지원사업
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.
초록· 키워드
오류제보하기
FlyingCity has been working on the issue of the redevelopment of the Cheonggye rivulet for two years. Cheonggycheon is a small stream running through downtown Seoul. It was once covered with asphalt and had an elevated highway above it. Now the city government demolished the highway and took away the asphalt to expose the rivulet, which was mostly used for sewage. People debate whether this project is merely discovering the natural water line or a sneaky redevelopment for capitalist profit, which will expel already marginalized social groups like street vendors and destroy the little workshops located there. By researching the status of these endangered social groups, FlyingCity discovered a unique way of living in the mechanical age-an issue that we tried to raise on various occasions.
The title 'Drifting Producers' refers to the production system network in this area. There are strong relations between the workshops, and this network is very flexible. Not only are there these kind of front-rear production lines, but also there are horizontal networks, dividing the workload. Most of these horizontal lines cross over, which explains why such elaborate metal work is possible. Each shop is run in such a way that it can adjust itself to a new network, created by an unexpected order of small quantity and new design, while sustaining existing networks at the same time. The term 'Drifting Producers' is used to define the kind of hybrid production system in Cheonggyecheon. The production lines cannot be determined in an a-priori way - hence the term 'drift.' A chaotic but strong inter-dependency allows them to survive in the era of mass production. And by drifting, they can adapt to a post-Fordist economy. It allows them to take unexpected turns of direction, and merge in a creative way.
According to our site research and interviews, the street vendors use similar principles of survival to those of the metal workshops: finding niche markets, appropriating existing production methods, adapting themselves to unexpected changes of situation. They drift. This observation is an empirical explanation coming from their experiences, but can also be seen from an economic point of view. Street vendors are creating money circulation mostly among the poor. They recycle waste items, invent new businesses like street fashion, and introduce new goods like mobile phones for a younger generation. That they are absorbing the unemployed in times of deflation is also important.
The inter-dependency and informal economy of the site is hard to grasp, and so tends to be mythologized. We heard rumors that illegal gun parts or bayonets for local gangs were produced there. It's hard to say if those stories are true. What's evident is that such invisible but strong networks in Cheonggyecheon are sources of exaggerated rumors. People even talked about the possibility of making armored tanks! (Which is of course impossible because the making of that kind of final product takes a completely different production system.)
What we have called a sense of faktura is characteristic of Cheonggeycheon. A sort of secular literalism can be widely found in this region, from peoples' way of producing, to their way of organizing space, to their ordinary lives. It sometimes represents the struggle for survival; it sometimes appears as a sneaky way of evading the authorities, like saying, "This is not an electric fan" in front of an electric fan that looks like a formless machine, or even like a mollusk. So we can describe the most important characteristic of Cheonggyecheon as the fact that nobody can know Cheonggyecheon completely. But the authorities never stopped to reorganize this space into a ledgible structure in the name of development, thus turning it into a manageable one.
To bridge the gap between this weird reality of Cheonggyecheon and the common understanding of the region among people flyingCity did various activities : cognitive re-mapping by representing the sense of metal workshoppers as another version of materialism similar to Russian Constructivism in 30s or connecting the concept 'drift' which was mostly used under political and aesthetical context to the economical dimension, intervening and proposing a new way of public communication as it did in Talkshow Tent project, and finally proposing an alternative urban planning in the All-things Park.
With these activities FlyingCity tried to present the meaning of dream as a place where the past returns, where the collective unconscious get shaped.
This can lead us to redefining the 'public' as an opaque entity, which returns meaning of that word to its very origin and thus, serve as a platform to imagine a new vision of world.
The title 'Drifting Producers' refers to the production system network in this area. There are strong relations between the workshops, and this network is very flexible. Not only are there these kind of front-rear production lines, but also there are horizontal networks, dividing the workload. Most of these horizontal lines cross over, which explains why such elaborate metal work is possible. Each shop is run in such a way that it can adjust itself to a new network, created by an unexpected order of small quantity and new design, while sustaining existing networks at the same time. The term 'Drifting Producers' is used to define the kind of hybrid production system in Cheonggyecheon. The production lines cannot be determined in an a-priori way - hence the term 'drift.' A chaotic but strong inter-dependency allows them to survive in the era of mass production. And by drifting, they can adapt to a post-Fordist economy. It allows them to take unexpected turns of direction, and merge in a creative way.
According to our site research and interviews, the street vendors use similar principles of survival to those of the metal workshops: finding niche markets, appropriating existing production methods, adapting themselves to unexpected changes of situation. They drift. This observation is an empirical explanation coming from their experiences, but can also be seen from an economic point of view. Street vendors are creating money circulation mostly among the poor. They recycle waste items, invent new businesses like street fashion, and introduce new goods like mobile phones for a younger generation. That they are absorbing the unemployed in times of deflation is also important.
The inter-dependency and informal economy of the site is hard to grasp, and so tends to be mythologized. We heard rumors that illegal gun parts or bayonets for local gangs were produced there. It's hard to say if those stories are true. What's evident is that such invisible but strong networks in Cheonggyecheon are sources of exaggerated rumors. People even talked about the possibility of making armored tanks! (Which is of course impossible because the making of that kind of final product takes a completely different production system.)
What we have called a sense of faktura is characteristic of Cheonggeycheon. A sort of secular literalism can be widely found in this region, from peoples' way of producing, to their way of organizing space, to their ordinary lives. It sometimes represents the struggle for survival; it sometimes appears as a sneaky way of evading the authorities, like saying, "This is not an electric fan" in front of an electric fan that looks like a formless machine, or even like a mollusk. So we can describe the most important characteristic of Cheonggyecheon as the fact that nobody can know Cheonggyecheon completely. But the authorities never stopped to reorganize this space into a ledgible structure in the name of development, thus turning it into a manageable one.
To bridge the gap between this weird reality of Cheonggyecheon and the common understanding of the region among people flyingCity did various activities : cognitive re-mapping by representing the sense of metal workshoppers as another version of materialism similar to Russian Constructivism in 30s or connecting the concept 'drift' which was mostly used under political and aesthetical context to the economical dimension, intervening and proposing a new way of public communication as it did in Talkshow Tent project, and finally proposing an alternative urban planning in the All-things Park.
With these activities FlyingCity tried to present the meaning of dream as a place where the past returns, where the collective unconscious get shaped.
This can lead us to redefining the 'public' as an opaque entity, which returns meaning of that word to its very origin and thus, serve as a platform to imagine a new vision of world.
목차
1. 이것은 선풍기가 아니다
2. 생산 네트워크
3. 지연된 반응
4. 과거의 귀환
5. 표류로서의 공공성
6. 이야기 천막
7. 후기
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