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Exhibit Focuses on Traditional Architecture

April 5th, 2010

KOREA TIMES
03-31-2010 17:16


A wooden miniature of Gwanghwamun, which is currently under restoration, is being exhibited at the National Museum of Korea through June 27 in Yongsan, Seoul. The piece represents the architecture of the Joseon Kingdom (1392-1910).

By Chung Ah-young
Staff Reporter

Wooden architecture is a rare sight in present-day urban spaces packed with concrete skyscrapers and apartments. However, there is no denying the significant role of wood in architectural development.

The National Museum of Korea is holding an exhibition of 44 wooden miniatures of traditional architecture, showing historical changes of traditional construction from dugouts of the New Stone Age and Bronze Age found in Amsa-dong to Sungnyemun, National Treasure No. 1 of the Joseon Kingdom (1392-1910).

The introduction of wooden architecture in Korean history goes back to the Neolithic era when people built dugouts using wooden pillars, covering them with a thatched roof.

Such shelters evolved into diverse forms over the Bronze Age, becoming the origin of the traditional wooden architecture.

During the Three Kingdoms era (57 B.C. to 668 A.D), the architecture was grandiose and diverse in style as it symbolized the dignity of the kings and construction of ancient cities and temples.

The Goguryeo (37 B.C.-A.D.668) murals in the tombs and stone pagodas of Baekje (18 B.C.-A.D.660) and Silla (57 B.C.-A.D. 935) show the different materials and shapes used - from thatched houses to houses with tile roofs.

Wooden architecture continued to flourish in the Goryeo (918-1392) and Joseon (1392-1910) eras. “Dapo” design, or multi-bracket sets placed on the lintels between pillars of grand, large-scale structures, was introduced at the end of the Goryeo Kingdom, in harmony with “jusimpo” design, or column brackets to support the roof. These two forms remained the basis for wood architecture up to the Joseon Kingdom.

“Muryangsujeon” (Hall of Infinite Life), the oldest existing wooden structure, at Buseok Temple in Yeongju, North Gyeongsang Province, was built in Goryeo Kingdom. The structure is renowned for “jumsimpo” design and its columns are soft and elastically curved.

Gaeksamun is also one of the valuable architectural assets built with the skills of Goryeo-era craftsmen. Unlike the gates built in the Joseon Kingdom, Gaeksamun exposes the structure on either side of the gabled roof. The columns in the “jusimpo” style support a ceiling structure that includes many finely carved cloud-shaped brackets which are placed only on top of columns, not on intermediate points on the beams between them.

During the Joseon Kingdom, traditional construction sought harmony with the natural landscape and flourished in great variety and sophistication. Sungnyemun is an example showing the beauty of the architectural style of the early Joseon Kingdom.

The wooden miniatures were manufactured by master carpenter Shin Eung-soo, Important Intangible Property No. 74, who serves as the chief carpenter in the restoration projects of Gwanghwamun and Sungnyemun.

Visitors can also enjoy photo exhibitions and videos showing the history of traditional architecture.

The exhibition will be on display through June 27 at the National Museum of Korea in Yongsan. For more information, call (02) 2077-9460.

chungay@koreatimes.co.kr

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Fountains make a colorful, controversial splash

April 5th, 2010

JoongAng Daily

‘Where there is a fountain, people are having fun.’ - Park Sam-chul, Seoul Design Foundation
‘In a word, fountains are now misused and overused.’ - Professor Kim Min-soo
April 01, 2010

New blossoms sprout, the warm breeze begins to blow, and the nights grow balmy and moist. These are the signs of spring. And as they spread across Korea they signal that it’s time to restart the fountains.

Fountains across the capital have begun to gush forth after the dry winter months, and they’re more varied in presentation, style and cost than ever. Some dance to classical music with powerful pumps and multicolored lights, while others make frolicking children shriek in delight as they suddenly spurt up out of the ground.

It wasn’t always so. Until the late 1990s, almost all of Korea’s fountains were dull Baroque rip-offs, with nude sculptures and simple spouts. Since then, local governments and organizations have come to see them as public art or interactive entertainment.

“Using natural factors such as water, light and trees is the latest design trend,” said Park Sam-chul, a team head at the city gallery of the Seoul Design Foundation. “Where there is a fountain, people are having fun.”

All on their own, fountains can become charming landmarks known the world over, such as the Trevi Fountain in Rome or the one at the Bellagio Hotel in Las Vegas. People book hotel rooms overlooking these fountains in particular, and plan visits to see them.

Municipal and regional governments across Korea have hoped to garner similar effects from their new fountains in recent years, with mixed success.

The Moonlight Rainbow Fountain installed on Banpo Bridge in southern Seoul was part of the city’s Hangang Renaissance Project, meant to redevelop the Han River area. In 2007, Seoul Mayor Oh Se-hoon began an initiative to increase tourism in the Korean capital, and the city commissioned the bridge fountain as the world’s longest, shelling out 17.7 billion won ($16.1 million) for the privilege. Today, the structure costs 250 million won per year on average to maintain.

Outside Seoul, Mokpo in South Jeolla is now in the midst of spending 16 billion won on a new fountain, and Busan completed an immense, state-of-the-art fountain on Dadaepo Beach with a budget of 7 billion won last June.

It’s these immense costs - assigned sometimes without sufficient attention to potential foot traffic - that have critics most concerned.

Civic groups say these fountains simply use too much electricity and water. For instance, the Moonlight Rainbow Bridge consumes enough electricity each day to power about 300 households for a 24-hour period. Then there’s the ego element. Since a fountain provides an easy and obvious legacy for a local politician, experts are often suspicious of the motives behind such projects.

“A fountain attracts people’s attention, more than maintaining existing roads, streetlights or pavement. For that reason, politicians often choose fountains to show off their achievements,” said Kim Min-soo, a professor at Seoul National University. “In a word, fountains are now misused and overused.”

Kim argued that fountains need to be installed only after research into the location. For example, the 12.23 Fountain located around a statue of Admiral Yi Sun-shin in Gwanghwamun Plaza, central Seoul, was installed last year to commemorate Yi’s 23 victories with just 12 vessels during the Joseon Dynasty (1392-1910). But, Kim said, the fountain crowded citizens out of the plaza while adding nothing to its historical value.

Design critic Choi Bum had a different complaint: that the new fountains are simply not Korean enough.

“There are two ways of enjoy water, one is Western and the other is Asian. In that sense, a fountain is a very Western way to enjoy water. Koreans used to think water should flow from top to bottom. Otherwise, it was believed to go against nature,” Choi said.

“I’m not saying that all these fountains are bad, but it would be better for cities to consider what makes a Korean fountain.”

Still, these controversies haven’t stopped the water from flowing, and the best way to decide where you stand on the issue is to visit the fountains yourself.

SAC World Music Fountain

Among Seoul’s many musical fountains, the SAC World Music Fountain located at the Seoul Arts Center in Seocho-dong, southern Seoul, is the oldest, built in 2002. But that doesn’t mean it’s outdated.

With about 825 nozzles, the fountain is programmable, presenting water in the shape of orchids, cranes or even ballet dances. In its repertoire is everything from works by Vivaldi and Elgar to pop songs including “What a Wonderful World” to “Dream a Little Dream.”

Cho Jong-gu, an official in charge of maintaining the fountain, said, “About 15 songs are played at each performance, meaning you could listen to nearly 500 songs per year.”

Because the venue is mainly used for opera, ballet and orchestral concerts - hundreds throughout the year - most of the fountain songs are classical pieces. But that doesn’t mean there’s no room for a lighter, seasonal touch.

“On special days like Children’s Day [which falls on May 5], we add many children’s songs,” Cho added.

The best time to watch the fountain is after the sun goes down, when floodlights highlight the streams of water against the sapphire sky.

For the best view, get an outdoor table at Mozart, the cafe next door.

Children’s Grand Park fountains

Children’s Grand Park, Korea’s oldest theme park, has an older tunnel fountain and a musical fountain completed last year. The tunnel fountain offers exactly what you’d think - a chance for children (and the young at heart) to run through and get a good soaking on a hot summer day.

The park’s musical fountain is much more pop-friendly than the one at the Seoul Arts Center. “We play K-pop, children’s songs as well as classical music. For example, the theme song from [local children’s cartoon] ‘Pororo the Little Penguin’ is one of the favorites for many young visitors,” said Kim Byung-sam, a worker at the park.

After enjoying the fountains, take a look around the park itself, which during a recent renovation added a slew of new attractions such as “Character World,” where kids can take pictures with statues of beloved Korean characters including Dalki, Pororo and Hutos.

Ilsan Lake Park musical fountain

For more interactive watery entertainment, turn to the musical fountain in Ilsan Lake Park, located in Goyang, Gyeonggi, which takes requests online for songs.

“For this reason, this fountain is very popular among couples, especially those who are planning to propose,” said an official at the park.

The official said a private consulting agency picked the songs for this year.

Moonlight Rainbow Fountain

It may have been expensive, but for romance it’s hard to beat the Moonlight Rainbow Fountain, installed at Banpo Bridge, central Seoul, last April. Setting aside the vast volume of water it releases (190 tons per minute), the bridge fountain was recognized as the world’s longest by Guinness World Records last year. Each side measures 570 meters (1,870 square feet), for a total of 1,140 meters stretching around the bridge.

It’s programmed to display about 100 different formations, with 200 lights able to display all the colors of the rainbow.

For the perfect view of the fountain from a distance, reserve a table at the Rainbow Cafe, located on Hannam Bridge. The third floor of the cafe was built as a viewing platform for the Han, and the Moonlight Rainbow Bridge fills much of its panoramic windows. The cafe offers snacks, simple meals and coffee at reasonable prices.

Seoul Plaza Fountain

Since opening on May 1, 2004, the Seoul Plaza Floor Fountain has become known as a place every Seoulite can go to cool down when temperatures rise. Toddlers waddling across the gentle streams of water and teenagers dragging their friends into it are a common sight. Tap water is used for the fountain, which the city government replaces once every two days.

The floor fountain has a total of 121 holes and can display 52 shapes. At night, 131 light-emitting diodes are used to illuminate the fountain.

Local conglomerate Hanwha Group built the fountain, which cost 1.5 billion won, at its own expense, and donated it afterward to the Seoul City Government.

Since the view of the floor fountain is far more beautiful at night, families crowd the window seats at the Italian restaurant Tuscany at the Seoul Plaza Hotel, which offers a bird’s-eye view.

By Sung So-young [so@joongang.co.kr]

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Korean Brands Descend on US in Droves

April 5th, 2010

KOREA TIMES
03-31-2010 18:47

By Jane Han
Korea Times Correspondent

NEW YORK ― Every time Tina Shin digs into a plate full of spicy, double-fried chicken wings from Kyochon, she craves some chilled Cass, a Korean beer. But she can’t readily order it off the menu.

That’s because she’s not in Korea, but Kyochon’s newest U.S. outlet on 319 Fifth Avenue in the heart of midtown Manhattan.

“I guess I can’t have everything, but it’s awesome to enjoy Kyochon just blocks away from where I live,” says Shin, a Korean-American who first tried the fried chicken during her visit to Seoul a few years ago.

The popular Korean wing franchise, which opened its modern $2-million, two-story space, already has several restaurants in New York and California. But the latest addition is located right smack in the center of Manhattan, a positioning aimed at targeting more American customers.

“We’re going after the mainstream market,” Kyochon CEO Kwon Won-kang said when the new shop was launched earlier last month. “We’re not going to limit our accessibility.”

Just like the chicken joint, other Korean brands are starting to move away from the traditional “Koreatown marketing strategy” toward a wider U.S. consumer base.

More and more established labels in a range of industries are taking a stab at introducing their businesses to everyday American shoppers.

Most recently, Amore Pacific launched its premium skincare brand Sulwhasoo at Bergdorf Goodman, one of New York’s most luxurious retailers.

The company is now selling 12 different cosmetics products under the herbal medicine line.

For more casual consumers, Face Shop earlier began selling its mask sheets at Walgreen’s, a mega drugstore chain with more than 6,500 stores nationwide.

Besides the cosmetics names, Hankook Chinaware recently opened its first showroom in Manhattan, while premium luxury brand MCM kicked off sales at New York City’s Saks Fifth Avenue.

“Korean brands are clearly making inroads into the core U.S. market,” said Kim Joo-hwan, a marketing consultant at Liberty, a Manhattan-based agency.

He said many Korean companies are taking a departure from launching their businesses in the Korean communities.

“You really can’t say you’ve entered the U.S. market if your main consumers are Koreans,” said Kim, who highlighted CJ Foodville’s Tous Les Jours as a successful example.

The bakery brand, which is currently scattered across California, Texas and Georgia, intentionally doesn’t open shops in areas dense with Koreans as part of its strategy to succeed in the mainstream market.

“Starting in a Koreatown can be easy at first, but it might be tougher later to move beyond that,” he said.

Going mainstream is a good start, but the next step for Korean firms is to appeal to shoppers looking for high-quality and high-end products, says Helen Keish, a consultant at Cole Production, an agency that offers consulting for foreign startup businesses in the U.S.

“Products and services don’t have to be expensive, but they shouldn’t come off as low grade,” she said, “because once the identity is fixed, it’s hard to change.”

jhan@koreatimes.co.kr

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