• 한국실내디자인학회논문집
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• 제14권4호
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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.

• 미술이론과 현장
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• 제10호
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• 한국실내디자인학회논문집
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• 제25권6호
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.203-208
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• 2008

Installation art in 20th century shows an expanded trend as a result of material, time, or spatial expansion of subject, therefore subjects could be either materials or non-materials. This trend says that three elements-objet, space, and spectator-is inseparable essence of installation art. Nowadays, the borderline between installation art and everyday human life is getting indistinctive, and both Installation art and human life are becoming a part of another. By adapting the flexibility of installation art into the interior space, more interaction could happen, therefore, people will recognize spatial and visual character of Interior space as a visually satisfying Installed object. The main goal of this study is to understand changing of spatial composition in consequence of expressional variety as a result of dispersion of spatial elements. Especially, this study gives a fundamental ideas about private character of installations art in commercial spaces and expressional character of modern installations.

• 한국실내디자인학회논문집
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• 제24권3호
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• pp.59-68
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• 2015

As the economical and cultural levels become higher, the public have more various and new cultural desires, leading to an increase in the number and kinds of cultural facilities. Out of all the cultural facilities built in such a trend, art museums are the yardstick for a certain nation's cultural level, and the number of art museums is gradually increasing every year in Korea, as a cultural space where the public can make cultural exchanges with artists. On the contrary to the increasing number of art museums, however, the number of art museum visitors is decreasing every year, so various attempts are made to activate art museums in Korea. Thus, this study aims to seek a plan to activate the space of an art museum by improving the physical movement of art museum visitors, especially targeting small-sized ones out of all the art museums in Korea. For accurate analyses and verifications, this study used the visibility-ERAM program. As a result of analyses, this study found out and reconsidered several problems related to the space of art museums, and based on the results, the researcher could verify the related hypotheses, further comprehending possible errors of the proposed solution to those problems and supplement in a short period of time. Since such an analysis method and process has objective accuracy, it is expected that the results of this study will be used as basic data for future plans to activate the space of art museums.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 추계학술발표대회 논문집
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• pp.89-92
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• 2007

Media art has been differentiated and evolved depending on the development of digital technology and the growing of pop culture. Finally experiential ways, which make much of communication with human beings, bring themselves into relief in media art, and these various ways broke lines between virtual reality and reality with the elevation of digital technology, and that has a direct effect on expressing actual space. For this reason, diversified expressions of media art can be an important guideline for studying how to express modern space. This research analyzes expressing features in media art establishing a link with modern industrial interior space and offers new future-oriented space.

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.109-116
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• 2011

As urbanization has evolved, a number of cities have been engaged in building creative power through branding. Cities contain much creative space and creative space within cities develops them. Cities are connected with space, which have a great influence each other, in particular, in cities of culture and art. Space contents in cities have various forms and types and work as important factors for branding of cities. In this high-touch generation, cities of culture and art have special meaning in that design of emotional generation, and cultural meaning of tangible and intangible assets in cities are their competitive power and sources of high added value. The cities of culture and art are oriented toward creative future globally and nationally. In cities of culture which seek for urban development by excavating artistic meaning and value through artistic and cultural development, their cultural meaning itself can become a brand, which effectively leads to building creative cities and marketing of urban brands. This study aims to analyse cases of cities developed through discovering or reactivating art and cultural meaning and value of urban space based on urban space contents. Then it analyses through what urban image, brands and marketing space contents were developed and suggests necessity of space contents development in small and middle sized cities. Therefore, based on the cases of art and cultural cities developed depending on space contents, it analyses and differentiate their various types and contents, aiming to show that any cities can be based on art and culture and creativity depending on creation, regeneration and development of space contents.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2009년도 학술대회
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• pp.1145-1149
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• 2009

1960 년대에는 키네틱아트와 함께, 네온, 형광등 등을 이용한 라이트아트가 등장했다. 빛과 공간예술(light and space art)도 더불어 함께 등장했다. 키네틱아트 연장선상에 있다고 할 수 있는 라이트아트가 예술의 전자화 경향을 보여주고 움직임을 중시하고 있다면, 빛과 공간예술은 좀 더 심리적인 측면을 강조하고 움직임 그 자체보다는 현상적 경험을 중시하고 있다. 일반적으로 라이트아트는 시각적인 유희성으로 끝날 수 있는 반면, 빛과 공간예술은 유희성과 함께 빛과 공간을 시각으로 경험하며 많은 심리 변화를 느끼게 해준다. 본 논문에서는 이러한 라이트아트의 단점을 보완한 본인의 작품을 바탕으로 LED 의 색 변화가 사람의 심리에 미치는 영향과 사운드를 이용한 LED 컨트롤 방법을 연구하였다. 자칫 라이트아트에서 느껴질 수 있는 기계적 느낌과 차가운 느낌을 염두 하여 관객이 자신으로 인해 변화하는 빛을 시각으로 경험하여 작품과 하나됨을 느끼게 하는 것이 본 작업의 목적이며, 그러한 본인의 작품을 기반으로 관객이 생성하는 사운드와 함께 이루어지는 상호작용적 요소와 색채심리를 접목시킴으로써 사람의 감성에 자극을 줄 수 있는 방법을 모색하고자 한다. 그 결과 기존의 빛과 공간예술의 개념에 상호작용적 요소를 접목하여 관객의 심리에 영향을 주는 미디어 아트의 또 다른 형태를 제시하였다.

• 국토계획
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• 제54권1호
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• pp.108-117
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• 2019

The purpose of this study is to investigate whether the plan reflecting the place in cultural regeneration was implemented and whether it was a change of place in culture through culture analyze. Mullae-dong has changed its urban structure into a textile factory, a manufacturing industry, an ironworks+artistic complex, and the Mullae art factory has been organizing a festival that has been created by artists and residents alike in the Mullae creative village. However, prior to the creation of the Mullae art factory in the social element, self-sustaining programs of Mullae creative villages were derived, but now commercial space is mainly derived. Therefore, it is necessary to plan for coexistence of ironworks, cultural space and commercial space rather than expanding into commercial space. Geumcheon-gu Geumcheon-gu Geumcheon Art Factory has become an integrated complex where various industries coexist in industrial complex. Geumcheon Art Factory also holds an artist support program every year and actively works as an international creative exchange center in Seoul. However, programs that act as a mediator are not implemented since 2014, and the Open Studio stops once a year. Therefore, Geumcheon-gu needs to expand programs that can include local programs and programs that can be combined with local cultural media.

• 한국정보통신학회논문지
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• 제13권11호
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• pp.2473-2478
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• 2009

최근 디지털 아트는 이미지, 사운드, 시뮬레이션, 3차원 홀로그래피 등의 다양한 디지털 미디어를 활용하여 새로운 분야의 예술로 시도되고 있다. 이런 수많은 디지털 아트는 전시관이라는 제한된 장소와 제한된 기간에만 관객들과 접하고 있는 상황이다. 하지만 디지털 아트는 디지털 형태의 미디어를 이용할 수 있는 공간이면 실내외 어디든 활용 가능성이 있다. 디지털 아트를 활용하기 위하여 먼저 디지털 아트의 특징을 분석하였다. 디지털 아트의 상호작용성은 관객의 참여를 유발시킬 뿐 아니라 인간과 예술과의 의사소통을 가능하게 하며, 인간과 공간을 연결하는 연결고리 역할을 한다. 인간과 공간의 상호작용과 디지털 아트의 상호작용성에 중점을 두고 인간과 공간, 공간과 디지털 아트, 디지털 아트와 인간의 관계성을 연구하였다. 본 논문에서는 디지털 아트를 활용하여 실내공간디자인에 하기 위하여 필요한 상호작용성에 대해 분석하고, 인터렉티브 기반의 실내디자인에 관한 표현을 연구했다.