• Journal of Korean Philosophical Society
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• v.144
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• pp.235-256
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• 2017

This essay considers Leibniz-Clark correspondence on the nature of space and hole argument. The ontology of space had been debated under the name of substantivalism-relationism controversy. The debates between the two parties are concerned with the nature of existence of parts of space-time. Substantivalism claims that the point of space-time has existence analogous to that of material substance. Relationism argues that space-time should be understood as the framework of possible spatio-temporal relations between bodies. Although these two approaches attempt to respect theoretical context, it seems that the problems of these two interpretive schemes stems from the lack of understanding of the structure of space-time theories, especially how space-time is connected with the laws of motion. In order to appreciate the substance-relation controversy without deviating from the context of space-time theories, it is necessary then to capture how space-time theories are constituted. This essay offers the clear connection of ontology of space-time with present practices of theoretical physicists.

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2003.05a
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• pp.61-67
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• 2003

우리의 선인들은 자연환경과 풍토조건을 고려하여 ‘인간과 자연의 합일’이라는 안정된 생활환경공간을 조성하였는바 복거관에 따라 주거지를 조성하고 경작물재배에 유리한 조건을 만들며 이웃과 공동생활을 영위할 수 있는 삶터를 경영하였으며, 우주관에 따라 생활영역을 구축하여 삶에 대한 의미와 가치를 정신세계로 확장시켜 나가는 형이상학적 관념을 엿볼 수 있게 한다. 즉, 전통마을의 경영에는 하늘과 땅과 사람(천+지+인, 산+수+방위+사람)이 조우하여 균형을 이루고 합일되는 생명영속사상의 준거틀을 운용하여 물질적 풍요는 물론 정신적 풍요를 중시하는 환경설계 철학을 엿볼 수 있다. 특히, 마을의 조영체들을 자연환경 속으로 깊숙이 관입시켜 생태환경에 대한 질서와 평형원리를 존중하는 유기체론적 설계목표를 반영하였다. 안정된 생활환경공간으로서 생태적 네트워크를 구축한 환경설계기법은 입지, 토지이용과 동선, 주거형태, 생태, 영역성, 교육생활문화, 경관, 공동체 구성과 관련된 원칙의 내용을 담고 있다.

• (The)Study of the Eastern Classic
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• no.34
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• pp.363-385
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• 2009

I criticize Mou's moral metaphysics and propose the alternative depending on Kant's analysis on the sublime. (1) Mou's moral metaphysics conflicts with the scientific world view. (2) Kant's 'aesthetic space' does not conflict with the scientific world view. Futhermore, Kant's 'aesthetic space' satisfies the conditions which Mou's moral metaphysics requires. (3) Mencius's autonomous morality is not sufficient for justifying the moral law or categorical imperative. (4) At this point, the sublime plays the important role in bridging between nature and morality. (5) In Kant's context, the possibility of the autonomous moral action is achieved on the basis of the educated feeling of the sublime.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.35-44
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• 2005

Light is the essential and symbolical entity In architecture. But the meaning of light has been changed as time has passed, and today it has plural meaning and more sophisticated role. Since 1960's 'Light and Space Art' has accomplished many successful experiments through light and space as artistic media, and they have changed the understanding of light from the electrical source to the phenomenological energy and sensual medium. And also the role of space in their works takes the more human-oriented field constituted from the coherent relationship of internal parts including human being. Light could be 'an object' and 'material' under 'Light and Space Art' artists' persistent efforts. They revealed another realm of spatial experiences such as extension-the metaphysical space, heterogeneous relationship-the complex space, and dematerialization-the illusionary space. The secondary and inclusive effects by 'Light and Space Art' can be found In the phenomenological architecture, the post-modern architecture, and the immaterial tendency of contemporary architecture. However, the more close connections between 'Light and Space Art' and the specific architectures are still left as a portion aside for the further research.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.44-45
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• 2004

With the development of informational machinery and tools in the modern industrial society, the image is expressed diversely as tools of informational transmission and artistic communication. This image is revival equipment and transmissional media in which sound and light are comprehensively formed. The image's intuitive and sensational expressivity can revive subjects and express a fiction, a reality, a nonfiction, and a virtual reality as a communication tool that has synchronicity and the medium of meaning. Because of this, the domain of the image will be gradually extended in the future, and the world of cognizance that can be detected across our living space will absorb the image diversely and react. In this context, the investigator examined what influence image media and equipments have in space as spatial equipments, based on the recognition of cerrelation among the image, space, and mankind, namely, the environmental meaning the mage and the space contain. Therefore, this study was conducted from the aspects of relationship establishment between image equipments that are ever expansive to a variety of domains and the space that accommodates the equipments. As study findings, the influences the image equipments have on space and their expressional features are presented in three aspects: 'the expressional medium of mutual synergy','metaphysical ultra-epithelial space constituent',' and 'object'. This study seems to be meaningful in that we can expect the spatial approach method by purposes and spatial layout of image structures, with this study, through analyzing the meaning of relationship between image equipments and space.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• (The)Study of the Eastern Classic
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• no.33
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• pp.7-29
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• 2008

Jang, Hyeon-Guang is one of the representative natural philosophers of Joseon Korea. This article aims to investigate the meaning of the factors of Xiangshuxue(象數學) contained in his cosmology. Xiangshuxue applies Image(Xiang), Numeral(Shu) and In-Yang to present the distinctions, inter-relations and time-series orders of things. Jang's cosmology, combined with Xiangshuxue, insisted that Li(Principle) is infinite in time and space, the cosmos is finite on the other side. This assures that the moral principle is absolute and eternal. Jang emphasized the book I-ching as the criterion and the model in understanding the nature. This restrained the objectivizm of Shaoyong and made his concept 'natural law' difficult to change itself as the experience and the knowledge expand. None the less, his cosmology is appraised in that it strengthened natural philosophical basis of neo-confucianism and preceded the cosmological investigations since mid-Joseon dynasty.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.171-180
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• 2012

The purposes of this study were to compare Louis I. Kahn and Rem Koolhaas, both of whom established their architectural theories and granted rationality to them by applying the theory of psychoanalysis, and examine common and different characteristics in the inner space composition of a building between them. The study also set out to confirm a basic premise based on which to develop a metaphysical design concept by applying the theory of psychoanalysis in the inner space composition of contemporary architecture in future from the more developed and integrated perspective of modern psychoanalysis. As a result, Kahn sought after a metaphysical design concept through the combinations of inner unit spaces including servant and served space, which are comparable to the confrontation between consciousness and unconsciousness from the perspective of psychoanalysis. Unlike him, Koolhaas applied the concept of folding to his architectural plans based on the theory of post-structuralism and created a metaphysical design concept by more focusing on connections between unit spaces rather than their combinations. While Kahn worked on his designs with much interest in the combinations of inner unit spaces in horizontal circulation by separating it from vertical circulation, Koolhaas created a new design concept beyond the limitations of Kahn, who had a confronting, dichotomous view of the world between the phenomenal world and the metaphysical world, by making use of inclined slabs to connect upper slabs with lower ones. The findings show that there can be various metaphysical design concepts depending on how to connect and combine two confronting concepts when applying the theory of psychoanalysis to architectural design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Archives of design research
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• v.18 no.3 s.61
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• pp.63-74
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• 2005

Modern society is diversified society and is under complicated situation as the boundary of each area has been disappeared. To understand and accept such complicated situation as widely as possible, it is required to understand interaction. of receiver with intertextual environmental arts as the structure of open text. This study examined interaction of environmental arts in terms of intertextual feature based on experience of receiver on combined element of different space and time, combination of genres. This is the concept of meaning personal experience or situation as receiver participates the process of completing art works, and set the fantasy, post-place and speciality of location and temporal-spatial expression method, as characteristics of intertextuality. Features of such experience elements are used as methodology of analyzing characteristics of each work. Feature of fantasy uses strategy of inducing spatial experience of receiver with dematerialization for post-place and expands the place where events occur with intervention of contingency and event situation. It suggests the spatial-temporal expression method as the features focusing on process and reflecting changes in spatial-temporal continuum and speciality of place emphasizing context of place. In conclusion, environmental arts needs to be deep rooted on complicated existence aspect of receiver beyond metaphysical dimension depending on presence and to accomplish conversion of awareness of supplying bisection of life from that place. By doing so, environmental arts can live textual life as it gets together with all other texts in terms of text dimension and creativity can be reborn as practical creativity in intertextuality rather than uniqueness. Such combination with other areas and acceptance of various aspects of receivers who see and experience this will result to creation of open works which can be create newly over and over again in multi-dimensional aspects.