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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), which has often been regarded as a paradigm for mixed-use urban renewal developments.
BPC was constructed on the basis of well-planned master plan and guidelines that integrated the city environment, architecture, and art. Its landfill site on the southern tip of Lower Manhattan, just minutes away from Wall Street was created partly by using earth excavated for the World Trade Center during the 1960s downtown construction boom. At that time, many downtown corporation headquarters and professionals were shifting to New Jersey or Connecticut. In order to attract both corporations and professional workers, BPCA(Battery Park City Authority) prepared well-designed public parks and cultural spaces embodied with public art and utilities.
In the first master plan for BPC, six art projects were included. In particular, in the 1980s, the projects for South Cove and North Cove became a model of public art. If public art in its first stage in the late 1960s and 70s was mostly installed outside office buildings primarily as forms of abstract or minimal sculpture, new works in the 1980s emphasized more on the integration between art work and the environment, often by consulting or collaborating with architects and landscape designers. As one of the most 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.
BPC was constructed on the basis of well-planned master plan and guidelines that integrated the city environment, architecture, and art. Its landfill site on the southern tip of Lower Manhattan, just minutes away from Wall Street was created partly by using earth excavated for the World Trade Center during the 1960s downtown construction boom. At that time, many downtown corporation headquarters and professionals were shifting to New Jersey or Connecticut. In order to attract both corporations and professional workers, BPCA(Battery Park City Authority) prepared well-designed public parks and cultural spaces embodied with public art and utilities.
In the first master plan for BPC, six art projects were included. In particular, in the 1980s, the projects for South Cove and North Cove became a model of public art. If public art in its first stage in the late 1960s and 70s was mostly installed outside office buildings primarily as forms of abstract or minimal sculpture, new works in the 1980s emphasized more on the integration between art work and the environment, often by consulting or collaborating with architects and landscape designers. As one of the most 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.
목차
Ⅰ. 들어가며
Ⅱ. 맨해튼 다운타운의 (재)개발과 배터리 파크 시티
Ⅲ. 배터리 파크 시티의 공공미술
Ⅳ. 나아가며
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