BPC has arguably integrated and stimulated
diversity. The streets outside residential buildings are
often empty even in day time. As Rosalyn Deutsche
indicated, there is a fear that BPC might be occupied by
homeless people and other undesirable elements. It may be
an invitation "to reify as natural the conditions of the late
capitalist city into which they hope to integrate us."
However, since the 1990s, more engaged and critical
forms of public work also began to be created in BPC. For
example, a work entitled Mnemonic(1989-93) for
Stuyvesant High School incorporated the input of students
and alumni, thereby forming community-specific art. In
more recent days, new type of memorials have been
created, dedicated to the less represented groups such as
policemen who were killed in the line of duty and Irishes
who suffered the Great Famine of 1845-52. These types of
public art works appear to have been engaged with more
critical questions of city history and community identity,
although residential buildings in the BPC are still occupied
mostly by the upper middle class.

참고자료

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