• 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.

• 철학연구
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• 제116호
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• pp.105-128
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• 2017

이 글은 황재형의 작품세계를 예술공간의 미메시스적 재구성이라는 프레임으로 읽어보려고 시도한다. 나는 황재형의 작품이 품고 있는 세계가 그 자신의 주관적 경험으로 환원되지 않는 공간으로 구성되어 있다고 생각한다. 작품 속의 공간은 황재형 작가가 음악적으로 사태에 동화되는 과정, 곧 미메시스를 통해 재구성한 세계로 읽힌다. 이런 읽기를 위해 나는 먼저 빛과 어둠의 교차로에서 그의 작품과 소통하는 길을 찾고자 한다(2). 이 길에서 미메시스적 반응으로 재구성된 황재형 작품의 예술 공간 안팎을 넘나들다가(3), 시간을 품은 공간을 통과해(4) 길 밖으로 나온다(5).

• 한국실내디자인학회논문집
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• 제9호
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• pp.38-48
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• 1996

The purpose of this paper is to study the artistic characteristics of light and adjustment in space, and how meaningful this integral phenomenon is to human beings , whin a space is transformed into a dynamic subject by light. When we create a very unique space we need to adjust light in all environments and must recognize the substance of light in all human spaces. The study of interior design is dependant on the existence of these lights in space. Light plays a very integral role in life having great contingency in the artistic characteristics represented in space. Light is a non-materialistic substance. However, when this substance is realized as a materialistic , light has a very visual effect, having a pleasing and satisfying effect on humans. The artistic characteristic of light in interior space are represented through elements of tranquility , direction . recognition, symbolism , and design. Light has a limitless amount of potential for giving humans boundless possibilities in space and expression . By studying psychological and physical aspects of the flow of light we are able to enjoy its fruitful benefits in the space of interior architectural design.

• 서비스연구
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• 제2권2호
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• pp.115-123
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• 2012

건축물 미술작품은 공공미술의 한 부분으로 건축물의 미관을 아름답게 만들어 줄 뿐 아니라 도시 환경과의 친밀감과 상징적인 장소로서의 랜드마크적 기능을 가지고 있다. 주거 단지 내 '공간 스토리텔링'은 공간과 주민 사이를 이야기로 연결해 주며, 공간의 스토리를 생성 촉진하는 역할을 한다. 본 연구의 목적은 주거 공간을 기반으로 공간 스토리텔링의 서비스 전달과정을 이론적으로 검토하고 적용해 보려하였다. 공간 스토리텔링 요인은 건축물 미술작품의 차별화를 가능하게 할 수 있고, 건축물의 경쟁우위를 점할 수 있게 할 것이다. 또한 이 요인이 주민들의 시설물에 대한 호감을 높이고, 구매의사로까지 연결되는 과정을 설명할 수 있을 것으로 기대한다.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• International Journal of Advanced Culture Technology
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• 제10권3호
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• 한국실내디자인학회논문집
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• 제26호
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• pp.104-111
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• 2001

This study deals with the expressive characteristics of Installation Art and their applicability to environmental design, and as such, aims to specify a artistic methods from the contemporary art. What Installation Art is search of in their works is "the state of relationships" which is "to replace the concept of form with that of structure, and the concept of space with that of the environment" that is, the terms of relations in the overall environment of time and space. Installation Art essentially relies on a multiplicity of forms and attitudes leading to projects which positively make use of "spatial-temporal process" to reaffirm and "problematise" their open-endedness manifest in complex contextuality and shifting temporality. This study presents a new interpretation of spatial-temporal dimension, site-specificity, and intermedia art that we find in Installation Art and tries to combine that new artistic insight a with environmental design to provide a basis for integrated art. This study places a great emphasis on the interdisciplinary approaches to the environment we inhabit, which I hope will contribute to generating a greater number of creative possibilities for environmental design.

• 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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• 제1호
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.347-356
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• 2007

The concept of time-space to be seen in the modem society has complex features at the points of scientific, philosophical, artistic, religious point of view. It has been brought up at a points of neo centric religious, philosophical view and then after, phenomenal approach and scientific approach were rendered through Newton and Einstein and so many scholar approaches affected the artistic field significantly. With such visual expression, it has affected the paintings for a long time till the 19th century, and then has affected various fields such as photography, film, video, computer, architecture and has currently affected the various space expressive of our daily lives and virtual space of digital. This study is to extract a visual and expressionistic characteristic through historical examination and multi-scholar analysis of time-space concept. Especially, by expanding the previous time and space concept, experimental cases and expressionistic characteristics has come up on the media art that offers various experience and by analyzing the expressionistic characteristics of the time-space concept expressed in media art, it is to extract the basic factors for the diversity of space experience.