• Korean Institute of Interior Design Journal
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• no.30
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• pp.28-34
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• 2002

We need to think that space is not static but dynamic because it becomes wide and narrow, newly appears and disappears by human's behavior. Generally such movement in a space is a thing of feeling and dynamic about movement. But it is extending the experience of the subject by scientific technique's development and anticipation about the feature. The practical movement is actively introduced into architecture and interior design scope and occurs a trial about this movement. By using four elements -a form, hue, movement, light- kineticism becomes visual arts united with art and science. It recovers the art's sociality and arises participation of spectators. In the environment and art field kineticism is not simple ostentation but a current trial for human's mind and sensitivility. Kineticism is four-dimensional space considered by human's experience and is related to an observer, or experiential subject of space. Now the space except human's mind feature re-illuminates kineticism, that is, the field of the formative arts in the early part of the 20th century and gets to be 'the consensus space'.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.327-345
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• 2018

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey's six display factors. Projection features and movements were categorized into "Direct movements," "Indirect movements," and "Relative movements." Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users' motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

• Archives of design research
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• v.18 no.3 s.61
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• pp.171-180
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• 2005

The purpose of this research is to investigate the nature of direction of the design corresponding to a human-centered design, digitalism, ecological design, and culture-oriented design which is an issue of design in the 21st century, from the design of the inside of a room. As a method of approach to this objective, first, 1 understand the form of boundary structure appearing in space, through the theoretical investigation of a boundary form. This research is trying to elicit the expression characteristic of kineticism which was introduced to the boundary form as a factor constituting space, by investigating the characteristic of kinaticism which was expressed in plastic arts and other genres. As a process of the proceeding of this investigation, It is explained the background, purpose, and method of this study in Chapter I, and look into the characteristic of the unfolding and expression of kinetic arts as well as the structure of a boundary form of space in Chapter II. In Chapter III, I divide the aspect of modern architectural space into realistic movement, relative movement, and associational movement and examine them. In Chapter IV, I investigate a case of modern space in which the three types of the characteristic of movement mentioned in Chapter Three was expressed, and analyze to what boundary structure the space was introduced. Last of all, in Chapter V, I elicit the characteristic of a boundary form of kineticism which was the result that appeared through the above analysis, and present the nature of future direction of interior.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.67-76
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• 2010

Recently the trend that human emotions become central is strongly on the rise beyond functions in the area of space. In the present situation, the current study is to examine the characteristics of experiential space of emotions through an approach to space appearing in kinetic art paying attention to the fact that the new spatial expressions and forms of Kineticism lie in introduction of 'movement' as a phenomenon that humans who are main agents of experiences can perceive. For research methods, spatial expressions were proposed according to each characteristic extracting characteristics to create space through 'movement' of Kineticism, and the features of experiential space of emotion were elicited by analyzing sensible elements and perceptual characteristics which stimulate human sensitivity through expressive aspects of 'movement' appearing in the case. As a result, it was found that characteristics appeared including immersion through non-daily stimulation, empathy through visual·perceptual stimulation, syn-aesthetic experiences through stimulation of thinking senses, and perceptual activation through physical movement etc. Namely, the present study has its meanings in seeking another directions and possibilities as emotional space to activate experiencers' diverse perceptions and senses by analyzing the characteristics of experiential emotional space through 'movement' of Kineticism which is one of modern plastic arts.