• 한국실내디자인학회논문집
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• 제24권3호
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• pp.79-86
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• 2015

Myths and architectural spaces are cultural products symbolizing ideologies and objects respectively. Myth has the structure and the contents of a unique view of the world that reflects thoughts and representations of the nationalities. This study is about 'the spaces of the memory' adapted by the mythic tradition among many aspects of the Japanese tradition. The process of this study is illustrated as follows: At first, it mentions the concept of Gilbert Durand's mythic imaginaries and prototype with the method on how the myth is applied to the architectural spaces in the cultural context. Secondly, It clarifies basic meaning arrangement of the Japanese traditional spaces related to the myth. It shows sourceful 'prototipical system' that lies in the relation between thoughts and representations, regarding the shinto's spaces in terms of mythical imaginaries and Japanness. Thirdly, it ascertains mythical structure represented in the traditional space designs on terms with 'prototype' from symbolic system of the myth. It selects the cases among Japanese contemporary architects's works designed after 1960's, and analyses the meanings. In conclusion, it clarifies that this way can be a suggestion as the space design method combining the human's imaginary property with the time-stratigraphic region, and offering creative ideas for the strategy of the space design brand image that embraces a wide range of culture, ecology, and sensibility.

• 한국실내디자인학회논문집
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• 제23권1호
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• pp.114-121
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• 2014

Rikyu-Konomi and Enshu-Konomi accomplished the base of Japanese Dado as well as has set Japanese representative traditional culture. These are the products of the spiritual culture completed by the ideas of Sen Rikyu and Kobori Enshu, that are Wabi spirit and Kirei sabi spirit combined with the tea. This study is about the interpretation of Japanese traditional space designs related to Rikyu-Konomi and Enshu-Konomi as Japanese Traditional spiritual archetype. The process of this study is illustrated as follows: At first, it mentions the concept of Konomi as self-organizing system, and esthetic characteristics of Rikyu-Konomi and Enshu-Konomi. Secondly, it clarifies internal meanings and spacial characters of Konomi in the Japanese traditional space through the exploring Taian tea house as the example of Rikyu-Konomi, and Bosen tearoom and Katsurarikyu as the examples of Enshu-Konomi. Thirdly, it ascertains Rikyu-Konomi and Enshu-Konomi represented in the contemporary architectural spaces. It analyses the relation between modern traditional space designs and traditional archetypal vocabularies, and examines those spaces from an esthetic point of view for modern implication of Rikyu-Konomi and Enshu-Konomi. In conclusion, it clarifies the contemporary significance of Rikyu-Konomi and Enshu-Konomi in terms of japan traditional space design.

• Journal of Forest and Environmental Science
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• 제19권1호
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• pp.39-47
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• 2003

해외에 조성된 한국 전통조경의 특성과 디자인 성향을 파악하고자 해외에 설계, 시공되어진 대표적 한국성 정원 3개소를 선정하였다. 즉 프랑스 파리공원의 한국정원과 일본 오오사까의 쓰르미공원, 요꼬하마의 관자정 등이다. 이들 세 공간에 대해 한국고유의 디자인 원리와 image성, 경관구성요소 등의 한국성을 비교, 분석하였다. 그 결과 일본에 조성된 두 곳은 직설적 공간 재현을, 프랑스 파리공원은 직설과 은유적 공간 재현방법을 응용하여 전통을 재현 하고자 하였다. 도입된 시설 및 요소들은 정자, 꽃담, 다리 등의 전통 구조물과 조산(가산) 화계, 그리고 마당개념의 공간연출 등의 요소 및 기법이 공통적으로 응용되어 한국성 image를 표현하였다.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.102-107
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• 2004

In order to understand the characteristics of the Japanese conception of space, we examined the characteristics of Japanese human geography, schools of thought, and aesthetics through the examinations on relevant documents. In addition, we reorganized such cultural backgrounds in relation to the Japanese perception of space, extracting the fundamental principles and elements of Japanese space composition and examining their significance. We propose a structural framework for understanding and analyzing Japanese space based on the reciprocal relationship and meaning among the various elements of Japanese space. Using this analytical framework, we studied the representative works of Japanese interior space, concluding in an analysis of the expressive characteristics of the Japanese notion of space.

• 디자인학연구
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• 제14권3호
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• pp.15-26
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• 2001

일본의 문화시설 건축의 현대화는 메이지 시대 초기 서양건축가와 엔지니어들이 서구 건축을 일본인들에게 교육한 데서 비롯되었으며, 제2차 세계대전 이후 공공홀과 공연장 건축의 문화시설에 그 영향이 더욱 현저히 나타나기 시작한다. 메이지 시대 일본의 공공홀 시설은 공공문화시설의 중추적 역할 담당이라는 목표 아래 건축되었음에도 실질적으로는 주로 대중의 모임과 대중집회를 위한 공간 제공이라는 제한된 기능을 수행하는 데 그치고 만다. 그러나 전후 일본 정부가 문화와 예술의 진흥을 위한 문화 시설의 필요성을 자각하면서 일본의 문화시설 건축은 질적인 전환을 맞이하게 된다. 즉 단순한 집객기능을 넘어선, 다양한 문화의 광범위한 공유를 위한 문화공간의 역할의 수행이라는 모토가 문화시설의 디자인에 실질적으로 반영되기 시작한 것이다. 즉 디자인 과정에서부터 무대시설, 조명, 및 음향 등 각 분야의 전문가들과의 자문을 거침으로써 공연 공간 및 무대 시설의 다양하고 복잡한 기능성이 보다 효과적으로 구현된 것이다. 이러한 과정을 통하여 건축되어진 문화시설들은 건축 당시 명확한 사용목적과 기능을 부여 받았으며, 이는 제공되는 프로그램의 내용과 문화시설의 명칭에 나타나고 있다. 본 논문은 이러한 일본 문화시설의 유형과 문화시설에 대한 국가적, 기업적 차원에서의 문화정책에 대한 고찰을 기반으로 하여 일본 문화시설의 시설 보유 현황을 살펴보았다. 또한 이들 시설에 구현된 건축적 특징(간소화된 의장과 표현 재료, 구조, 그리고 비례의 절제된 사용)을 분석하였으며 일본 현대 문화시설 디자인에 재해석되어 나타난 전통적 모티브의 건축적 함의를 고찰하였다.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.86-89
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• 2001

Popular in the 1990s, Western Minimalism declined in popularity in the end of the century while the Oriental Mysticism and the Oriental Minimalism called “Zen Style” appeared. Fusion and Oriental Minimalism, both of which pursue traditional beauty and the essence of functionality and beauty, are combined with Japanese elements. As Oriental Minimalism is oriented towards Japan and China, we should consider the Japanese modernization process. Japan internationalized their own traditional elements after modernization. On the other hand, we only focus on tradition in a view of modernity, Japan developed their own culture whereas we followed the Western influences and trends after our culture and social structure were destroyed because of the civil war. Therefore, the aim of this paper is to find out the possibility of culture variety in interior design from the Japanese samples which modernized their culture in various sights. In other words, I researched and analyzed the expressive trends in Japanese Contemporary interior design, architecture and similarity and difference between Korea and Japan.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.74-83
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• 2012

This study is an historical consideration about the modern discourse of Japanese spacial tradition driven from cultural background. The purpose of this study is to establish a cartographic map of historical progress, and to shed light on the forming of identity in Japanese traditional space design on the schizo-analytical aspect. It adopts F. Guattari's psychoanalytic theory to the structural analysis of Japanese traditional space design. The process of this study is illustrated as follows: At first, it mentions Guattari's theory of Mechanical Unconscious, Schizo-analysis, Cartography, and Abstract machine as theoretical background. And, it considers the identity of Japanese traditional space constructed by various cultural sign over a long period of time as the statement of apriority. Secondly, it clarifies semiologic generation of Japanese traditional space design based on the analysis of spacial morphemes about each design stemmed from modernization process of Japan. Thirdly, it ascertains semiologic topography the representamens draw, i.e. schizo-analytic cartography from synchronic and diachronic point of view. Fourthly, it analyses traditional discourse structure in terms of generative schizo-analysis and transformational schizo-analysis with four categories- object, style, concept, strategy. Through this process, it studies the reproduction of Japanese tradition in terms of the 'social organization', and explores the way vitalized on the space-time coordinate system by the schizo-analysis of the mechanical unconscious. In conclusion, it clarifies Generative-schizo is accomplished in the level of formulating representamen, and Transformational-Schizo involves experimental mind that induce implantation of the heteromorphic elements and avant-garde experiments of abstract mechanical operation in the schizo-analysis of Japanese traditional space design. The significance of this study is to arrange an opportunity of introspection on Korean-ness seriously from inspecting logic of Japan-ness closely in traditional space design.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.3-11
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• 2004

The origin of Uchida is strictly avant-garde and carries a social dimension. The work is a challenge to consumption-oriented mass production, a revolt against intrusive one-way communication, and an aversion to oppressive politics. Such a spirit led to a rare communication design that was created in collabolation with the user and designer, both relating to each other's senses of touch and in the same familiar plane. He first began by focusing on the physical movements of objects in order to achieve maximum comfort and lightness. From the beginning, He avoided strong, sturdy solids, and favored the faint, transitory and vulnerable. He choose the pursue "furniture with delicate lines", "to create darkness by layering shadows", all of which are extremely unique and resulted in designs that have a profound presence. Uchida gives various meanings and functions to the grid. This activities and philosophy of Uchida Shigeru influenced on the interior design.the interior design.

• 한국과학예술포럼
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• 제19권
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• pp.515-525
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• 2015

급속한 1인가구의 증가함에 따른 1인 소비, 1인 경제의 개념이 강조되는 현재 한국은 1인 가구 비율이 25.3%를 차지하고 있으며 그 수는 지속적으로 증가할 것으로 전망되어진다. 이러한 급격한 증가와 비례하여 수도권의 주택문제와 더불어 이기주의, 개인이 느끼는 외로움, 범죄와 같은 많은 문제를 야기한다. 이에 대한 대안의 움직임으로 공동체와 커뮤니티 문화, 그리고 공간의 공유와 나눔에 대한 관심과 인식이 증가하고 있으며 이에 따른 셰어하우스 문화에 대한 관심과 선호도가 급격히 높아지고 있으며 각 매체에서도 셰어하우스와 같이 더불어 사는 삶에 대한 내용이 자주 등장한다. 일본에 많이 보급되고 익숙하게 받아들여지는 셰어하우스는 경제적 부담을 줄일 뿐 만 아니라 그들만의 문화를 형성하고 커뮤니티를 형성하는 등 경제적 이점을 넘은 공유가 주는 이점을 대변하는 삶의 방식이다. 본 연구는 셰어하우스의 특성에 관한 연구를 바탕으로 공간을 사용하는 상황에 대한 고찰을 해보고 이를 공동생활을 중심으로 다양한 상황이 발생하고 이를 자연스럽게 수용했던 한국전통주거공간의 무자성에 대한 고찰을 바탕으로 특성을 도출하고 이를 바탕으로 현재 셰어하우스의 공간을 분석하고자 한다.

• 한국실내디자인학회논문집
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• 제27호
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• pp.152-161
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• 2001

At the multi-cultural society, research is needed to encourage a social atmosphere for enhanced understanding and respect for different cultures & countries. The purpose was to analyze the characteristics of spatial arrangement, space connection, Interior decoration and the relationship among these three features, which showed each country's unique housing form tradition. Three representative cases of historic residences from each country were selected on the basis of a recognized historic architecture directory. Total 18 residences from 6 countries - Korea, China, Japan, Rome, Egypt, and Italy - were comparatively analyzed. As results, aspects generally found in Eastern countries, were the fence as the semi-open boundary between the inside and the outside of the house, the flexibility of spatial opening and partitions between rooms, and finally simple and movable decoration features. On the other hands, aspects appeared in Western countries, were the outer wall of the building as the boundary to the outside, the closed and fixed properties of the room partitions, and finally complex and fixed decoration features. The research also showed that even within the same culture, the degree of openness varied. Each feature of space was related and could be explained within the same context. Housing, regardless of country and culture, tried to accommodate the exterior space inside the building as much as possible. The common pursuit was transformed to various visible forms and its reason might be due to different socio-cultural and environmental backgrounds that need to be continuously explored in academic area.