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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This essay examines the collaboration between Japanese architects and artists during the 1950s by tracing Tange Kenzō’s involvement in three artistic organizations: the Shinseisaku Art Society, the Contemporary Art Study Group, and the World Design Committee. The interaction with these groups helped Tange to articulate the idea of synthesis of arts and encourage his circles to consolidate architecture, painting, and sculpture in the public realms.
First of all, the Shinseisaku Art Society played a significant role in adopting Western modern art to the Japanese context. While Tange wanted to synthesize architecture, painting, and sculpture, his encounter with Henri Matisse made him consider the conflict between machines and hands. Tange’s desire to create public monuments that could symbolize the postwar democracy was realized in the Kagawa Prefecture Hall whose pilotis area was decorated by painter Inokuma Genichiro.
Second, the Contemporary Art Study Group was the organization led by Okamoto Tarō, the avant-garde artist who was interested in interacting with various artists from different fields. In a speech presented in this organization, Tange claimed that the history of modern art was synonymous with the history of dividing architecture, painting, and sculpture. As today’s art pursued the abstract visual languages, he diagnosed that it fell into a isolated state like I-Novel and deprived of the virtue of humanity. Aiming at the “creation leading to nothing,” Tange collaborated with Okamoto who attempted to “create out of nothing." According to Tange, their collaboration in the Tokyo Metropolitan Prefecture Hall achieved the status of unification that included conflicts.
Thirdly, the World Design Committee was founded to recover the international status of Japanese design. Its activities included the participation of Milan Triennial and the establishment of the Good Design System. In 1960, it hosted the World Design Conference in Tokyo where many designers from various fields gather together. In the panel discussion, Tange emphasized the importance of computers and nuclear power in the upcoming society. He argued that it was the creative power of designers and architects that could bridge the huge gap between technology and human. In addition, he pointed out the importance of biological science and its lessen of the dialectical relationship between order and freedom as an inspiration for designers.
In conclusion, I would like to point out the shift in Tange’s interest throughout the 1950s. In the early 1950s, when Tange was involved in the Shinseisaku Art Society and the Contemporary Art Study Group, he was interested in the dialectic between creation and tradition in conjunction with the tension between realism and modernism. In the World Design Conference of 1960, his interest was shifted to computer, biology, and nuclear power. This change was triggered not only by the qualitative transformation of Japanese society from the era of postwar recovery to that of rapid economic growth but also by his half-year sojourn at MIT where he witnessed the emergence of mass consumer society in the U.S.
First of all, the Shinseisaku Art Society played a significant role in adopting Western modern art to the Japanese context. While Tange wanted to synthesize architecture, painting, and sculpture, his encounter with Henri Matisse made him consider the conflict between machines and hands. Tange’s desire to create public monuments that could symbolize the postwar democracy was realized in the Kagawa Prefecture Hall whose pilotis area was decorated by painter Inokuma Genichiro.
Second, the Contemporary Art Study Group was the organization led by Okamoto Tarō, the avant-garde artist who was interested in interacting with various artists from different fields. In a speech presented in this organization, Tange claimed that the history of modern art was synonymous with the history of dividing architecture, painting, and sculpture. As today’s art pursued the abstract visual languages, he diagnosed that it fell into a isolated state like I-Novel and deprived of the virtue of humanity. Aiming at the “creation leading to nothing,” Tange collaborated with Okamoto who attempted to “create out of nothing." According to Tange, their collaboration in the Tokyo Metropolitan Prefecture Hall achieved the status of unification that included conflicts.
Thirdly, the World Design Committee was founded to recover the international status of Japanese design. Its activities included the participation of Milan Triennial and the establishment of the Good Design System. In 1960, it hosted the World Design Conference in Tokyo where many designers from various fields gather together. In the panel discussion, Tange emphasized the importance of computers and nuclear power in the upcoming society. He argued that it was the creative power of designers and architects that could bridge the huge gap between technology and human. In addition, he pointed out the importance of biological science and its lessen of the dialectical relationship between order and freedom as an inspiration for designers.
In conclusion, I would like to point out the shift in Tange’s interest throughout the 1950s. In the early 1950s, when Tange was involved in the Shinseisaku Art Society and the Contemporary Art Study Group, he was interested in the dialectic between creation and tradition in conjunction with the tension between realism and modernism. In the World Design Conference of 1960, his interest was shifted to computer, biology, and nuclear power. This change was triggered not only by the qualitative transformation of Japanese society from the era of postwar recovery to that of rapid economic growth but also by his half-year sojourn at MIT where he witnessed the emergence of mass consumer society in the U.S.
목차
Ⅰ. 시작하며
Ⅱ. 신제작파협회에서의 단게 겐조
Ⅲ. 현대예술연구소에서의 단게 겐조
Ⅳ. 국제디자인커미티에서의 단게 겐조
Ⅴ. 맺으며
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UCI(KEPA) : I410-ECN-0101-2018-605-001677912