• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.135-142
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• 2013

This research regards that experiencing certain space according to looking through sensations of body will finally make visual perceptional experience to happen. Our bodies incorporate sensible experience along with interactions with surrounding environment while making movements. The analysis of Seongyojang in Gangleung through top and bottom, depth, movement and experience space which are Merleau Ponty's phenomenological space elements has led to the following conclusions. First, the up and down directivity inherent in Seongyojang has different directions in movements by the axis of plane. Second, the depth by the correlation between things and bodies shows the interactions with things and the depth of space rendered by the servants' quarters of '一字形' and the overlapping effect from the movement between buildings can be seen and felt. Third, mobility is focused on the surroundings for the movements of body and thing. Fourth, the experienced space remains as what it is and is experienced through the experience of traditional cultures. The temporality where the past and the present subsist is given with the application of the modern living pattern in the traditional space. That is, the space from the point of phenomenological view makes the visual-perceptual experience possible through the senses of body, with which the space is experienced and sensed. In other words, the space from the phenomenological viewpoint makes visual-perceptual experience possible through the senses of body so that the space may be experienced and perceived. Through this study, a new viewpoint toward Korean traditional space is expected to be discovered.

• Smart Media Journal
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• v.3 no.3
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• pp.36-45
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• 2014

Based on the perception of Maurice Merleau Ponty, This study defines that Moving is a form lively to experience meaning, pleasure as the aesthetic attribute structured to a product, expression and value are synthesized into. The purpose of study is to argue that Wearable, Ubiquitous, Interaction, Play, D, I, Y, Universal, Ecology are the forms, modalities that the moving is variously subjected to the product design. Above This is the result reasoned according to analogical form as below between the moving and all design forms. First, The moving as the aesthetic expression and value are synthesized into is the intrinsic, general proposition, maxim for the value judgement. Second, All design forms are the cases which the values based on the aesthetic expression system are subjected to Third, Thus All design forms are the modalities of the aesthetic expression based on the values. The certainty of this judgement, reasoning is the proof that the correspondence between the moving as the aesthetic expression and design form is the fact. That is to say, It is the proof that Users lively experience the aesthetic meaning, pleasure in fact as the aesthetic values are subjected to all design forms. The lived experience of each user in their daily life itself is the only method or assurance for this. The moving integrates the existence of a product and what should be of users into the aesthetic dimension and at the same time, is realized based on this. The emphasized theme in all cases of this study is not the product but the moving. So, The product design is changed into the action which structures the moving like above to a product.